Our Song: Bohemian Rhapsody

Total Page:16

File Type:pdf, Size:1020Kb

Our Song: Bohemian Rhapsody Our Song: Bohemian Rhapsody https://www.youtube.com/watch?v=fJ9rUzIMcZQ Music 395B Middle School Lesson Plan Name: Eva George, Christian Lopez, Haley Schilla Learner Objectives: Define a Rhapsody Describe Major vs. Minor Key sounds Write a lyric to a melody National Standards: MU:Re7.2.5a Pennsylvania Arts Standards: 6.a. Content Standard: Listening to, analyzing and describing music. Required Materials: Computer Speakers Students Space Worksheets Pencils Task Analysis: 1. (T) Good morning everyone, we want to start out class with a fun warm up. (SS) will copy ​ ​ teacher to get blood moving and focus attention 2. (T) Introduce song form, time era written, band Queen, and the terms bohemian and rhapsody. 3. View video minus the questionable lyrics 4. (T) will introduce listening activity, playing a section (3 examples) from the song in major or ​ ​ minor (SS) will respond with what they think it is (major v. minor), what mood it sets (happy or sad), and the instrumentation. 5. After example 1, (T) will introduce lyric exercise. (SS) will take a few minutes to write alternate lyric. 6. After example 3, (T) play the chords in a upbeat cut time sequence and pose questions to the students. Group 2: Jacob, Dylan, Kate, Olivia History: where, when? Instrumentation: What instruments do you hear? Slow/fast sections: What does this music make you feel like? How would you describe it? Different types of music: Ballad, Opera, Hard Rock 3:10-opera Beginning- Barber Shop 4:15- Hard Rock 5:15- Ballad Queen aren’t the first musicians to write like this: comparison to Liszt Hungarian Rhapsody #2 https://www.youtube.com/watch?v=7H99FM6S8rU Beginning: minor, melody in right hand 1:25-2:10: Melody gets busier, in major. Is it setting up something? Yes, a return to the beginning 4:45: What’s happening now? Lots of notes in both hands, major (Is this like the opera section in Bohemian Rhapsody? I think so) 8:20: Exciting ending (guitar solo). Does it end the same way as Queen’s rhapsody? How is it the same/different Rhapsody = A one-movement work that is episodic yet integrated, free-flowing in structure, featuring a range of highly contrasted moods, color and tonality. We know Queen’s song does that, does this piano piece do that too? (Yes) When do you think it was written? (1847) 128 years apart and they are doing the same things! Task Analysis: 1. Greet the class 2. T: When do you think this song was written? Where do you think it was written? What does it remind you of? 3. T: We are going to listen to the song again, and make a little list of the instruments that you hear. 4. T: Asks students to share what they hear. a. S: Students share what they hear. 5. T: All of these things are part of what makes up the music, it gives us the context. Remember all the sections we broke the song into? We can call them by different names, called genres. Does anyone have any guesses as to what they are? a. S: respond with guesses i. Opera ii. Hard rock iii. Ballad 6. T: What did the music make you feel like? 7. T: Did anybody else ever write a piece like this? Anyone ever heard of Franz Liszt? His favorite instrument was the piano and he wrote a rhapsody too. 8. T: Play sections of Liszt, asking students to listen for texture, modality, etc. Asks questions from above comparing it to Bohemian Rhapsody a. S: Share answers 9. T: So what did everyone think? These two pieces of music do a lot of the same things. Now did Queen and Liszt work together to write their songs? Who thinks they know what year Franz Liszt wrote his rhapsody? a. S: answer questions, guess year 10. T: The year was 1847! 128 years before Queen wrote their song, Liszt wrote his. A rock band from the 1970’s used the same composition style that somebody else used 100 years earlier, and they still sound unique. How awesome is that? Bohemian Rhapsody Presentation February 8, 2017 Bohemian: A person who has informal or unconventional social habits, especially an artist or ​ writer. Rhapsody: A one-movement work that has sections tied together in a free-flowing structure ​ characterized by highly contrasted moods created with musical color and tonality. Example 1 Major/Minor Mood Style ___________ ___________ ____________ Instruments __________________________________________________________________ Example 2 Major/Minor Mood Style ___________ ______________ ____________ Instruments __________________________________________________________________ Example 3 Example 3-modified Major/Minor Mood Major/Minor Mood Style ___________ _________ _________ ________ _______ Instruments __________________________________________________________________ What stands out to you that makes this song so different from most popular music? ​ Performed by Queen, written by Freddie Mercury from their 1975 album A Night at the Opera, a classic rock album awarded in the Grammy Hall of Fame, Brit Award for British Single and MTV Video Music Award for Best Video from a Film. "Bohemian Rhapsody" Queen Section 1 (1:53-2:45) Mama, ooh, Didn't mean to make you cry, If I'm not back again this time tomorrow, Carry on, carry on as if nothing really matters. Too late, my time has come, Sends shivers down my spine, Body's aching all the time. Goodbye, everybody, I've got to go, Gotta leave you all behind and face the truth. Mama, ooh (any way the wind blows), I don't wanna die, I sometimes wish I'd never been born at all. Section 2 (3:07-3:59) I see a little silhouetto of a man, Scaramouche, Scaramouche, will you do the Fandango? Thunderbolt and lightning, Very, very frightening me. (Galileo) Galileo. (Galileo) Galileo, Galileo Figaro Magnifico-o-o-o-o. I'm just a poor boy, nobody loves me. He's just a poor boy from a poor family, Spare him his life from this monstrosity. Easy come, easy go, will you let me go? Bismillah! No, we will not let you go. (Let him go!) Bismillah! We will not let you go. (Let him go!) Bismillah! We will not let you go. (Let me go!) Will not let you go. (Let me go!) Never, never let you go Never let me go, oh. No, no, no, no, no, no, no. Section 3 (4:12-5:00) So you think you can shove me and look in my eye? So you think you can love me and leave me to die? Oh, baby, can't do this to me, baby, Just gotta get out, just gotta get right outta here. (Oh, yeah, oh yeah) Nothing really matters, Anyone can see, Nothing really matters, Nothing really matters to me. Any way the wind blows. SECTION 1 Lyric Activity Mama, ooh, _______, ooh, Didn't mean to make you cry, Didn’t mean to steal/eat your ____, If I'm not back again this time tomorrow, If I’m not back again this time ____, Carry on, carry on as if nothing really matters. Move along, move along, as if ____ really ____. (my lyrics) Pizza, ooh, Didn’t mean to eat your cheese, If I’m not back again this time tonight, Move along, move along, as if pizza really bothered. .
