Academic literature on the topic 'Essays and songs'

Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.

Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.

Abstract This article consists of an introduction by Patricia Sieber and six short essays on translation approaches together with actual translations of sanqu songs by Mario De Grandis, Ke Wang, Hui Yao, Jingying Gao and Ian McNally, Xu Yichun, and Jenn Marie Nunes. The introduction provides a short history of the translation of sanqu songs into English, followed by a reflection on which distinctive features of the genre beg for attention in the translation process. In particular, it argues that the different sonic features of sanqu merit close consideration, the loss of the notational contours of the original tunes notwithstanding. Rather than bemoaning the absence of the underlying music, it suggests that, in keeping with Walter Benjamin's vision of the “task of the translator,” translation into another language can be an opportunity to reinvent that musicality in different ways. The six short essays that follow consider sanqu songs from the corpus of diasporic writers from the Yuan dynasty, with a view toward enriching the repertoire of translation strategies for sanqu in terms of musicality and other salient features of the genre. The six essays discuss, respectively, pronouns, rhyme, punctuation, language registers, allusion, and citational practice. In contextualizing such strategies theoretically and illustrating them with examples, the short essays seek to contribute more broadly to the theory and practice of the literary translation of Chinese poetic forms.

31 Songs (re-titled Songbook in the United States) is ‘a little book of essays about songs I loved’ written in 2002 by Nick Hornby, author of the 1996 hit novel High Fidelity and latterly pop critic of the New Yorker. Hornby's assumption of the role of music critic echoed the wish of the protagonist of High Fidelity whose No. 1 in a list of ‘my five dream jobs’ was ‘NME (New Musical Express) journalist 1976–1979’.

Cette lecture anthropologique du songe d'une nuit d'ete propose une etude du calendrier symbolique et historique de la piece. Les frequentes allusions a la lune, aux saisons, et a midsummer ainsi qu'aux fetes telles la saint-valentin, la saint-georges et le premier mai sont commentees. La possibilite d'identifier l'occasion a laquelle la piece a ete jouee, et l'analyse de l'hypothese selon laquelle il s'agit d'une oeuvre ecrite pour un mariage princier ou aristocratique situe entre les annees 1594 et 1596 est aussi realisee. Dans une interpretation des symboles-cles de la piece tels le changelin, l'ane et les fees (titania, puck et oberon), le deuxieme axe explique les rites de passage effectues par les personnages qui, a travers l'action, modifient leur statut social. Ainsi, hermia, helena, lysander et demetrius quittent leur role de jeunes celibataires pour devenir des participants dans la communaute adulte. Le changelin integre le cercle des hommes, et thesee abandonne les valeurs du vieil egee pour creer une nouvelle societe. La reussite de ces transformations est assuree par des pratiques magiques operees le long de la piece. La transformation de bottom en ane s'inspire de manifestations agraires datant du moyen age. Ses propos et ses gestes scatologiques assurent une fonction regeneratrice, ce qui instaure des rapports entre ce personnage et le cycle saisonnier qui rythme le calendrier. Son role recoupe celui d'oberon qui consiste a benir la fertilite des couples. La troisieme partie inscrit le songe dans la politique et la culture de son epoque. Influence par l'humanisme, le protestantisme, le capitalisme et la reforme, l'univers du songe reflete les rapports de pouvoir entre la classe elite et la classe populaire. Les motifs lies au tissage tels les vers a soie, le mythe du murier et bottom le tisserand, font echo au travail de l'ecrivain et du magicien
This anthropological reading of a midsummer night's dream focuses on the symbolic and historical aspects of the play's calendar. The frequent mentions of the moon, of the seasons and of midsummer as well as of holidays such as saint valentine's day, saint george's feast and may 1st are considered. The possibility of identifying the particular occasion during which the play had been given and of testing the hypothesis of a courtly marriage situated between 1594 and 1596 are also studied. In an interpretation of the main symbols of the play such as the changeling, the donkey and the fairies (titania, puck and oberon), the second part explains different rites of passage that the characters undergo which modify their social status. Thus, hermia, helena, lysander and demetrius leave their adolescence to integrate the adult community. The changeling enters the masculine world and theseus abandons the ways of old egeus in order to create a new society. The success of these different transformations is assured by magical practices carried out throughout the play. Bottom's transformation is inspired by agrarian rituals dating from the middle ages. His words and his scatalogical gestures have a regenerative function. This links him to the seasonal cycle that gives rhythm to the calendar. His role resembles that of oberon in that he surrounds the couples with symbols of fertility. The third part situates dream in the political and cultural context of the era. Influenced by humanism, protestantism, capitalism and the reformation, the universe of dream reflects the power plays between the elite and popular classes. The weaving motifs in the play including the silkworms, the story of the mulberry tree and bottom the weaver echo both the writer's and the magician's work

