77 Matching Annotations
  1. Last 7 days
    1. si on tape Hexagon game et avec mon nom à côté on va trouver plein d'exemples et des modèles pour pouvoir les reproduire 00:02:25 c'est des petits outils très simples on donne aux élèves des hexagones sur lesquels on a ajouté des images on a ajouté des mots on a ajouté des citations et donc on crée une collection 00:02:39 d'hexagones et on affiche un sujet au tableau et on leur dit et ben vous avez ces hexagones vous les utiliser pour répondre à cette question et vous les organisez de la façon qui vous semblera 00:02:52 la plus opportune euh donc voulez vous pouvez faire des flèches vous pouvez faire des titres vous pouvez les coller les un à côté des autres vous pouvez faire des dessins à côté des hexagones mais à la fin je veux le poster le plus 00:03:06 clair et le plus cohérent possible que vous pourrez éventuellement aller présenter au reste de la classe à l'oral
  2. Jan 2024
  3. docdrop.org docdrop.org
    1. Schuller differentiates between thewestern and African understandings of polyrhythmic playing by stating that westernmusicians generally see polyrhythm as two or more rhythmic patterns played simultaneouslybut always resolving or meeting at the start and ending of phrases, bar lines and other centralpoints in the music. In contrast, “African music” reveals a far more intricate, extended,“polymetrically organized” understanding of polyrhythms, in which the individual rhythmicphrases hardly ever, and sometimes never coincide vertically (Schuller 1968, 11). These twointerpretations of polyrhythm are apparent in much U.S.-American jazz and can be seen toshift closer to the African approach in the later styles of jazz through the rhythmiccontributions of musicians such as John Coltrane, Tony Williams and Miles Davis. KeithWaters states that polyrhythm and polymeter, which he terms “metrical conflict”, were a keyfeature of music performed and recorded by the Miles Davis Quintet from 1965 to 1968(Waters 2011, 68).In terms of the use of polyrhythm in Western music from the pre-jazz era, Schuller citesCharles Ives as the only European composer who experimented with polymetric andpolyrhythmic structures, stating as an example Ives’s Fourth Symphony. Gridley deviatesfrom Schuller by suggesting that polyrhythms were used in European folk and concert musicin America for a long time before the jazz era came about but were not as prominent as inAfrican music (Gridley 1999, 45). He acknowledges the African ancestry of polyrhythms asoriginating from combinations of rhythms which can be heard in ragtime music. He definespolyrhythms as “the sounding of some rhythms that have a basis of two pulses while
    2. Polyrhythms and Polymeter
  4. Dec 2023
  5. Nov 2023
  6. Sep 2023
  7. Jul 2023
  8. Jun 2023
    1. Apart from mbaqanga and marabi, other styles also developed due to the amalgamation oflocal styles and American jazz. One of these is Cape jazz, which Coplan (2013) describes asfollows:I use the term ‘Cape jazz’ knowingly, because the Mother City has its owncharacteristic style, strongly indebted to the American tradition starting with African-American minstrelsy, but mixed with old indigenous rhythms and melodies, mission

      hymnody, ‘Malaysian’ choral music, and Afrikaans Coloured ghoema parade band music. (Coplan, 2013:56) Cape jazz also bears influences from moppies (up-beat Malay choirs) and langarm, as well as music played by bands from the Muslim community (Ansell, 2005:70). A telling characteristic of Cape jazz is the ghoema beat (see Figure 1.3), which Johannes (2010:35) describes as: a low pitch on every beat within the bar of music which gives the music its driving quality with the higher pitch playing a syncopated pattern to complement the singing and prevailing syncopation of ghoema music (Johannes, 2010:35). Figure 1.3 Ghoema beat (from Johannes, 2010:35) This influence is more noticeable in the music of Cape Townian musicians such as Abdullah Ibrahim or Robbie Jansen, although it is also regarded as an important element of jazz in South Africa. Marabi, mbaqanga and ghoema rhythms are markers in the broad style known as South African jazz

    2. As Chapter One pointed out, ‘South African jazz’ derives from the amalgamation oftransnational (mainly American) jazz and indigenous South African musics. Although this stylehas many ‘dialects’, there is some conceptual consensus regarding elements that historicallycame to signify a South African jazz sound. These include marabi (with its distinctive I-IV-Vchord progression), mbaqanga (this was especially felt in the importance of the rhythmicaldrive and interest and repeating harmonic progressions, rather than the other formal attributes

      of mbaqanga itself), ghoema or indlamu, amongst others. One of the ways in which Shepherd, Dyer and Makhathini connect with the South African lineage of jazz, and a sense of place therefore registers in their work, is through the incorporation of these elements in certain songs or tracks.