Recommended publications
  • Elite Music Productions This Music Guide Represents the Most Requested Songs at Weddings and Parties
    Elite Music Productions This Music Guide represents the most requested songs at Weddings and Parties. Please circle songs you like and cross out the ones you don’t. You can also write-in additional requests on the back page! WEDDING SONGS ALL TIME PARTY FAVORITES CEREMONY MUSIC CELEBRATION THE TWIST HERE COMES THE BRIDE WE’RE HAVIN’ A PARTY SHOUT GOOD FEELIN’ HOLIDAY THE WEDDING MARCH IN THE MOOD YMCA FATHER OF THE BRIDE OLD TIME ROCK N ROLL BACK IN TIME INTRODUCTION MUSIC IT TAKES TWO STAYIN ALIVE ST. ELMOS FIRE, A NIGHT TO REMEMBER, RUNAROUND SUE MEN IN BLACK WHAT I LIKE ABOUT YOU RAPPERS DELIGHT GET READY FOR THIS, HERE COMES THE BRIDE BROWN EYED GIRL MAMBO #5 (DISCO VERSION), ROCKY THEME, LOVE & GETTIN’ JIGGY WITH IT LIVIN, LA VIDA LOCA MARRIAGE, JEFFERSONS THEME, BANG BANG EVERYBODY DANCE NOW WE LIKE TO PARTY OH WHAT A NIGHT HOT IN HERE BRIDE WITH FATHER DADDY’S LITTLE GIRL, I LOVED HER FIRST, DADDY’S HANDS, FATHER’S EYES, BUTTERFLY GROUP DANCES KISSES, HAVE I TOLD YOU LATELY, HERO, I’LL ALWAYS LOVE YOU, IF I COULD WRITE A SONG, CHICKEN DANCE ALLEY CAT CONGA LINE ELECTRIC SLIDE MORE, ONE IN A MILLION, THROUGH THE HANDS UP HOKEY POKEY YEARS, TIME IN A BOTTLE, UNFORGETTABLE, NEW YORK NEW YORK WALTZ WIND BENEATH MY WINGS, YOU LIGHT UP MY TANGO YMCA LIFE, YOU’RE THE INSPIRATION LINDY MAMBO #5BAD GROOM WITH MOTHER CUPID SHUFFLE STROLL YOU RAISE ME UP, TIMES OF MY LIFE, SPECIAL DOLLAR WINE DANCE MACERENA ANGEL, HOLDING BACK THE YEARS, YOU AND CHA CHA SLIDE COTTON EYED JOE ME AGAINST THE WORLD, CLOSE TO YOU, MR.
