Unit 4 Teachers Guide Skills Strand Skills Core Knowledge Language Arts® • • Arts® Language Knowledge Core
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In Plain Sight: Aspects of Developmental Process in Sally Beamish’S Seafarer Trilogy
In Plain Sight: Aspects of Developmental Process in Sally Beamish’s Seafarer Trilogy Richard E. McGregor University of Cumbria For a composer who has been described as being ‘at the top of her game and the pinnacle of her profession’, there is currently a complete lack of critical anal- ysis of Sally Beamish’s compositional style and technique.1 Interviews and re- views content themselves with a more or less descriptive approach, while prais- ing her ear for orchestral colour, particularly her affinity with string instruments or with voices. The former is usually explained by reference to her years as an ensemble player with, for example, Lontano and the Raphael Ensemble, while the latter is related back to the fact that her father was an amateur singer, and an aunt had a number of professional singing engagements. There are only so many times that a biography can be repeated, and Beamish is in good company with other well-respected composers such as James MacMillan who suffered for many years from the curse of the biography without analytical content. Interviewed by the author on two occasions, Beamish gave some tentative clues as to the origins of her compositional technique. In 2000 she responded to a question about pre-planning of composition with a hint of late-Stravinskian procedure: I do use [motifs] in a serial type of way with a series of transpositions so that I do make a note square with a 5 note motif and I transpose it and put them all on top of each other and then I have harmonies as well going down.2 Interviewed again during the 2012 Musica Scotica conference in Glasgow, she was somewhat more forthcoming as to the origin and nature of this working method: [Oliver Knussen] showed me a way of manipulating notes. -
KLOS March 30Th 2014 Denny Laine
1 1 2 2 3 9AM I’m sad to say that I’m dedicating this first couple of songs here to our dear friend Stan …you know him as Stan the Hot Sauce Man….whose Mom Marion passed away yesterday…Now we got to know Marion here on BWTB quite well…as she came hung out with us more than a few times She also made me that British Flag quilt blanket And BWTB pillow…that we often talked about…she came down to all the events at Capitol Records…Just Imagine shows…everyone loved her…and she will certainly be missed…and here is Marion’s favorite Beatles song. 3 4 The Beatles - If I Fell - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John and Paul John Lennon’s stunning ballad “If I Fell” was by far the most complex song he had written to date. It could be considered a progression from “This Boy” with its similar chord structure and intricate harmonies by John and Paul, recorded – at their request – together on one microphone. Performed live on their world tour throughout the summer of 1964. Completed in 15 takes on February 27, 1964. Flip side of “And I Love Her” in the U.S. On U.S. album: A Hard Day’s Night - United Artists LP Something New - Capitol LP The Beatles - In My Life - Rubber Soul (Lennon-McCartney) Lead vocals: John with Paul Recorded October 18, 1965 and written primarily by John, who called it his “first real major piece of work.” Of all the Lennon-McCartney collaborations only two songs have really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.” Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical bridge, while Paul recalls writing the entire melody on John’s Mellotron. -
View of Time?
