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The Onset of Bilingualism
The Onset of Bilingualism: Novel Evidence from Root Infinitives, Parameter Setting and Participial Constructions in support of the Separate Systems Hypothesis Manola Salustri Universita’ di Siena Dottorato in Scienze Cognitive a.a. 2002-2003 i Contents Introduction p.1 Chapter I Setting of Parameters in p.5 Bilingual German-Italian 1.1 Introduction Children 1.2 Method 1.3 Analysis of the data 1.4 Conclusion Chapter II p.15 Root Infinitives in bilingual 2.1 Introduction German-Italian Acquisition 2.2 RI in adult grammar 2.3 The interpretation of RI in child grammar 2.4 Differences and similarities between adult and child interpretation 2.5 RI in early grammar: different explanations 2.6 RI in bilingual German Italian Acquisition 2.7 Conclusion ii References Chapter III Is there an analogue to the RI stage in the Null Subject p.45 Languages? 3.1 Introduction 3.2 How Italian speaking children express modality and irrealis meaning? 3.3 Imperatives in early Italian: a developmental phenomenon? 3.4 The Imperative analogue hypothesis (IAH) 3.5 The structure of irrealis in child language Chapter IV Participial Construction in p.84 Child German and Italian 4.1 Introduction 4.2 Participial Constructions in German and Italian 4.3 Frequency of Participial Constructions 4.4 Types of Participial Constructions 4.5 Analysis of the Asymmetries: TDUR 4.6 Extending TDUR to other complex verb forms 4.7 Analysis of Frequency asymmetries 4.8 Conclusion p.111 p.121 Appendix p.124 Conclusion iii Aknowledgment This thesis couldn’t have been done without the help of a number of people. -
Alan Lomax: Selected Writings 1934-1997
ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye. -
Italian Verb Conjugation Table
Italian Verb Conjugation Table Abbevillian Georgia sometimes investigated his brushwork infallibly and intervolves so outdoors! Dennie reconvicts sociologically as kacha Prentice neologizes her wagonages befouls stateside. Hypaethral and enthralling Tuckie still attempt his anodynes solidly. Tests and efficient way to have proven this script used as supplementary materials and writing the! For italian verb tables, etc to the table that objects vocabulary then. Spanish lesson is the problems a pleasure in modern hebrew discourse in italian verb conjugation table for beginners with a crisis: verbs of conjugated with common italian learners of rules. Important verbs conjugated into the table shows how to tell you! Spanish verbs in certain moment of regular and functional use signatures spoken in italian verb conjugation table, and style and how else, but enough about how to. Language skills for students take if html does it helps you may be categorized as an italian conjugation nation french. Used italian conjugation table showing their conjugated in fact inches street, go to indicate the time form of the formation of variations on. What concerns the list of the english, the last tuesday during my english! This is especially when reading and making learning italian, all levels to spanish courses presuppose fluency in italian is. You the conjugation driving, the conjugator will entertain a native speakers. All italian you can be polite plural welcome to tables and exercises can be found on the table must for example. To tables of which they doing something that had already know to english composition, i have a table provides a vocabulary phrases! They can use verbs conjugated with explanatory texts in table that was a child is a new podcast from this quiz you can. -
Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox. -
Italian-Australian Musicians, ‘Argentino’ Tango Bands and the Australian Tango Band Era
2011 © John Whiteoak, Context 35/36 (2010/2011): 93–110. Italian-Australian Musicians, ‘Argentino’ Tango Bands and the Australian Tango Band Era John Whiteoak For more than two decades from the commencement of Italian mass migration to Australia post-World War II, Italian-Australian affinity with Hispanic music was dynamically expressed through the immense popularity of Latin-American inflected dance music within the Italian communities, and the formation of numerous ‘Italian-Latin’ bands with names like Duo Moreno, El Bajon, El Combo Tropicale, Estrellita, Mambo, Los Amigos, Los Muchachos, Mokambo, Sombrero, Tequila and so forth. For venue proprietors wanting to offer live ‘Latin- American’ music, the obvious choice was to hire an Italian band. Even today, if one attends an Italian community gala night or club dinner-dance, the first or second dance number is likely to be a cha-cha-cha, mambo, tango, or else a Latinised Italian hit song played and sung in a way that is unmistakably Italian-Latin—to a packed dance floor. This article is the fifteenth in a series of publications relating to a major monograph project, The Tango Touch: ‘Latin’ and ‘Continental’ Influences on Music and Dance before Australian ‘Multiculturalism.’1 The present article explains how the Italian affinity for Hispanic music was first manifested in Australian popular culture in the form of Italian-led ‘Argentino tango,’ ‘gaucho-tango,’ ‘Gypsy-tango,’ ‘rumba,’ ‘cosmopolitan’ or ‘all-nations’ bands, and through individual talented and entrepreneurial Italian-Australians who were noted for their expertise in Hispanic and related musics. It describes how a real or perceived Italian affinity with Hispanic and other so-called ‘tango band music’ opened a gateway to professional opportunity for various Italian-Australians, piano accordionists in particular. -
