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ISBN 13: 9780373522217

Please note that the link will expire twenty-four hours after the email is sent. If you can't find this email, please check your spam folder. Oh I swear to ya I'll be there for ya This is not a drive by Just a shy guy looking for a 2-ply Hefty bag to hold my love When you move me everything is groovy They don't like it sue me The way you do me Oh I swear to ya I'll be there for ya This is not a drive by-y-y-y Please believe that when I leave There's nothing up my sleeve but love for you And a little time to get my head together too On the other side of a street I knew Stood a girl that looked like you I guess that's deja vu But I thought this can't be true Cause Oh I swear to ya I'll be there for ya This is not a drive by Just a shy guy looking for a 2-ply Hefty bag to hold my love When you move me everything is groovy They don't like it sue me The way you do me Oh I swear to ya I'll be there for ya This is not a drive by-y-y-y Tou are not logged in.

You must be logged in to post a comment, or create an account. The last step was to interpret the resulting score, which had very easy rhythmic-melodic combinations quarter notes and eighth notes, 2nd and 3rd intervals, to assimilate the articulation of singing to the articulation of oral language. The piano accompanied them to make their interpretation process more fun.

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To finish, the groups were mixed together to show that the final results can never sound the same, because the creativity of the group varies with the composition of its members. Another activity consisted of preparing an improvisation, which was captured in a musicogram.

"TC" English translation

New groups were created and tasked with preparing a piece using only body parts, which they then interpreted in front of the class so that everyone could join in. Although we have said that this was an improvisation, it had to be shown in a score using alternative graphs that were easily legible for the rest of the class. Composing as a group entails listening to what others have to contribute, which can be different from or similar to what we have prepared ourselves.

For this activity, the children were given small clues about the forms and elements that they could use: for example, to show clapping, they could use two hands together with stars to express the effect of the sound. But above all, the aim was to develop their own creativity and to show them how this could be stimulated and strengthened by working with team members who had different —but no less appropriate — ideas. The compositional process proposed did not only focus on creativity; it also aimed to stimulate reflection on the cultural characteristics that go into our musical compositions.

In other words, compositional activities like the one described had to allow the students to understand an exemplary intercultural product — creating, mixing, fusing, and in short, producing new and shared possibilities. Activities like the ones proposed are always a more positive option for teaching students respect for diversity than not applying any intervention at all. The use of the musical score as a tool for comparing and studying different styles can contribute to better understanding of cultural otherness, which at a musical level is not as out-of-reach as in other areas of study due to the old adage of the universality of musical language.

The interpretation of musical works opens a world of possibilities for intercultural education. Thus, the activities of composition and improvisation proposed could develop creativity among students, which would be very positive for the process of intercultural education.

Meaning of "diana" in the Spanish dictionary

At the same time, the intercultural potential of interpretive work should not be forgotten because it articulates that cooperative work and the increased capacities for socialisation and work TEMPRADO, Likewise, these collaborative activities favour cultural exchange because music is the most intercultural product that exists the result of contributions from many musicians from different parts of the world, coming together to contribute to new advances.

It is therefore an essential subject to achieve the prized goal of interculturalism mentioned in Spanish legislation. Through collective compositional activities, it is possible to initiate a joint cultural construction. If we promote cooperative activities that require the collaboration of the entire student body to achieve a common result, they will be set on a path towards an intercultural situation — the goal of any pluricultural society that aspires to harmonious and mutually enriching shared communities.

It was this interest that fostered an approach to otherness from a perspective of baseline respect. However, we still consider that there are many pending experiments and benefits to discover if we concentrate that usefulness in the line of interculturalism. Our final conclusions focus on this question.

Based on the existing literature, some of which has been cited in the theoretical foundation of this paper, we can see the appropriateness of using music from other parts of the world in the classroom, as a way to educate students to respect cultural diversity. However, from a musicological perspective and at a theoretical level, that education is multicultural, that is, it imparts knowledge of other cultures. But, does this also imply respect? Can these cultures really live together or will they just co-exist without mutually disturbing each other?

In that sense, this paper aims to share an intercultural vision of education, as we consider that the multicultural perspective of music education does not ensure a shared community but only a relatively peaceful co-existence, with some unresolved tensions due to the lack of cultural dialogue exchange. This entails the interpreter knowing other cultural realities that are reflected in the scores in order to accurately interpret the piece.

All of this will lead them to rethink the elements from their own musical culture to achieve a far more correct interpretation. Group improvisation involves working out of respect for the other, as it represents a completely free approach to music. Through improvisation, the learner can show their own musical and cultural influences. It can also contribute to bringing together different approaches to music, facilitating a shared, joint construction of new musical and cultural products, and fostering understanding of the concept of freedom as a right, limited only by the need to not impinge on the freedom of others.

With regard to composition, this musical activity can contribute to establishing an intercultural situation in the music classroom. As commented above, the activities we developed enabled work that was very interculturally enriching for the class, even if it was also slow, patient and very adapted. Composition becomes more interculturally as well as more musically important if we do not forget that composing small, simple pieces favours knowledge of different elements that are characteristic of musical language.


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For primary school students, composition implies an approach to music from a creative and interactive perspective. This is a lesson that music teaches students, especially when they are taught to create their own music. If this creation emerges from group working, cooperation, dialogue among different agents and the pertinent exchange of ideas, then these cooperative composition activities can enable comprehension, respect, interaction, dialogue, and the shared re construction of culture in the classroom.

Leeme , Valencia , n. El concepto de la cultura: definiciones, debates y usos sociales. Intersticios , Madrid , v.

Espiral de deseo/ Spiral of Desire - Lewis, Jennifer - | HPB

Pluriculturalidad, multiculturalidad e interculturalidad, conocimientos necesarios para la labor docente. Hekademos , Sevilla , v. Dedica , Granada , n. Creatividad y Sociedad , Madrid , n. Jefatura del Estado. Actas del… Granada : Instituto de Migraciones , La diversidad cultural en el aprendizaje. Revista Creatividad y Sociedad , Madrid , n. El horizonte ampliado de la Interculturalidad. Lima : Ministerio de Cultura , Ensayos , Albacete , n.


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