Durant la dynastie des Song, les écrits de l’école bouddhique Chan atteignent leur apogée. Plusieurs nouvelles formes littéraires voient le jour, dont le Biji (Mélanges) du Chan qui, apparu au début du XIIe siècle, s’épanouit au cours des siècles suivants. Composés essentiellement d’anecdotes hagiographiques, les textes Biji contiennent une quantité considérable de propos et de faits des religieux et des laïcs Chan inédits à l’époque et concernent divers aspects de la vie bouddhique de la Chine pré-moderne. Afin d’explorer ce genre littéraire négligé jusqu’à nos jours, l’auteur de ce travail s’appuie sur deux de ses ouvrages représentifs – le Luohu yelu (Recueil des propos officieux du lac de Luo) et le Ganshan yunwo jitan (Mémoires et propos de l’hôte de la chaumière « Nichée dans les nuages » du mont Gan). Après avoir mené dans un premier temps les études historiques et documentaires de ces textes, l’auteur en dégage quatre thèmes de recherche qui offrent une vision d’ensemble du paradigme religieux sous-jacent. Enfin, ce travail se termine par une réflexion sur les spécificités formelles des Biji du Chan
During the Song Dynasty, the writings of the Buddhist Chan School reached their peak. Several new literary forms emerged, including the Chan Biji (Miscellanies) which appeared in the early 12th century and flourished during the following centuries. Composed essentially of anecdotes of hagiographic nature, the Biji texts contain a considerable amount of writings and acts of the clergy and laypeople of the Chan, which were unpublished at the time and deal with various aspects of Buddhist life in pre-modern China. To explore this genre, neglected until today, the author’s research is based on two representative Biji works - the Luohu Yelu (Record of unofficial sayings on the Luo Lake) and Ganshan yunwo Jitan (Memories and sayings from the host of the "Nestled in the clouds" cottage on Gan Mount). After historical and documentary studies of these texts, the author identified four research themes offering an overview of the underlying religious paradigm. This work concludes with a reflection on the formal characteristics of the Chan Biji

