...the home of the pope. Francesca was unsure what the fifth symbol stood for. The next symbol Francesca explained to us was the gladiatori (gladiators) which was a ancient Roman and Greek tradition and is still strong in the Italian culture. The next symbol was the colesseo which is in Rome and is one of the most famous landmarks in Italy. Leonardo Da Vinci was the next symbol, he was a famous italian artist. The next was a symbol for carnivale (festival) this festival runs each year in Italy and is very famous. Il Papa (the pope) was the next symbol Francesca explained that Pope Francis the current pope is more loved than previous popes as he has italian origins, she also explained that people of higher power in Italy have blue cars and Pope Francis refused a blue car. The next symbol was a...
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...Katelyn Long World History Ms. Rizzo 12/16/10 Saint Patrick’s Day Saint Patrick’s Day is an old, historical Irish holiday. It has two histories, the history of Patrick himself, and the history of the day, March 17. It marked an important religious movement in Ireland’s history also. It was significant, and brings many of the important Irish symbols and legends together into one day. The person who was to become St. Patrick, the patron saint of Ireland, was born in Wales, Scotland or Roman-England in about AD 373 to AD 390. His father was Calpurnius; he was a Roman-British army officer. His original name was believed to be Maewyn Succat, and he almost didn't get the job of bishop of Ireland because he didn’t have the required scholarship. Until he was 16, he considered himself a pagan; then he was sold into slavery on the west coast of Ireland by either a group of Irish marauders, or pirates that raided his village. During his captivity, he became closer to God. He escaped from slavery after six years this was when he started to convert to Christianity. He dreamed of having seen God; legend says, he was then dictated by God to escape with a getaway ship. Then he went to Britain where he studied in the monastery under St. Germaine, bishop of Auxerre for about twelve years. During his training he became aware that his calling was to convert the pagans to Christianity. His wanted to return to Ireland, to convert the native pagans to Christianity. But his superiors...
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...Contents The Blues – Traditions and Inspirations Origin 2 Musical Format Development Classification Influence References Origin Blues is the name given to both a musical form and a music genre that originated in African-American communities of primarily the "Deep South" of the United States around the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form, ubiquitous in jazz, rhythm and blues, and rock and roll is characterized by specific chord progressions, of which the twelve-bar blues chord progression is the most common. The blue notes that, for expressive purposes are sung or played flattened or gradually bent (minor 3rd to major 3rd) in relation to the pitch of the major scale, are also an important part of the sound. The origin of the term of was most likely derived from mysticism involving blue indigo, which was used by many West African cultures in death and mourning ceremonies where all the mourner's garments would have been dyed blue to indicate suffering. Blues has evolved from the unaccompanied vocal music and oral traditions of slaves imported from West Africa and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States. The musical forms and styles that are now considered the "blues" as well as modern "country music" arose in the same regions during the 19th century in the southern United States. Recorded...
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...African American experience and the struggle for civil rights (Patton, 1998). Women also made significant strides in the visual arts during the Harlem Renaissance. Augusta Savage, a sculptor, and educator, was a prominent figure. Her work, which included the famous sculpture *The Harp*, showcased her technical prowess and deep engagement with African American culture and history. Savage's role as an educator at the Harlem Community Art Center allowed her to influence a new generation of African American artists, ensuring that the legacy of the Harlem Renaissance would continue (Powell and Mecklenburg, 2012). MUSIC AND PERFORMANCE Music, particularly jazz, was perhaps the most influential element of the Harlem Renaissance. Jazz legends like Duke Ellington and Louis Armstrong rose to fame during this period, performing in Harlem's vibrant nightclubs such as the Cotton Club. Jazz was more than just entertainment; it was a form of expression that communicated the complexities of African American life and provided a soundtrack for the burgeoning civil rights movement (History.com, 2023). The musical innovations of the Harlem Renaissance laid the groundwork for future genres, including rhythm and blues, soul, and hip-hop. Artists like Duke Ellington and Louis Armstrong not only achieved personal fame but also set standards for musical excellence and innovation that continue to influence musicians today. The improvisational techniques and emotional expressiveness of jazz became foundational...
