Lesson Twelve Music
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New Italians’ and Digital Media: an Examination of Intercultural Media Platforms
‘New Italians’ and digital media: An examination of intercultural media platforms Marina Morani School of Journalism, Media and Cultural Studies Cardiff University This thesis is submitted to Cardiff University in fulfilment of the requirements for the Degree of Doctor of Philosophy April 2017 i Acknowledgements Firstly, I would like to express special gratitude to my family who have provided moral support and understanding throughout these years. I would also like to thank those friends and colleagues – near and far – who have sustained and encouraged me to strive towards my goal, even at the times when this seemed out of reach. My gratitude also goes to my interviewees who generously shared their time and personal insights, for the purpose of this research. Heartfelt thanks go to Dr Kerry Moore, for providing good supervision, motivation, support, and inspiration along the way. I am also indebted to a number of people who offered insights into my work at its different stages including Dr David Machin, Professor Verica Rupar, Professor Paul Bowman, and Dr Arne Hintze. Throughout my years in JOMEC I have been very fortunate to be offered the opportunity to teach on several undergraduate modules and to work on funded research projects in the department. A special thanks goes to Dr Stephen Cushion for offering me work on his projects which have significantly increased my knowledge and passion for research. My thanks also go to Dr Mike Berry and Dr Iñaki Garcia-Blanco for offering me the opportunity to work on a UNHCR project of great value to me and even trust me to author a chapter of the final report. -
Singing Our National Anthem
Singing our National Anthem It is traditional for many Lodges to sing our national anthem ‘God Defend New Zealand’ at regular meetings or particularly at installation meetings. This can be either during the installation ceremony or during refectory. ‘God Defend New Zealand’ is one of two official anthems. The second, ‘God save the Queen’, reflects our colonial past. ‘God defend New Zealand’ was elevated to anthem status in 1977 and has become the preferred anthem for New Zealanders both at home and abroad. ‘God save the Queen’ is usually reserved for formal ceremonies involving the Queen, the Governor-General or the royal family. Thomas Bracken’s poem, ‘God defend New Zealand’, was put to music in 1876 by J.J. Woods from Lawrence, Central Otago. The first Maori translation was made in 1878 by Native Land Court judge Thomas H. Smith, at the request of Governor Sir George Grey. Despite this, until the closing decades of the 20th century most New Zealanders were familiar only with the English-language version. This situation changed dramatically at the 1999 Rugby World Cup in England. Hinewehi Mohi sang ‘God defend New Zealand’ only in Te Reo Maori before the All Blacks versus England match. While it has been customary for Lodges to sing the ‘English’ version younger men have grown up with the anthem being sung in both Maori and English, to acknowledge our bicultural heritage, particularly before major sporting events. Accordingly if we wish to ensure Freemasonry is attractive and contemporary to younger men it is important that Lodges look at adopting the dual version when the anthem is sung during Lodge activities. -
Order of Service
NSW ANZAC DAY SERVICE Saturday 25 April 2020, 10am Sydney The Returned and Services League of Australia (New South Wales Branch) "The Price of Liberty is Eternal Vigilance" Welcome & Acknowledgement of Country Master of Ceremonies, Mr Gareth McCray OAM The Last to Leave by Leon Gellert The Honourable Gladys Berejiklian, Premier of New South Wales Commemorative Address Her Excellency the Honourable Margaret Beazley, AC QC, Governor of New South Wales All stand Wreath Laying Ceremony Her Excellency, Governor of New South Wales on behalf of the people of New South Wales During this period all are invited to engage in silent thoughts or prayer. Remain standing The Ode Mr Ray James, RSL NSW Acting President They went with songs to the battle, they were young Straight of limb, true of eye, steady and aglow, They were staunch to