Centrée sur les rapports de Zhu Xi (1130-1200) et Lu Jiuyuan (1139-1193), lettrés-fonctionnaires de la dynastie Song généralement perçus comme des représentants majeurs de ce qu’on appelle le « néoconfucianisme », cette étude fait fond sur les acquis de l’histoire intellectuelle de la période pour proposer une perspective nouvelle sur les formes de controverse dans la Chine traditionnelle. En partant d’une description pragmatique des propos et actions de ces lettrés, ainsi que d’une traduction originale de certains des textes que ceux-ci produisent et pratiquent, on s’y efforce, à rebours des approches objectivantes, de s’en tenir strictement au point de vue indigène. La description des règles présupposées par les acteurs permet de dégager un système de valeurs conscientes, qui hiérarchise le sens autour de l’idée de « savoir » et interroge en retour notre conception moderne du savoir. La compréhension profonde de cet ordre du sens réclame la formulation d’une anthropologie adéquate, dont on trouve l’inspiration dans les concepts et la méthode de Louis Dumont et qui conduit ici à un essai d’anthropologie du savoir. Au plan analytique, cette perspective d’ensemble manifeste sa productivité dans le surcroît d’intelligibilité qu’elle apporte quant à la relation de Zhu Xi et Lu Jiuyuan, et plus largement quant aux dynamiques collectives qui traversent leurs rapports. Au plan disciplinaire, elle confirme l’importance du regard anthropologique pour l’histoire de la Chine, et en retour le caractère précieux de la sinologie pour l’anthropologie
By focusing on the relations between Zhu Xi and Lu Jiuyuan, two scholar-officials of the Song dynasty generally seen as major representatives of what is often called “neoconfucianism”, this dissertation uses the insights of the intellectual history of the period to propose a new perspective to study the patterns of controversy in traditional China. Taking as a starting point both a pragmatic description of the words and deeds of these two literati and an original translation of some texts they produce and put into practice, it attempts to stick to an emic point of view against any objectivist bias. The description of the assumptions of the actors (i.e., the rules that pattern their speech and actions) enables us to reconstruct a system of conscious values hierarchized under the idea of “knowledge”, and thereby puts into question our modern conception of knowledge. In order to achieve a deep understanding of this order of meaning, one needs to elaborate a suitable anthropology, for which the concepts and method developed by Louis Dumont have proved to be of fundamental value, leading to an attempt at an anthropology of knowledge. On an analytical level, the overall perspective we propose contributes to the intelligibility of the relation between Zhu Xi and Lu Jiuyuan, and, more generally, to the collective dynamics underlying this relation. On a disciplinary level, it confirms both the importance of an anthropological approach for the understanding of Chinese history and, in return, the importance of sinology as a source of precious insights for anthropology

L'Étude a porté sur des contreplaqués d'okoumé et sapin de 15 mm d'épaisseur et sur des panneaux de particules d'essences feuillues de 35 et 50 mm. Les éprouvettes ont été inoculées au moyen d'inoculats préalablement infestés par diverses souches pures de basidiomycètes. Après 12 à 16 semaines d'exposition, les éprouvettes ont été soumises à un essai de rupture en flexion statique. L’étude confirme qu'il est possible d'utiliser des champignons lignivores en conditions non stériles et d'obtenir dans la plupart des cas des attaques fongiques importantes et homogènes. Elle confirme aussi l'influence de l'épaisseur des plis du contreplaqué sur la résistance à la pourriture. La perte de résistance en flexion statique semble être un meilleur critère d'attaque fongique que la diminution de vitesse de propagation des ultrasons