    3. Shepherd’s music also contain American jazz elements, including as bebop linesin his improvisations and his approach to harmonic progressions reminiscent of Keith Jarrett’s.His experiments with irregular meter connect with West African music practices. Theseattributes preclude a simple reading of the artists’ work ‘South African’ in a singular sense,and rather reminds us that the notion of a ‘South African’ jazz is in a continuing dialogue othermusic practices – whether this is with American jazz (which has historically powerfullyinformed South African jazz and continues to do so) or musics from other places or genres
    4. Sonic signatures in South African jazz: A stylistic analysis of the trio music of Kyle Shepherd, Bokani Dyer and Nduduzo Makhathini

      https://docdrop.org/pdf/De-Villiers---2021---Sonic-signatures-in-South-African-jazz--pi6en.pdf/

      Sonic signatures in South African jazz: A stylistic analysis of the trio music of Kyle Shepherd, Bokani Dyer and Nduduzo Makhathini De Villiers, M. 2021

  9. docdrop.org docdrop.org
    1. t can be argued that it was the use of these short harmonic cycles that then led tocertain styles of melodic and rhythmic phrasing which mirrored the short, repetitive harmonicmovement, thus resulting in characteristics common to much South African jazz, such asshort repetitive motivic melodies, basslines and drum grooves
    2. Although, mbaqanga became exceptionally popular both locally and internationally, it willnot be a key focus of the analysis presented in this dissertation as, like tsaba tsaba, its musicaltraits reveal it as being more of a hybrid, sub-genre of the original styles of South Africanjazz: marabi, African Jazz and kwela
    3. DECONSTRUCTING “THE SOUTH AFRICANJAZZFEEL”: ROOTS, RHYTHMS AND FEATURES OF SOUTH AFRICAN JAZZ

      https://docdrop.org/pdf/Thorpe---Unknown---DECONSTRUCTING-%E2%80%9CTHE-SOUTH-AFRICAN-JAZZ-FE-wicy9.pdf/

      DECONSTRUCTING “THE SOUTH AFRICANJAZZFEEL”: ROOTS, RHYTHMS AND FEATURES OF SOUTH AFRICAN JAZZ

      Thorpe, C.J. 2018

    4. MarabiMarabi is described by Ballantine as just as important in the development of South Africanpopular music as the blues was to American popular music (Ballantine 2012, 7). Merz (2016)echoes this statement claiming prominent South African “musicians ranging from tenor-manBazil Mannenberg Coetzee to pianist Darius Brubeck” have referred to marabi as “SouthAfrica’s blues”, highlighting its central importance in South African jazz as “the form to basecompositions on” (Merz 2016, 34). Described by Matshikiza as a set of “highly rhythmicrepetitive single-themed dance tunes” (Matshikiza in Ballantine 2012, 32) which developedbetween the 1910s to 1930s, marabi was generally performed on keyboard, banjo or guitar inshebeens5 and at drinking and dancing parties. Like the blues, it followed a three-chordcyclical harmonic structure. However, in the case of marabi, the three chords were usuallyplayed in short two or four bar phrases, and were most commonly voiced as triads in thesequence I-IV-I-V. Due to the preference for diatonic tonality in marabi, few chord extensiontones were used other than the occasional addition of a major 6th to chord IV and the use ofthe dominant 7th on chord V. The resulting progression is the iconic I-IV6-Ic-V7 whichbecame the harmonic foundation of the South African sound.
    5. In the pre-colonial music of Southern Africa there seems to be little evidence of the I-IV-V-Iprogression typical to the U.S.-American blues style, or many longer harmonic cycles.Instead, there seems to be a definite predilection for short harmonic progressions, such as theaforementioned two-chord progression of traditional Xhosa music of the Eastern Cape notedby Dargie. It can be argued that it was the use of these short harmonic cycles that then led tocertain styles of melodic and rhythmic phrasing which mirrored the short, repetitive harmonicmovement, thus resulting in characteristics common to much South African jazz, such asshort repetitive motivic melodies, basslines and drum grooves.
  10. May 2023
    1. Citing the work of a number of prominent scholars on the style of kwela she states, “Academics who have written about kwela have been no more precise, or more in agreement with one another, about the boundaries of this musical style” (Allen 1993, 58).
    2. like tsaba tsaba, its musical traits reveal it as being more of ahybrid, sub-genre of the original styles of South African jazz: marabi, African Jazz and kwela.
    3. characteristics commontomuch South African jazz,such as short repetitive motivic melodies, basslines and drum grooves.
    1. What separates mbaqangafrom previous styles is the straight beat. Previously urban black music was rhythmically swung in general.