the end against odds uncounted, They fell with their faces to the foe. They shall grow not old, as we that are left grow old, Age shall not weary them, nor the years condemn. At the going down of the sun, and in the morning, We will remember them. RESPONSE: “We will remember them” Lest We Forget RESPONSE: “Lest we forget” The Last Post Able Seaman Racheal Byrnes, Royal Australian Navy Band Sydney One minutes silence is observed Reveille Able Seaman Rachael Byrnes, Royal Australian Navy Band Sydney Remain standing New Zealand National Anthem Able Seaman Leigh Robke, Royal Australian Navy Band Sydney E Ihowa Atua God of nations at thy feet O ngā iwi mātou rā, In the bonds of love we meet. -
Il Messaggio Trasmesso Dagli Inni Nazionali. Il Caso Di Unione Indiana
Il messaggio trasmesso dagli inni nazionali Il caso di Unione indiana e Bangladesh Donatella Dolcini doi: http://dx.doi.org/10.7359/826-2017-dolc Abstract As a National Anthem is a symbol of the Nation it represents, the messages it conveys must impart a clear knowledge of the State itself. After briefly examin- ing the nature and the meanings of these messages in the national anthems of some ‘Western’ countries, this dissertation focuses the case of Indian Union and Bangladesh. Due to the factitious creation of both the States from the unitary body of historic India, in fact, their national anthems unusually share the same author: the worldwide famous Bengali poet Rabindranath Tagore. Being born in Kolkata (1861) and having died in Santiniketan 1 (1941), i.e. before the Bengal was dismembered into Indian Union and Pakistan in 1947, he remained his whole life simply a Bengali man, thus belonging to both Nations at the same time. Parole chiave: Bangladesh, India, inni, messaggi, Tagore. Keywords: anthems, Bangladesh, India, messages, Tagore. 1. Gli inni nella storia Gli inni costituiscono un genere letterario di tradizione assai remota in tutto il mondo, dalla civiltà egizia a quella sanscrita, ebraica ecc. È in Eu- ropa che cominciarono a essere così denominati in ambiente greco-omeri- co (ὕμνος), intesi dapprima come ‘canti’ in senso generico, in seguito con 1 Sede del centro educativo bengalese, poi divenuto Università Vishwa Bharati, da lui fondato nel 1901. 387 Sguardi sull’Asia e altri scritti in onore di Alessandra Cristina Lavagnino - A cura di C. Bulfoni, E. Lupano, B. -
Le Origini Il Debutto Dai Moti Del 1848 All'impresa Dei Mille
IL CANTO DEGLI ITALIANI FONTE: WIKIPEDIA (SINTESI) Il Canto degli Italiani, conosciuto anche come Fratelli d'Italia, Inno di Mameli, Canto nazionale o Inno d'Italia, è un canto risorgimentale scritto da Goffredo Mameli e musicato da Michele Novaro nel 1847, inno nazionale della Repubblica Italiana. Il testo si compone di sei strofe e un ritornello che si alterna alle stesse. Il canto fu molto popolare durante il Risorgimento e nei decenni seguenti, sebbene dopo l'unità d'Italia (1861) come inno del Regno d'Italia fosse stata scelta la Marcia Reale, che era il brano ufficiale di Casa Savoia. Il Canto degli Italiani era infatti considerato troppo rivoluzionario rispetto alla situazione politica dell'epoca: Fratelli d'Italia, di chiara connotazione repubblicana e giacobina, mal si conciliava con l'esito del Risorgimento, che fu di stampo monarchico. Dopo la seconda guerra mondiale l'Italia diventò una repubblica e il Canto degli Italiani fu scelto, il 12 ottobre 1946, come inno nazionale provvisorio, ruolo che ha conservato anche in seguito rimanendo inno de facto della Repubblica Italiana. Nei decenni si sono susseguite varie iniziative parlamentari per renderlo inno nazionale ufficiale, fino a giungere alla legge nº 181 del 4 dicembre 2017, che ha dato al Canto degli Italiani lo status di inno nazionale de iure. Le origini Il testo del Canto degli Italiani fu scritto dal genovese Goffredo Mameli, allora giovane studente e fervente patriota, in un contesto storico caratterizzato da quel patriottismo diffuso che già preannunciava i moti del 1848 e la prima guerra di indipendenza. Dopo aver scartato l'idea di adattarlo a musiche già esistenti, il 10 novembre 1847 Goffredo Mameli inviò il testo dell'inno a Torino per farlo musicare dal compositore genovese Michele Novaro che ne fu subito conquistato e, il 24 novembre 1847, decise di musicarlo. -