Esta pesquisa consiste num estudo de versões em português feitas por Chico Buarque para canções dos dois mais destacados compositores da Nova Trova Cubana. São analisadas em detalhe as versões feitas para três canções compostas por Pablo Milanés, que posteriormente são comparadas com suas versões para duas composições de Silvio Rodríguez. A pesquisa se insere em duas das perspectivas dos Estudos Descritivos da Tradução (HOLMES, 2000): estudos de produto (análise das versões das letras para serem cantadas) e estudos de função (os contextos gerais em que se inserem essas versões). O corpus do trabalho totaliza cinco canções vertidas, gravadas por diferentes intérpretes em diferentes contextos, cujos textos-fonte são: 1) Canción [De qué calada manera] (um poema do cubano Nicolas Guillén musicalizado), 2) Todos los ojos te miran, 3) Yolanda - composições de Pablo Milanés 4) Supón e 5) Imagínate as duas últimas, compostas por Silvio Rodríguez. A versão de Canción [De qué calada manera] está no álbum Chico Buarque (1984) com o título Como se fosse a primavera [Canción]. \"Iolanda\", a versão de Yolanda, faz parte do álbum Chico Buarque - Duetos (2002) e anteriormente compôs o repertório de Simone em dueto com Chico no álbum Desejos, de 1984. \"Todos os olhos te olham\", versão de Todos los ojos te miran foi gravada pela intérprete Simone no álbum Raio de Luz em 1991, com o título Todos os olhos te olham. Do cantor e compositor Silvio Rodríguez, Chico Buarque verteu Supón e Imagínate, ambas para serem gravadas na voz de Nara Leão no álbum Nasci para bailar, de 1982, com os títulos Supõe e Imagina só, respectivamente. O foco das análises mais detidas são as versões das canções de Pablo Milanés, sendo as versões das canções de Silvio Rodríguez comparadas com aquelas do ponto de vista dos diferentes métodos de tradução adotados por Chico Buarque. Para desenvolver o estudo, são consideradas, como ponto de partida, as diferentes finalidades da tradução de letras de canções em sua relação com diferentes métodos tradutórios, a partir de proposta de Low (2003) apoiada na teoria do Skopos (cf. Reiss e Vermeer, 1984). No caso da tradução de canção para ser cantada, em que a letra da canção compõe um texto em simbiose com a música, entendemos tratar-se de um tipo de tradução subordinada, modalidade de tradução na qual o elemento linguístico (texto) está sujeito a um elemento extralinguístico (nos casos de nosso corpus, a música) (HURTADO, 2001). Para a análise do corpus, foram combinadas duas ferramentas: 1) as modalidades de tradução de Francis Henrik Aubert (1998), que nos permitiram considerar o tratamento do texto verbal a partir de parâmetros linguísticos, possibilitando medidas da proximidade e distanciamento tradutório entre texto-fonte e texto-meta para fins comparativos; 2) o Princípio do Pentatlon proposto por Peter Low (2005), que permitiu considerar o papel dos aspectos extralinguísticos para o resultado da tradução no texto-meta. Entre nossas perguntas de pesquisa, nos propusemos considerar em que medida a tradução do espanhol para o português pode facilitar um tratamento mais literal da letra, por se tratar de um par linguisticamente próximo, e como a música e o repertório do artista podem direcionar o método de tradução escolhido, a despeito da proximidade entre as línguas envolvidas. Por fim, ao ter em conta as perguntas \"quem foram os tradutores?\", \"o que foi traduzido?\", \"por que se traduziram especificamente certas coisas?\", \"quando (em que períodos, contextos) aconteceram as traduções?\", \"quais as finalidades das traduções feitas (para quem, para quê)?\", \"como foi traduzido?\" dentre as que Lieven Dhulst propõe para historiar a tradução (MILTON; MARTINS, 2010), esta pesquisa busca contribuir, por meio de um estudo de caso, para uma história abrangente da tradução de canção popular para ser cantada, no Brasil.
This research seeks to study renditions in Portuguese written by Chico Buarque for songs originally composed by the two most important composers of the Cuban Nueva Trova. Renditions of three songs composed by Pablo Milanés are analyzed into detail and are, afterwards, compared with two renditions written for two songs by Silvio Rodríguez. The research is inserted into two perspectives within Descriptive Translation Studies (HOLMES, 2000): product oriented (analyses of renditions for the lyrics to be sung) and function oriented (general contexts in which these renditions are inserted). The corpus for this research is formed by five song renditions, recorded by different singers in different contexts, whose source texts are: 1) Canción [De qué calada manera] (a musicalized poem by Cuban writer Nicolas Guillén, 2) Todos los ojos te miran, 3) Yolanda composed by Pablo Milanés 4) Supón e 5) Imagínate these last two ones composed by Silvio Rodríguez. The rendition of Canción [De qué calada manera] is present in the album Chico Buarque (1984) as Como se fosse a primavera [Canción]. Iolanda, the rendition for Yolanda, is found in the album Chico Buarque - Duetos (2002) and had previously been part of Simones repertoire in a duet with Chico in her album Desejos, in 1984. Todos os olhos te olham, rendition for Todos los ojos te miran was recorded by singer Simone in the album Raio de Luz in 1991, with the title Todos os olhos te olham. From the songs originally written by singer and composer Silvio Rodríguez, Chico Buarque wrote renditions for Supón and Imagínate, both to be recorded by Nara Leão in her album Nasci para bailar, in 1992, with the titles Supõe and Imagina só, respectively. The most attentive focus of the analyses are directed towards the renditions for the songs composed by Pablo Milanés, being the songs written by Silvio Rodríguez compared with Milanéss ones, regarding the different translation methods utilized by Chico Buarque. This study considers the different goals for the translation of music lyrics in their relation with different translation methods, based on the proposition delineated by Low (2003) anchored in the theory of Skopos (cf Reiss e Vermeer, 1984). In the particular instance of the translation of a song to be sung, in which the lyrics form a text in symbiosis with the music, it is our contention that this is a type of subordinate translation, a modality of translation in which the linguistic element (text) is subjected to an extra-linguistic element (in the case of the corpus of this research, the music) (HURTADO, 2001). For the analysis of the corpus, two methodological tools have been combined: 1) the modalities of translation lined out by Francis Henrik Aubert (1998), which allows us to consider treating the verbal text within linguistic parameters, making proximity and distancing measures possible between source text and target text for comparative goals; 2) the Pentathlon Principle proposed by Peter Low (2005), which has allowed the consideration of the role of extralinguistic aspects in the result of the translation in the target text. Within our research questions, we have proposed to consider to what extent the translation from Spanish to Portuguese may facilitate a more literal treatment of the lyrics, since they form a linguistically close pair, and how the music and the artists repertoire may direct the method of translation chosen, despite the proximity between the languages involved. To conclude, having in mind the questions who are the translators?, what has been translated?, why have some specific things been translated?, when (in what moments, contexts) did the translations happen?, what are the purposes of the translations performed (to whom, towards what goal)?, how was it translated?, within the ones Lieven Dhulst proposes to historicize translation (MILTON; MARTINS, 2010), this research seeks to contribute, through a case study, to a broader history of the translation of popular music to be sung, in Brazil.