      seems to contradict other definition (straight beat)

    1. As Chapter One pointed out, ‘South African jazz’ derives from the amalgamation of transnational (mainly American) jazz and indigenous South African musics. Although this stylehas many ‘dialects’, there is some conceptual consensus regarding elements that historically came to signify a South African jazz sound. These include marabi (with its distinctive I-IV-V chord progression), mbaqanga (this was especially felt in the importance of the rhythmical drive and interest and repeating harmonic progressions, rather than the other formal attributes Stellenbosch University https://scholar.sun.ac.za85 of mbaqanga itself), ghoema or indlamu, amongst others. One of the ways in which Shepherd, Dyer and Makhathini connect with the South African lineage of jazz, and a sense of place therefore registers in th eir work, is through the incorporation of these elements in certain songs or tracks
    1. Throughout, rhythmic accompaniment would be provided by a player shaking a tin filled with small stones. One standard pattern, as demon- strated by Sililo, is among the most basic and widespread drum patterns of traditional Nguni music. @ @dad o & el

      (see notated rhythm)

    1. Like that of its antecedents, the harmonic base of mbaqanga is the cyclical repetition of four primary chords. Short melodies, usually the length of the harmonic cycle, are repeated and alternated with slight variations, and call-and-response generally occurs between solo and chorus parts. The characteristics that differentiate mbaqanga from previous styles are a driving, straight beat, rather than swung rhythms; melodic independence between instrumental parts, the bass and lead guitars providing particularly strong contrapuntal lines; and electric rather than acoustic guitars and bass guitar

      definition

  11. Nov 2022
  12. elearning.uab.pt elearning.uab.pt
    1. SA enabling collaborationSA is a genre of learning technology that affords people the ability to annotate, or markup with interactive commentary and other forms of digital media, resources for thesocial purposes of information sharing and knowledge construction (Novak et al., 2012).

      Aplicação/ tecnologia de aprendizagem, que permite fazer anotações, sublinhar texto de forma interativa, com opção de ser de público ou privado.

  13. Sep 2022
    1. In the article, "The New Normative: Queer Politics in The Outs," author John Sherman, a freelance writer from Brooklyn, implores reader's to give credit to show's casually- revolutionary representation of queer characters. Sherman indicates to reader's that this is a rarely great representation for its time (2012) because it gives gay characters a non-stereotypical story line. It allows it's characters to be people who just happen to be gay. In just the pilot episode, it's not hard to see this truth. With the first four queer male characters being introduced, they all have different characteristics, priorities, and dynamics with eachother that don't center around their gayness. This gives a depth to the queer character being represented without relying on the fact that their gay to do so. I think that the positive reaction to this show bodes very well for the style of queer representation being presented and will hopefully inspire more writing and content making of this kind which non-chalently gives a voice gay to story lines in a relatable- human way instead of a stereotypical and tokenising way.

      I believe that Shitt's Creek also does this fairly well. Although I've only seen a couple episodes myself- I saw the character of David as a complete person and story line not defined by his gayness or partner choices although it is an obvious part of his identity.

  14. Apr 2022
  15. Feb 2022
  16. Jan 2022
    1. efficiently turn your thoughts and discoveries into convincing written piecesand build up a treasure of smart and interconnected notes along the way

      The how to has 2 parts- interconnected notes and converting them to written pieces

    2. But by doing this, theyignore the main part, namely note-taking, failing to understand thatimproving the organisation of all writing makes a difference.

      Organsation by note taking as a start point

  17. Apr 2021
  18. Mar 2021
    1. Am sa caabi!

      Prends ta clé!

      am -- used in the imperative: "HERE!", etc. (it's the same word as "to have").

      sa -- your.

      caabi ji -- (Portuguese) key. 🔑

    2. Abal ma sa téere!

      Prêtre-moi ton livre!

      abal v. -- lend to.

      ma -- me.

      sa -- your.

      téere bi -- book. 📗

    3. Loolu sa afeer la.

      C'est ton affaire.

      loolu -- that.

      sa -- your.

      afeer bi -- (French: "affair") case.

      la -- the (?).