I SEE, HE SAYS, PERHAPS, ON TIME: VISION, VOICE, HYPOTHETICAL NARRATION, AND TEMPORALITY IN WILLIAM FAULKNER’S FICTION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David S. FitzSimmons, B.A., M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Jared Gardner ______________________ Adviser Professor Jessica Prinz Department of English Copyright by David S. FitzSimmons 2003 ABSTRACT This study examines four narrative techniques in William Faulkner’s fiction in order to accomplish two things: 1) see what applying contemporary narrative theory to Faulkner can tell us about his narratives; and 2) see how examining Faulkner’s narratives can cause us to revise or extend concepts in narrative theory. In other words, the study establishes a recursive relationship between Faulkner’s fiction and narrative theory, one in which each subject matter can illuminate the other. The four narrative techniques examined include shifts in focalization, shifts in voice, hypothetical narration, and representations of time. Each chapter examines background theory, gives examples of the technique, offers explication of the technique, and analyzes the technique’s effects. The first chapter takes “Barn Burning” as its main example and looks at how to identify shifts in focalization (vision), develops a model of layers of focalization, and investigates their effects. Chapter two focuses on As I Lay Dying and “Old Man” and examines narrative voice, works at defining voice, distinguishes conventional markers of narrative voice from voice features, and explores the effect of narrative voice. -
Aspects of Developmental Process in Sally Beamish's Seafarer Trilogy
McGregor, Richard (2020) In plain sight: aspects of developmental process in Sally Beamish's Seafarer trilogy. Scottish Music Review, 5 . pp. 87-111. Downloaded from: http://insight.cumbria.ac.uk/id/eprint/5167/ Usage of any items from the University of Cumbria’s institutional repository ‘Insight’ must conform to the following fair usage guidelines. Any item and its associated metadata held in the University of Cumbria’s institutional repository Insight (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available here) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form • a hyperlink/URL to the original Insight record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the creator’s reputation • remove or alter the copyright statement on an item. The full policy can be found here. Alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. In Plain Sight: Aspects of Developmental Process in Sally Beamish’s Seafarer Trilogy Richard E. McGregor University of Cumbria For a composer who has been described as being ‘at the top of her game and the pinnacle of her profession’, there is currently a complete lack of critical anal- ysis of Sally Beamish’s compositional style and technique.1 Interviews and re- views content themselves with a more or less descriptive approach, while prais- ing her ear for orchestral colour, particularly her affinity with string instruments or with voices. -
Paul Mccartney MP3 Коллекция. Часть 1 Mp3, Flac, Wma
Paul McCartney MP3 Коллекция. Часть 1 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: MP3 Коллекция. Часть 1 Country: Russia Released: 2005 Style: Soft Rock, Pop Rock MP3 version RAR size: 1575 mb FLAC version RAR size: 1605 mb WMA version RAR size: 1274 mb Rating: 4.4 Votes: 936 Other Formats: DTS MMF AIFF MIDI AA MOD WMA Tracklist McCartney 1 –Paul McCartney The Lovely Linda 2 –Paul McCartney That Would Be Something 3 –Paul McCartney Valentine Day 4 –Paul McCartney Every Night 5 –Paul McCartney Hot As Sun Glasses Soicide 6 –Paul McCartney Junk 7 –Paul McCartney Man We Was Lonely 8 –Paul McCartney Oo You 9 –Paul McCartney Momma Miss America 10 –Paul McCartney Teddy Boy 11 –Paul McCartney Singalong Junk 12 –Paul McCartney Maybe I'm Amazed 13 –Paul McCartney Kreen - Akrore Ram 14 –Paul & Linda McCartney Too Many People 15 –Paul & Linda McCartney 3 Legs 16 –Paul & Linda McCartney Ram On 17 –Paul & Linda McCartney Dear Boy 18 –Paul & Linda McCartney Uncle Albert - Admiral Halsey 19 –Paul & Linda McCartney Smile Away 20 –Paul & Linda McCartney Heart Of The Country 21 –Paul & Linda McCartney Monkberry Moon Delight 22 –Paul & Linda McCartney Eat At Home 23 –Paul & Linda McCartney Long Haired Lady 24 –Paul & Linda McCartney Ram On 25 –Paul & Linda McCartney The Back Seat Of My Car 26 –Paul & Linda McCartney Another Day 27 –Paul & Linda McCartney Oh Woman, Oh Why Wild Life 28 –Wings Mumbo 29 –Wings Bip Bop 30 –Wings Love Is Strange 31 –Wings Wild Life 32 –Wings Some People Never Know 33 –Wings I Am Your Singer 34 –Wings Bip Bop Link -
Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip. -
Summer Camp Song Book