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...TANIKALANG GINTO – play | Juan Abad | 8. MALAYA – play | Tomas Remigio | 9. WALANG SUGAT – play | Severino Reyes | 10. A RIZAL (To Rizal) – poem | Cecilio Apostol | 11. CRISALIDAS – book of poems 12.1. INVOCACION A RIZAL (Call to Rizal) – poem | Fernando Ma. Guerrero | 12. REMEMBRANCE AND FORGETFULNESS – debate | Jesus Balmori (Batikuling) | 13. OLVIDO (Forgetfulness) – debate | Manuel Bernabe | 14. BAJO LOS COCOTEROS (Under the Coconut Trees) – book of poems 15.2. ANTE EL MARTIR (Before the Martyr) – poem | Claro M. Recto | 15. EL NIDO (The Nest) – song | Adelina Guerrea | 16. AROMAS DE ENSUEÑO (Scents of Dreams) – book | Isidro Marpori | 17. LA PUNTA DE SALTO (The Place of Origin) – legend | Macario Adriatico | 18. DECALOGO DE PROTECCIONISMO | Pedro Aunario | 19. FLORANTE AT LAURA | Francisco Balagtas | 20. URBANA AT FELISA | Modesto de Castro | 21. BANAAG AT SIKAT | Lope K. Santos | 22. ANG ISANG PUNONG KAHOY (A Tree) – elegy | Jose Corazon de Jesus | 23. ISANG DIPANG LANGIT (A Stretch of Heaven) 24. BAYANG MALAYA (A Free Nation) 25. ANG PANDAY (The Blacksmith) 26. ANG MUNTING LUPA (A Small Lot) | Amado V. Hernandez | 27. NENA AT NENENG | Valeriano Hernandez...
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...General info The history of music in Iceland has no parallel in other European countries, or, probably, anywhere else in the world. In Iceland the music of the "Middle Ages" predominated well into the nineteenth century. Due to Iceland's isolation, centuries of musical development on the European continent had gone by unnoticed. Even ordinary four-part choral singing was first heard in the fifth decade of the 19th century. Instrumental music, in the usual sense of that term, was non-existent. When the "new" music finally found its way to Iceland, the population, with certain exceptions, especially as regards church music, proved to be more receptive than might have been expected. Latent creative talent soon emerged, and musical development has been exceedingly rapid in the twentieth century. In the 1980’s Icelandic music was on the world music map with the emergence of artists such as the Sugarcubes. In more recent years Iceland has seen international success of many more artists, such as Sigur Rós. Classical music Jón Leifs (1899-1968) is one of Iceland’s best known classical composer writing many of his works about Icelandic nature which bore titles such as Hekla, Dettifoss and Geysir. The Iceland Symphony Orchestra was founded in 1950 and was nominated for a Grammy Award in 2009. Pianist Víkingur Ólafsson has garnered an international reputation as well as cellist Sæunn Þorsteinsdóttir and Daníel Bjarnason, a young classical composer and conductor. Opera The Icelandic...
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...The Spear Maker The Spearmaker moved with a controlled urgency. The girl’s moaning had quieted so she must be between contractions. Where she came from he didn’t know but for once he wished he lived closer to the neighboring village. “There is no time for this”, he thought as he opened random cupboards looking for a clean cup—the girl was thirsty! This was an untimely distract, he needed to be in the Sun Room to make the final preparations for his spears. The moment he had been preparing for all year was just upon him: Dragon’s Sun would arrive at sunrise and he still had so much to do. Finally he found a ladle lost in a pile of tools on the table. His home was filthy and stunk of sweat and iron. Lately he’d had no time to waste on cleaning because he had been putting the finishing touches on his spears to prepare them for the arrival of the Dragon’s Sun. His house was more a workshop than a home anyway. It sat nestled in at the base of Dragon Mount beside the clear running mountain river unimaginatively named, Coldstream and was built over an open crevasse in the earth that constantly bubbled with molten lava. The fumes that spilled forth reeked of sulfur and the deep unknown and probably would have killed most men, but the Spearmaker was not most men. He had built his forge around the bubbling crevasse and the heat from the earth’s belly allowed him to shape iron to his will. The river, flowing next to house, provided the pure water in which he tempered his steel...
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...Blues vs Country music According to Etta James in an interview with American Chronicle: "The Blues and country are first cousins ... What I look for in a song is for the story to be for real. I like a blood and guts kind of thing. That's what you find in the lyrics of country music." Blues and country music both developed in the 19th century in the Southern United States. They share a similar history. For this reason, they share many of the same musical and lyrical characteristics. Read more: How to Compare Blues & Country Music | eHow.com http://www.ehow.com/how_5888119_compare-blues-country-music.htInstructions 1. * 1 Learn the history behind blues and country music. They are both forms of American folk music influenced by earlier styles brought overseas. Blues music grew out of field hollers and chants sung by African slaves. Irish and Scottish balladeers borrowed the guitar and banjo of blues and thus created "country". According to Reebee Garofalo in "Rockin' Out: Popular Music in the USA", "Terms like country and blues are only used to separate the same kind of music made by blacks and whites ... designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources." Country is an offshoot of blues. They are essentially the same thing. In the PBS special, "Rhythm, Country and Blues," country is referred to as "white man's blues." * 2 Listen to...