This thesis addresses mechanism design problems in three different contexts.

Chapter 2 compares two widely used student assignment mechanisms, the deferred-acceptance algorithm (DA) and the Boston algorithm (BA), in the context of the Chinese College Admission System. Two features of this system separate the study in this chapter from previous studies. First, the maximal number of schools that a student can apply to is fixed, and is significantly smaller than the total number of schools nationwide. Second, schools’ preferences over applicants are not publicly observed. Under further assumptions, which include that applicants have the same preferences over schools and schools rank applicants by a common standard, I find that students are more likely to compete for seats at top schools under DA than BA. Furthermore, there are cases in which students’ over-competition of top schools under DA results in a less efficient outcome compared to BA.

Chapter 3 studies the mechanism design problem in a market where buyers have type-dependent outside options. Previous literature usually assumes that buyers obtain a fixed value if they do not participate in a sale. This chapter focuses on scenarios in which the value of the option outside of a particular sale varies across different types of buyers. In such a scenario, an optimal mechanism for selling a private-valued item to unit-demand buyers is a second-price auction, with either a reserve price or a fixed show-up fee. This mechanism induces segregation of the market: buyers with a type which values the item high enough will exercise their outside option.

Chapter 4 analyzes grant-issuing processes in a mechanism design framework. Applicants submit their proposals for projects that may not be carried out without external funds. The grant issuer makes a selection from the proposals and decides the amount to award each selected project within a budget. This chapter characterizes optimal mechanisms to efficiently allocate the grant-issuer’s budget. The optimal mechanism overcomes the problem of mis-allocation of the current merit-based mechanism. However, the problem of crowding-out private funds still stands. This chapter also shows how the specific formof institutional constraints—the flexibility of the budget constraint, and whether an applicant can reject a grant after being rewarded — affects the form of the optimal grant-issuing mechanism.

碩士
國立臺北藝術大學
電影創作學系碩士班
100
Song of Justice is a historical film illustrating the legendary hero, Wen Tian -xiang (文天祥), a scholar-general in the last years of the Southern Song Dynasty in the history of China. From a man living an ordinary life to becoming a great hero, Wen Tian -xiang chose to step out of his comfort zone, resisted the Mongol invaders, and refused to yield to the Yuan Dynasty despite being captured and tortured in the dark ages of China. Through different views between Wen Tian -xiang and Marco Polo, the supporting character, this film re-examines the 11-year large-scale land and naval battles happened seven hundred years ago between the Mongols and the Song troops in Chinese history. This screenplay was inspired by Akira Kurosawa''s "Seven Samurai" (1954), Mel Gibson’s “Braveheart” (1995) and Luc Besson’s "The Lady "( 2011). “Braveheart” is the main basis of the script structure. Discourse and research methods will focus on the creating process from a historical story to a three-act play script. An in-depth analysis on the script structure and characters will also be conducted in the essay.