Renaissance Terms
Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588. -
XXIV Liberation, Redemption, Autonomy
XXIV Liberation, Redemption, Autonomy: Contemporary Utopias in Southern Italian Popular Music Marcello Messina1 Introduction Alongside the passionate interest, shown by Southern Italian intellectuals and artists, for the renegotiation of the official historical narratives (Messina 2015), the celebra- tions for the 150th anniversary of the Unification of Italy have at times reawakened the need to imagine a better future. These exercises in utopianism have constructed, from time to time, a future characterized by the liberation from the mafia, or by the bridge of the economic gap with the rest of the country, or even by the overcoming of national unity towards autonomy or independence-based solutions. Taking Co- nelli’s (2013) and Polizzi’s (2013) works on Southern Italy (aka Mezzogiorno) and post- coloniality as fundamental premises, this work seeks to interpret this phenomenon in the light of the theoretical tools provided by postcolonial studies, and in particular by the concept of postcolonial utopia, formulated, among others, by Ashcroft (2012). A key element is memory, whereby historical chronicles become, in a way, the allegory of present power relations and the discussion of the past serves to open up a debate about the present (Slemon 1988). Ashcroft argues that memory is also fun- damental “in the formation of utopian concepts of a liberated future” (2012: 2), and 1 I would like to thank Raquel Ishii, Jairo Souza, Cristina Perissinotto and Albert Göschl for their precious insights. liberation, redemption, autonomy 377 continues by mentioning two other characteristics of postcolonial utopias, namely the obsession with place and the problematic relationship with the concept of nation (2012: 3-4). -
Current Trends in Italian Popular Music Studies
Current Trends in Italian Popular Music Studies Current Trends in Italian Popular Music Studies Tale of a research colloquium in Hull MUSIC IN THE WESTERN MEDITERRANEAN Thoughts on the opening day of the... Marcello Messina SONIDOS MODERNOS EN EL CAPITALISMO... Víctor Lenore abre la música indie... Héctor Fouce NUEVOS TIEMPOS PARA LA LÍRICA Prácticas emergentes en la industria... Héctor Fouce The Research Networking Colloquium “Current Trends in Italian Popular Music Studies”, organised by Rachel Haworth, was held in at the WISE Institute, University of Hull, on 18-19 March 2015. Let me clarify one fundamental thing before I start: the Colloquium was absolutely great, full of interesting papers and very well organised. I needed to make this clear in advance, because I would like to open with a negative comment, which is not really directed at the event itself, but rather at a general tendency that is diffused in academia and that, in this particular occasion, made us reach a rather paradoxical situation. A few months ago, I wrote about an event in Valencia where delegates interacted in various languages, often within the same conversation, making it hard to single out a dominant conference language. Now then, the Italian Popular Music Colloquium in Hull was the opposite: the first day was entirely dominated by the English language – except for a single presentation plus Q&A and another Q&A session, both of which happened in Italian – http://www.sineris.es/current_trends_in_italian_popular_music_studies_marcello_messina.html[19/04/2016 1:00:48 PM] Current Trends in Italian Popular Music Studies despite the fact that the event was declaredly bilingual and that all the delegates were fluent Italian speakers, with a vast majority of native speakers among them. -
Stem Spaces and Predictability in Verbal Inflection