Summer Camp Song Book 05-209-03/2017 TABLE OF CONTENTS Numbers 3 Short Neck Buzzards ..................................................................... 1 18 Wheels .............................................................................................. 2 A A Ram Sam Sam .................................................................................. 2 Ah Ta Ka Ta Nu Va .............................................................................. 3 Alive, Alert, Awake .............................................................................. 3 All You Et-A ........................................................................................... 3 Alligator is My Friend ......................................................................... 4 Aloutte ................................................................................................... 5 Aouettesky ........................................................................................... 5 Animal Fair ........................................................................................... 6 Annabelle ............................................................................................. 6 Ants Go Marching .............................................................................. 6 Around the World ............................................................................... 7 Auntie Monica ..................................................................................... 8 Austrian Went Yodeling ................................................................. -
ACTIVITY CARDS 48-60 Months
ACTIVITY CARDS 48-60 months These cards are designed for teachers of four-year-olds Georgia Early Learning and Development Standards gelds.decal.ga.gov Georgia Early Learning and Development Standards gelds.decal.ga.gov 33/64 14 57/64 5 9 <<---Grain--->> 32 /64 5/64231/ 32 4 33 14 /64 decal.ga.gov Bleed 1/4 Teacher Toolbox / dards an 57 64 ent St Activities17/64 based on the Georgiapm Early Learning and Development Standards 23 ly Learning and Develo r Ea ia org Ge 4 gelds.decal.ga.gov 8 2 8-17/64") INDEX YOUR OWN ACTIVITIES COGNITIVE DEVELOPMENT Post production die cut BRIGHT Cover:SOCIAL STUDIES | SS 8-57/64 x 4-17/64 x 2" IDEAS Teacher Toolbox Activities17 based on the Georgia Early Learning and Development Standards COGNITIVE COGNITIVEWrap: 14-33/64 x 9-57/64" / DEVELOPMENT 22.247 4 64 DEVELOPMENTC0GNITIVE MATH | MA PROCESSES | CP <<---Grain--->> Liner: None COMMUNICATION,LANGUAGE Bleed COGNITIVE Georgi a E arly Lea DEVELOPMENT rning AND LITERACY | CLL CREATIVE and Developm gelds.decal.ga.govent Stan dards DEVELOPMENT | CR Blank: .080 w1s (12-57/64 x 57 APPROACHESTO PLAY decal.ga.gov COGNITIVE 8 / DEVELOPMENT AND LEARNING | APL64 SCIENCE | SC SOCIAL AND Post production die cut EMOTIONAL 57 DEVELOPMENT | SED / 9 64 PHYSICAL SCHOOL DEVELOPMENT AND 5 MOTOR SKILLS | PDM 18 /8 and Development Standards 2 Activities based on the Georgia Early Learning ndards Sta ent opm vel earning and De rly L Georgia Ea gelds.decal.ga.gov side 4 decal.ga.gov 5/ 4 8 8 Base: 8-5/8Cover: x 4 x 6-1/2"8-57/64D x 4-17/64 x 2" 5/8 Wrap: 14-33/64 x 9-57/64" Bright IDEAs cards,8 Wrap: 23-1/4 x 18-5/8" Liner: Liner:None None d activity cards and ecal. -
Apple Label Discography
Apple Label Discography 100-800 series (Capitol numbering series) Apple Records was formed by John Lennon, Paul McCartney, George Harrison and Ringo Starr in 1968. The Apple label was intended as a vehicle for the Beatles, their individual recordings and the talent they discovered. A great deal of what appeared on Apple was pretty self indulgent and experimental but they did discover a few good singers and groups. James Taylor recorded his first album on the label. Doris Troy recorded a good soul album and there are 2 albums by John Lewis and the Modern Jazz Quartet. The Beatlesque group Badfinger also issued several albums on the label, the best of which was “Straight Up”. Apple Records fell apart in management chaos in 1974 and 1975 and a bitter split between the Beatles over the management of the company. Once the lawyers got involved everybody was suing everybody else over the collapse. The parody of the Beatles rise and the disintegration of Apple is captured hilariously in the satire “All You Need Is Cash: the story of the Rutles”. The Apple label on side 1 is black with a picture of a green apple on it, black printing. The label on side 2 is a picture of ½ an apple. From November 1968 until early 1970 at the bottom of the label was “MFD. BY CAPITOL RECORDS, INC. A SUBSIDIARY OF CAPITOL INDUSTRIES INC. USA”. From Early 1970 to late 1974, at the bottom of the label is “MFD. BY APPLE RECORDS” From late 1974 through 1975, there was a notation under the “MFD. -
Peru 45 Paul