There are many ways parents can improve their offspring’s outcomes. For example, they can invest in offspring’s education or health. They can provide better social connections to obtain job information or personal references. In addition, they can exert political influence to obtain better labor market outcomes for their offspring. Understanding exactly how parents improve their offspring’s outcomes is very important for the formation of political perspectives and policy designs. However, it is very difficult to disentangle the factors, as parents of high socioeconomic status do many things to help their children succeed. This dissertation presents three quasi-experimental studies to understand the causal mechanisms of parents’ influence on children’s outcomes in the context of China and United States. Chapter two examines the implementation of court-ordered racial desegregation of schools and finds that school desegregation increases biracial births. This provides the first evidence of how an education policy that affects racial integration also has demographic implications and an intergenerational impact on social and economic opportunities. Chapter three examines the effect of school desegregation on infant health. This chapter adopts the same empirical strategy and data as chapter three. I extend the paper by examining the effect of school desegregation on infant health. I find that for black mothers, school desegregation improves infant health, as measured by preterm birth. It also increases maternal education and fertility age. These may be important pathways to improve infant health. Chapter two and chapter three add to the growing literature on the impact of school desegregation beyond academic achievement. Chapter five examines the effect of fathers’ political influence on offspring’s labor market outcomes in China. It presents a difference-in-difference approach that exploits the variation of political influence in three dimensions: parent bureaucrat occupation, retirement status instrumented by retirement policy, and offspring gender. Using cross-section data from China Household Income Survey, it finds that the retirement of a bureaucrat with political influence translates into a decrease in offspring’s income of 13 percent. Chapter six provides a summary and conclusions and discusses future research directions.

The first translation chapter examines the Johann Gottfried Herder’s first major attempt to gather and publish the songs to which he referred as folk songs. Publication of the four parts of Alte Volkslieder (old folk songs) was planned for 1774, but remained incomplete, albeit an experiment that would provide the template for later anthologies. Two of the introductory essays from the four parts appear in translation in the present chapter. The “first book” critically raises questions about the ways in which song provides telling evidence for cultural and national history, especially that of Germany. The “fourth book” has the subtitle, “Approaching the Songs of Foreign Peoples,” and therefore contains the first essay by Herder to understand the meaning of music that forms from the encounter between self and other.

The first use of the word and concept, Volkslied (folk song), appears in Herder’s 1773 essay on the Ossian controversy, published in an influential volume of essays containing his own reflections the German character of art and culture, which included contributions by Johann Wolfgang von Goethe, among other leading Enlightenment intellectuals. Herder’s Ossian essay gathers fragments from correspondence with an imagined reader, thus allowing him to relate many different themes from eighteenth-century debates about song and poetry, especially the possibilities of translation of ancient myth and epic into modern, national forms. The Ossian poems and songs were published as the evidence of a mythological Scottish bard, but were in fact falsified by the eighteenth-century Scottish writer, James Macpherson.

It is well known that Clara Schumann was educated by her father Friedrich Wieck who published his pedagogical essay Clavier und Gesang in 1853. What is less known is that Clara Schumann was not only trained as a pianist, but also as a singer. Furthermore, she had a deep affinity to singers throughout her life. Her own singing competence, her singendes Spiel and the dialogue between Clavier und Gesang – piano and song – which characterized her programme, is also reflected in the piano arrangements of Clara Schumann’s songs.