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...GENERAL TYPES OF LITERATURE Literature can generally be divided into two types: prose and poetry. Prose consists of those written within the common flow of conversation in sentences and paragraphs, while poetry refers to those expressions in verse, with measure and rhyme, line and stanza and has a more melodious tone. I. Prose There are many types of prose. These include novels, biographies, short stories, contemporary dramas, legends, fables, essays, anecdotes, news and speeches. 1. Novel. This is a long narrative divided into chapters. The events are taken from true-to-life stories and spans a long period of time. There are many characters involved. 2. Short Story. This is a narrative involving one or more characters, one plot, and one single impression. 3. Plays. This is presented in a stage. It is divided into acts and each act has many scenes. 4. Legends. These are fictitious narratives, usually about origins. 5. Fables. These are fictitious and they deal with animals and inanimate things who speak and act like people and their purpose is to enlighten the minds of children to events that can mold their ways and attitudes. 6. Anecdotes. These are merely products of the writer’s imagination and the main aim is to bring out lessons to the reader. 7. Essay. This expresses the viewpoint or opinion of the writer about a particular problem or event. 8. Biography. This deals with the life of a person which may be about himself, his autobiography...
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...THE Theory of Music. AS APPLIED OF TO VOICE THE TEACHIN" AND INSTRUMENTS. AND PJtAOTICE LOUIS Author of " C. Cuwositibs German oi' ELSON. Mtjsic," Etc. " History of Song," This Course is adopted and used in Music. the New England Conservatory of BOSTON : New England Consekvatory of Music. EIGHTH MDITION. 1900. Copyright, 1890, by Lotjis C. Elsom. F. H. GILSON, MUSIC PRINTER AND BOOKBINDER, BOSTON. PREFACE. This work is not so much a intended for self-instruction,as course to provide may systematized their is by the which teachers assist which keen at pupils sary neces- toward to that general knowledge true musician. branches the to The tion competipresent, to in the musical is gradually merely of such those as a leading specialist j principles musician counteract become this, a study all which underlie music, the most laws of Acoustics, and a musical form, etc., is are necessary, to this little volume of such the intended It become text-book but an studies. details In the naturally gives are outline, the of which matter are to be filled in by teacher. facts to of of the Acoustics, utmost only those ...
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...___________ __ __ \_ _____/|__| ____ _____ | | | __) | |/ \\__ \ | | | \ | | | \/ __ \| |__ \___ / |__|___| (____ /____/ \/ \/ \/ ___________ __ \_ _____/____ _____/ |______ _________ __ | __) \__ \ / \ __\__ \ / ___< | | | \ / __ \| | \ | / __ \_\___ \ \___ | \___ / (____ /___| /__| (____ /____ >/ ____| \/ \/ \/ \/ \/ \/ ________________ |_ __ _ _ _| \ \/ / | | | | __\ /__| |_| |_ |________________| ____________________________________________________________________________ |~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~| | Author: A I e x ...
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...Unity and Variety 1 The Concepts of Unity and Variety Let's begin by listening to two fundamental concepts that make a piece of music "work"—the concepts of unity and variety. Most people like hearing sounds that they find pleasing, memorable, and familiar. Within a given composition, the feeling of familiarity—fostered by, among other things, reiterations of a music idea—lends a sense of unity to the music. Whereas unity satisfies the human need for sameness and familiarity, variety sustains our interest and appeals to our need for, and enjoyment of, the new, different, and unexpected. To illustrate the relevance of these concepts, listen to how they are used in a piece of music by George Frideric Handel, a very famous musician who lived between the 17th and 18th centuries and whose music remains popular to this day. George Frideric Handel See Here the Conqu'ring Hero Comes George Frideric Handel Born: 1685 Died: 1759 Period: Baroque (1600-1750) Country: Germany/England See Here the Conqu'ring Hero Comes is one of Handel's most popular pieces. Three minutes and three seconds (3:03) long, it is a movement within a longer composition entitled Judas Maccabaeus written for an ensemble (group) of musicians. If you think of Judas Maccabaeus as a book, then See Here the Conq'ring Hero Comes acts as a chapter in that book. A movement may be enjoyed by itself; however, like a chapter in a book, it also fits into the structure of a larger composition. While you listen...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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