  19. Dec 2020
    1. ctions.Using one section of dough at a time, roll the dough out flat and cut it into shapes using a cookie cutter.Place the cut-out cookies onto a parchment paper lined baking tray and cook in the pre-heated oven for 10-12 minutes. When the cookies are slightly brown around the edges, they are done.Place the baked cookies on a rack to cool. Once cool, eat and enjoy!3.2.1255

      d

  20. Nov 2020
    1. more importantly, the tools we already use).

      I find this difficult to do, especially with young people who have grown up with wireless Internet, smart phones, etc. It's hard to imagine how to gain information when it has always been at one's fingertips. In addition, new apps and tools are constantly being created, often just to replace another one that wasn't ineffective. It's a matter of conspicuous consumption in my mind. So I'm having difficulty not being pessimistic about how get students to think critically about digital tools.

  21. Oct 2020
  22. Oct 2019
  23. Oct 2018
    1. Consequently, the SA condition does not apply to your contributions to modified works including these kinds of changes.

      Examples would really help. I can't imagine a scenario where anyone would care about this. As was pointed out in the comments, making minor corrections to a CC BY-SA work would not enable anyone to reshare that entire work with corrections under a new license. So the case here is if someone wanted to share minor corrections to a work independently of the work itself and license those minor corrections differently? For example: Here are my typo corrections to a published work, outside of the context of that published work? Example please...

    1. Low BP was more prevalent in subjects with upper airway resistance syndrome (UARS) (23%) than in subjects with obstructive sleep apnea syndrome (OSAS) (0.06%), parasomnia (0.7%), restless leg syndrome (0.9%), or psychological insomnia (0.9%).

      That's an extremely high rate of hypotension in UARS. This may be what I have. If UARS causes hypotension, then sleep apnea (SA) may be different because of its link to obesity.

  24. Mar 2018
    1. At length slow evening came: They went with pitchers to the reedy brook; Lizzie most placid in her look, Laura most like a leaping flame.

      Rossetti is showing Laura's excitement of the getting more fruits from the goblin by comparing her to a leaping flame.

  25. Feb 2018
    1. var content;

      lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumloremlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsum lorem ipsumlorem ipsum lorem ipsumlorem ipsum lorem ipsum

  26. Jul 2017
  27. Sep 2015
    1. to prove this, let facts be submitted to a candid world, for the truth of which we pledge a faith yet unsullied by falsehood.

      The Declaration of Independence impacted the United States in more ways than one, Jefferson makes clear when he states "to prove this, let facts be submitted to a candid world;" he is referring to the reign of the King of Great Britain who has brought injuries and tyranny over the states. He wants his people to realize the corruption and wrongdoings that the king has caused. Jefferson is essentially saying that people should be uncorrupt in this new world and man should strive to preserve the pureness of this country keeping it from falsehood and injustice. It sparked my attention when I came across a newspaper titled "The North Briton" written by J. Wilkes and others which contained very similar diction and ideals of society during that time period. Wilkes is criticizing King George III for his speech in favor of the Treaty of Paris ending the Seven Year’s War; he states “Articles 15 is for having corrupted the sacred fountain of truth and put falsehoods into the mouth of Majesty, in several speeches made in parliament.” Wilkes is trying to uncover the king’s corruption and bring to light that he is lying to his people which ties closely to Jefferson’s actions and morals of being uncorrupt. Most people carried similar beliefs in the United States during the 18th century, it is very possible that the Wilkes could have been from Jefferson's era carrying the same ideals and values as him due to similar style of writing, choice of diction, and beliefs.

    1. let facts be submitted to a candid world, for the truth of which we pledge a faith yet unsullied by falsehood.

      The Declaration of Independence impacted the United States in more ways than one, Jefferson makes clear that essentially people should be uncorrupt in this new world and man should strive to preserve the pureness of this country and keep from falsehood and lies. It sparked my attention when I came across a monthly chronologer titled "The Gentleman's and London magazine" that contained very similar diction and ideals of society during that time period. It is noticed that humans are habitual creatures and mimic their peers within their society creating a universal diction within that community. Most people carried similar beliefs in the United States during the 18th century since most citizens were of Christian faith it is very possible that the writers of the "Gentleman's and London Magazine" could have been from Jefferson's era having the same ideals and values as him due to similar style of writing and choice of diction.