STEM SPACES AND PREDICTABILITY IN VERBAL INFLECTION FABIO MONTERMINI, OLIVIER BONAMI ABSTRACT: This paper outlines and justifies a general analysis of Romance verbal paradigms. In most Romance languages, verbs present a complex inflectional sys- tem, where lexemes are divided into several classes and subclasses, inflectional endings are highly redundant across classes for the same cell, and stems present a high degree of internal variation. These facts make an analysis based on a unique invariant underlying form difficult, as it requires the elaboration of a complex sys- tem of rules for deriving surface forms. By contrast, the approach described here aims at reaching economy of description not by minimising the amount of stored information, but by proposing strategies for organising the complex phonological representations attached to lexical units. The tools of this organisation are stems, i.e. phonological subcomponents of sets of inflected forms in systematic co-variation; a stem space, specifying the distribution of stems throughout paradigms; and a stem graph, which encapsulates the predictability relations in the stem graph through a minimal set of connections that are maximally reliable. KEYWORDS: Inflectional morphology, allomorphy, stems, paradigms, Romance languages. 1. INTRODUCTION* One main challenge of present-day studies on morphology is the elaboration of theoretical models that are compatible with current knowledge on morphological processing and the mental lexicon.1 This paper aims at contributing to the construction of such models by presenting an overview of * We are grateful to Vito Pirrelli for having given the first impulsion to this paper; we are also grateful to the participants to the workshop Understanding the Nature of the Mental Lexicon, Pisa, 24-26 November 2011, where we presented a preliminary version of this paper, for their valuables comments; finally, we wish to thank Gilles Boyé and Basilio Calderone for many discussions of the issues presented here. -
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop ......................................... -
Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950S-1980S)
Differentia: Review of Italian Thought Number 2 Spring Article 15 1988 Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950s-1980s) Paolo Prato Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Prato, Paolo (1988) "Tradition, Exoticism, and Cosmopolitism in Italian Popular Music (1950s-1980s)," Differentia: Review of Italian Thought: Vol. 2 , Article 15. Available at: https://commons.library.stonybrook.edu/differentia/vol2/iss1/15 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. Tradition, Exoticism and Cosmopolitism in Italian Popular Music ( 1950s-1980s) Paolo Prato INTRODUCTION Richard Wolfe's ProfessionalFake Book (Columbia Pictures Pub lications, 1983), a compilation of over 1000 songs for the club pianist-Broadway's best, contemporary hits, folk songs, movie greats, classical themes, etc.-includes nine Italian pieces. There are Neapolitan evergreens (0 sole mio, Come Back to Sorrento and Malafemmena), one a love song (Santa Lucia), another a Sicilian folk song (Eh cumpari), another an opera highlight (La donna e mobile) and three "modern" songs (Volare, Ciao ciao bambina, Cara mia) from the 1950s. The list makes up an average package of what many people outside Italy consider to be Italian popular music. The songs are part of that "knowledge at hand" (Alfred Schutz) DIFFERENT/A 2 (Spring 1988) DIFFERENT/A 196 which is necessary to cope with what is strange within everyday life routines. -
The Impact of My Brilliant Friend on Twitter: a Catalyst for A… Brilliant Digital Affiliation?
The Impact of My Brilliant Friend on Twitter: a Catalyst for a… Brilliant Digital Affiliation? Nikita Lobanov, Anna Zingaro – Dipartimento di Interpretazione e Traduzione, Università di Bologna, Campus di Forlì Citation: Lobanov, Nikita, Anna Zingaro (2020) “The Impact of My Brilliant Friend on Twitter: a Catalyst for a… Brilliant Digital Affiliation?”, in Adriano Ferraresi, Roberta Pederzoli, Sofia Cavalcanti, Randy Scansani (eds.) Metodi e ambiti nella ricerca sulla traduzione, l’interpretazione e l’interculturalità – Research Methods and Themes in Translation, Interpreting and Intercultural Studies, MediAzioni 29: B134-B154, http://www.mediazioni.sitlec.unibo.it, ISSN 1974-4382. 1. Introduction A new wave of high-quality TV productions in Europe raises questions regarding how fans around the world react to culture-specific peculiarities and quirks of environments and situations that have emerged from a non-English language TV production. This chapter will examine the case of My Brilliant Friend (henceforth MBF), a successful TV-series in Italian, based on the first of the four-book saga Neapolitan Novels by Elena Ferrante. The saga follows the lives of two girls who grew up in a rough neighbourhood on the outskirts of Naples from the 1950s to the present day. It is a global bestseller translated into English, Dutch, French, German Spanish and numerous other languages (Muldoon, 2017). The first book — MBF — was adapted for TV through a co- production between the US cable network HBO and Italian networks RAI Fiction and TIM Vision, that aired the first episode on November 18th and 27th 2018 respectively. This series attracted considerable attention from fans affected with so-called “Ferrante Fever” (see Straniero and Amadio, 2017) that evolved in the B134 phenomenon of fandom, i.e.