Timbres marcantes de sons da natureza como os provocados pelos ventos, mares, canto de pássaros, ruídos produzidos por carros e fábricas, composição musical e até uma música no rádio. Tudo isso é responsável por sonoridades locais, que se mesclam com uma enorme quantidade de ruídos e sons diversos, fazendo surgir as paisagens sonoras de um local. O que se pretende nessa pesquisa é buscar um modelo de colaboração para a construção artística de paisagens sonoras em espaços públicos. Para alcançar esta missão, os compositores de paisagens sonoras interagem com a tecnologia criada para proporcionar essa interação por meio de seus dispositivos móveis. Ao fazê-lo, os compositores reaproveitam a tecnologia, transformando-a em uma ferramenta que traz a ressignificação do espaço público, podendo transformar o ambiente ao seu redor no que desejar, desafiando assim a tradicional forma de produzir paisagens sonoras.

As aves marinhas migratórias são um canal invisível entre os sistemas marinho e terrestre, transportando os nutrientes que consomem no mar para as florestas onde se reproduzem. Atuando como sentinelas ambientais, seu sucesso reprodutivo e de saúde fornecem sinais de alerta precoce de deterioração dos ecossistemas marinhos, à medida que o clima muda e os estoques de peixes diminuem. Aotearoa é a capital mundial das aves marinhas, com cerca de 25% de todas as espécies se reproduzindo aqui e cerca de 10% exclusivamente. Elas desempenham um papel crítico na manutenção de ecossistemas saudáveis, incluindo o apoio às florestas de Aotearoa, que há muito tempo dependem de nutrientes marinhos para sustentar seu crescimento. Agora predominantemente restrito a ilhas off-shore, devido à predação e destruição de habitats, as aves marinhas e seus sons familiares tornaram-se menos disponíveis em uma época em que o movimento global sem precedentes e a disseminação planetária da população humana culminaram em pesca insustentável, predadores e destruição de habitats. Inspirando mitologia, música, poesia e histórias, os pássaros foram importantes na formação de nossa compreensão de como o ambiente natural de Aotearoa, Nova Zelândia, veio a ser conhecido e compreendido. Este artigo especula sobre como aprendemos a nos comunicar e cooperar com esses taongas esquecidos, e o que pode ser aprendido com essa troca por meio da prática criativa. Refletindo sobre o que os pássaros podem nos dizer, o músico Matthew Bannister e eu, artista visual, seguimos o exemplo das aves marinhas que compartilham nosso ambiente na costa Oeste da Ilha do Norte da Nova Zelândia — desde o petrel de cara cinza (íon) até o gannet (tākapu). Trabalhando com a premissa de que a vocalização dos pássaros é uma negociação realizada que inclui a defesa do território e a atração dos parceiros, o canto de um pássaro é uma forma de comunicação que efetivamente diz “venha aqui” ou “vá embora”, o que provavelmente é verdadeiro para a música — marcando um espaço social e tempo para convidar ou repelir. Em vez de limitar o canto dos pássaros a categorias funcionalistas de explicação, perguntamo-nos se os pássaros marinhos podem se comunicar e trocar informações sobre as mudanças ambientais usando um vocabulário maleável, composto de unidades acústicas exclusivas, organizadas e reorganizadas sequencialmente para maior profundidade comunicativa. Conceder um alto nível de agência e criatividade aos pássaros, em oposição a acreditar que um pássaro só se vale da “fala” estereotipada para sobreviver em um ambiente rico em acidentes, dá maior importância às respostas que são improvisadas diretamente sobre os estímulos ambientais como irritantes, em vez de como um sinal. Para tanto, Matthew explora o canto dos pássaros via musique concreta, que usa sons do cotidiano como material musical. Usando gravações de pássaros marinhos, suas amostras abstraem os valores musicais das convenções do canto dos pássaros — uma resposta humana ao “outro” em composições formadas em conjunto, refletindo uma relação viva em evolução entre o compositor/artista e o pássaro. Ao desenvolver ainda mais nossa pesquisa em uma obra de arte multimídia, estendo uma técnica usada para composição eletroacústica (síntese granular) para o domínio visual. Retratos de vídeo originais do artista e do pássaro são desnaturados por meio do rearranjo, loop, repetição e mistura de sequências sintetizadas existentes, para construir uma nova estrutura acústica e visual que isola ou desloca a aparência e o comportamento da lógica de causa e efeito da própria vida.