Type 1 Type 2 Type 3 Type 4 Type 5 Type 6 Type 7 Type 8 Type 9 Type 10 Type 11 Type 12 Type 13 Type 14 Type 15 Type 16 Singles can be found in various types of company covers APPLE 1 1235 - ANOTHER DAY / OH WOMAN, OH WHY 11235 print centered 11235 print below center APPLE 11362 - UNCLE ALBERT ADMIRAL HALSEY / TOO MANY PEOPLE Peru & 6279 aligned Peru & 6279 not aligned APPLE 11525 - GIVE IRELAND BACK TO THE IRISH / GIVE IRELAND BACK TO THE IRISH (VERSION) TIME: 3’43 on bottom TIME: 3’43 on left APPLE 11741 - HI, HI, HI / C MOON Soul under release number aligned left Soul under release number aligned right APPLE 11835 - MY LOVE / THE MESS 11835 & Soul not aligned, Gramophone & Company on left side of label not aligned 11835 & Soul not aligned, Company aligned to 11835 & Soul aligned Gramophone & Company on the left of Gramophone left side of label aligned on both sides Company aligned to 11835 & Soul aligned the right of Gramophone on A-side only APPLE 01.08.78 - LIVE AND LET DIE / I LIE AROUND APPLE 01.08.174 - HELEN WHEELS / COUNTRY DREAMER APPLE 01.08.235 - JET / LET ME ROLL IT APPLE 01.08.269 - BAND ON THE RUN / BLUEBIRD A & B printed to the right of Music Corp./BMI in last line release number, Beat center aligned with 01.08.269 number A & B printed to the right of A & B printed to the right of release number, Beat left release number, Beat left aligned with 01.08.269 number aligned with 01.08.269 number, Space over Tiempo 5’09 A & B printed over release number A & B printed under release number A & B printed to the right of TIEMPO in last line release number, Beat center aligned with 01.08.269 number APPLE 01.08.333 - MRS. -
Complete Rivenstar Songbook
rcbc- C0111pl-ea'C ~~ _,...,~ ~,.,-,...._lVCTIS'[; (JJ]<" INTRODUCTION to the Compleat Rivenstar Songbook "And in the beginning was the word. And the word moved, and the word reproduced. And the word was ............... Aardvark. 11 Carbuerators 23:12, of the Folo Catholic Bible Just short of seven years ago(My, how time flies when people are beating you about the head with sticks.)I brought out the first (and what at the time I ~hought would be the only) edition of the Rivenstar Songbook. This first stab at evading the copyright and libel laws consisted of twelve songs. Of the twelve, four were written by myself, others were lifted from other sources, and a few got in just to fill space. The original massive printing of fifty copies or so was slowly sold out. Time passed. "And the people did writhe and cringe, and did make to flee to the hills, and the hills recieved them not. And they despaired, and with great wailing and gnashing of teeth did say, yea and verily, here we go again.'' Ornithopters 48:6, of the Folo Catholic Bible A bit less than a year, to be exact. Popular opinion, in the form of collective nagging, induced me to bring out the Song book's second volume. This attempt carried the same disclaimers and explanations as the first; namely, that these things were cranked out in order to provide a collection of the best-liked and most requested songs of Rivenstar, and that the basic purpose was enjoyment. "And I beheld a dark figure with a flaming sword. -
Gregor the Overlander Book One of the Bestselling Underland Chronicles
Gregor the Overlander Collection Gregor the Overlander Gregor and the Prophecy of Bane Gregor and the Curse of the Warmbloods Gregor and the Marks of Secret Gregor and the Code of Claw SUZANNE COLLINS Contents Title Page Gregor the Overlander Gregor and the Prophecy of Bane Gregor and the Curse of the Warmbloods Gregor and the Marks of Secret Gregor and the Code of Claw About the Author GREGOR THE OVERLANDER BOOK ONE OF THE BESTSELLING UNDERLAND CHRONICLES SUZANNE COLLINS SCHOLASTIC INC. New York Toronto London Auckland Sydney Mexico City New Delhi Hong Kong For my mom and dad PART 1 The Fall CHAPTER 1 Gregor had pressed his forehead against the screen for so long, he could feel a pattern of tiny checks above his eyebrows. He ran his fingers over the bumps and resisted the impulse to let out a primal caveman scream. It was building up in his chest, that long gutteral howl reserved for real emergencies -- like when you ran into a saber-toothed tiger without your club, or your fire went out during the Ice Age. He even went so far as to open his mouth and take a deep breath before he banged his head back into the screen with a quiet sound of frustration. "Ergh." What was the point, anyway? It wouldn't change one thing. Not the heat, not the boredom, not the endless space of summer laid out before him. He considered waking up Boots, his two-year-old sister, just for a little distraction, but he let her sleep. At least she was cool in the air-conditioned bedroom she shared with their seven-year-old sister, Lizzie, and their grandma.