Introdução: O presente trabalho vem abordar uma proposta metodológica para o ensino de imunidade inata, no qual é um complexo de defesa que o indivíduo já possui desde o nascimento. Pode-se também citar, que tal vem ser considerado a primeira linha de defesa do organismo e corresponde às barreiras físicas, químicas e biológicas, portanto, sendo capaz de evitar a ação de agentes patogênicos que podem produzir doenças infecciosas. Além disso, a imunidade inata pode potencializar a resposta imune adaptativa. Diante deste assunto, foi elaborado um recurso didático voltado para o ensino de imunologia dentro das ciências biológicas no ensino médio, na qual ofereceu um estímulo e um ambiente propício para o desenvolvimento do raciocínio lógico dos alunos. Este estudo visa auxiliar o professor no seu processo de ensino e aprendizagem, permitindo que o mesmo amplie seu conhecimento em relação ao assunto. Objetivo: Seguindo essa linha de raciocínio, o presente recurso didático “ Plickers imune” tem como objetivo auxiliar o professor, estimulando a competitividade entre os estudantes e propiciando uma inclusão entre as diversidades. Material e Método: A metodologia usada para a confecção do jogo buscou utilizar a tecnologia, e matérias simples com temáticas ilustrativas, através de palavras, sons e imagens, no qual foi inserido no aplicativo https://www.plickers.com/, onde o professor simula um teste rápido para ver como está o desempenho dos alunos. Resultados: O presente jogo se caracterizou como uma excelente ferramenta metodológica auxiliando no processo de ensino e aprendizagem, estimulando a cognição, atribuindo um elo entre o abstrato e o concreto. Conclusão: Por fim, o recurso didático desenvolveu a inteligência do aluno de uma forma atrativa e lúdica.

Introdução: A Linguagem é uma função simbólica, que é desenvolvida por meio do convívio social e do exercício ou estímulo das competências cognitivas. Tendo essa função uma relação direta com os estímulos do ambiente em que esse indivíduo está inserido, assim como com as questões biológicas e socioambientais. A integridade auditiva é imprescindível no processo de desenvolvimento da fala e da linguagem, a prevalência de alterações auditivas pode estar ligada ao surgimento de distúrbios de linguagem na infância. O Distúrbio do Processamento Auditivo Central (TPAC), é uma afecção de origem central que pode ter relação com o surgimento de transtornos da linguagem oral e escrita. O TPAC refere-se a uma série de habilidades auditivas responsáveis pela assimilação da mensagem auditiva e a maneira como o indivíduo compreende os diferentes sons verbais e não verbais. Tendo em vista que o desenvolvimento da linguagem oral e da escrita está relacionado com o estímulo do meio ambiente onde este está inserido, as alterações de audição podem influenciar diretamente no desenvolvimento das habilidades linguísticas. Objetivo: O presente estudo teve como objetivo verificar as implicações do transtorno auditivo central no desenvolvimento das habilidades linguísticas. Material e métodos: trata-se de um estudo de revisão de literatura em periódicos nacionais referentes ao assunto abordado. Acessados eletronicamente com base em artigos disponíveis no periódico Scielo, assim como em livros, manuais da secretária de saúde e educação, e na plataforma DECs. Resultados: Existe uma relação direta entre a incidência de alterações de linguagem e o TPAC. Sendo de suma importância a identificação do transtorno auditivo, para que seja iniciado o tratamento. A intervenção precoce tem como objetivo reduzir os déficits funcionais estimulando a neuroplasticidade cortical por meio do treino auditivo, visando principalmente prevenir déficits no desenvolvimento de habilidades de linguagem oral e escrita. Conclusão: O Distúrbio do Processamento Auditivo Central está relacionado a uma série de inabilidades que podem refletir tanto em questões inerentes a comunicação, como em déficits significativos no desenvolvimento da aprendizagem de forma geral.

In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.