    [Show full text]
  • Song List 2012
    SONG LIST 2012 www.ultimamusic.com.au [email protected] (03) 9942 8391 / 1800 985 892 Ultima Music SONG LIST Contents Genre | Page 2012…………3-7 2011…………8-15 2010…………16-25 2000’s…………26-94 1990’s…………95-114 1980’s…………115-132 1970’s…………133-149 1960’s…………150-160 1950’s…………161-163 House, Dance & Electro…………164-172 Background Music…………173 2 Ultima Music Song List – 2012 Artist Title 360 ft. Gossling Boys Like You □ Adele Rolling In The Deep (Avicii Remix) □ Adele Rolling In The Deep (Dan Clare Club Mix) □ Afrojack Lionheart (Delicious Layzas Moombahton) □ Akon Angel □ Alyssa Reid ft. Jump Smokers Alone Again □ Avicii Levels (Skrillex Remix) □ Azealia Banks 212 □ Bassnectar Timestretch □ Beatgrinder feat. Udachi & Short Stories Stumble □ Benny Benassi & Pitbull ft. Alex Saidac Put It On Me (Original mix) □ Big Chocolate American Head □ Big Chocolate B--ches On My Money □ Big Chocolate Eye This Way (Electro) □ Big Chocolate Next Level Sh-- □ Big Chocolate Praise 2011 □ Big Chocolate Stuck Up F--k Up □ Big Chocolate This Is Friday □ Big Sean ft. Nicki Minaj Dance Ass (Remix) □ Bob Sinclair ft. Pitbull, Dragonfly & Fatman Scoop Rock the Boat □ Bruno Mars Count On Me □ Bruno Mars Our First Time □ Bruno Mars ft. Cee Lo Green & B.O.B The Other Side □ Bruno Mars Turn Around □ Calvin Harris ft. Ne-Yo Let's Go □ Carly Rae Jepsen Call Me Maybe □ Chasing Shadows Ill □ Chris Brown Turn Up The Music □ Clinton Sparks Sucks To Be You (Disco Fries Remix Dirty) □ Cody Simpson ft. Flo Rida iYiYi □ Cover Drive Twilight □ Datsik & Kill The Noise Lightspeed □ Datsik Feat.
    [Show full text]
  • Madonna MP3 Collection - Madonna Part 2 Mp3, Flac, Wma
    Madonna MP3 Collection - Madonna Part 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Pop Album: MP3 Collection - Madonna Part 2 Country: Russia Released: 2012 Style: House, Synth-pop, Ballad, Electro, RnB/Swing, Electro House MP3 version RAR size: 1708 mb FLAC version RAR size: 1392 mb WMA version RAR size: 1865 mb Rating: 4.8 Votes: 427 Other Formats: APE MP2 RA MP1 TTA VOX XM Tracklist Hide Credits Beautiful Stranger (Single) - 1999 1-1 Beautiful Stranger 4:24 1-2 Beautiful Stranger (Remix) 10:15 1-3 Beautiful Stranger (Mix) 4:04 Ray Of Light (Remix Album) - 1999 1-4 Ray Of Light (Ultra Violet Mix) 10:46 Drowned World (Substitut For Love (Bt And Sashas Remix) 1-5 9:28 Remix – Bt, Sasha Sky Fits Heaven (Sasha Remix) 1-6 7:22 Remix – Sasha Power Of Goodbay (Luke Slaters Filtered Mix) 1-7 6:09 Remix – Luke Slater 1-8 Candy Perfume Girl (Sasha Remix) 4:52 1-9 Frozen (Meltdown Mix - Long Version 8:09 1-10 Nothing Really Matters (Re-funk-k-mix) 4:23 Skin (Orbits Uv7 Remix) 1-11 8:00 Remix – Orbit* Frozen (Stereo Mcs Mix) 1-12 5:48 Remix – Stereo Mcs* 1-13 Bonus - What It Feels Like For A Girl (remix) 9:50 1-14 Bonus - Dont Tell Me (remix) 4:26 American Pie (Single) - 2000 1-15 American Pie (Album Version) 4:35 American Pie (Richard Humpty Vission Radio Mix) 1-16 4:30 Remix – Richard Humpty Vission* American Pie (Richard Humpty Vission Visits Madonna) 1-17 5:44 Remix – Richard Humpty Vission* Music - 2000 1-18 Music 3:45 1-19 Impressive Instant 3:38 1-20 Runaway Lover 4:47 1-21 I Deserve It 4:24 1-22 Amazing 3:43
    [Show full text]
  • Livestock Workshop Transcript
    1 1 UNITED STATES DEPARTMENT OF JUSTICE UNITED STATES DEPARTMENT OF AGRICULTURE 2 Public Workshops Exploring Competition Issues in 3 Agriculture Livestock Workshop 4 A Dialogue on Competition Issues Facing Farmers in Today's 5 Agricultural Marketplaces 6 Colorado State University - Lory Student Center Fort Collins, Colorado 7 August 27, 2010 8 __________________________________________________________ 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Javernick & Stenstrom, LLC 3131 South Vaughn Way, Suite 224, Aurora, Colorado 80014 (720) 449-0329 FAX (720) 449-0334 2 1 SECRETARY VILSACK: Good morning. I just want 2 to welcome everyone to the fourth joint competition 3 workshop between the Department of Agriculture and the 4 Department of Justice. I want to take this opportunity to 5 thank Colorado State University for the help that they 6 have provided in setting up this workshop, allowing us to 7 use their facilities, and accommodating an overflowing 8 crowd. We know that this workshop has generated a lot of 9 interest, and Colorado State University has done a great 10 job in making it possible to have the space to accommodate 11 folks here today. 12 Today, we intend to focus on the livestock 13 industry and whether there is proper competition to ensure 14 producers are getting a fair shake. These workshops will 15 help us understand the issues that are of most concern and 16 deserve closer attention and to explore the appropriate 17 role, if any, for antitrust or regulatory enforcement in 18 the agricultural industry. 19 In March, we held a workshop on general farm 20 issues in Hinton, Iowa.
    [Show full text]
  • Blood on the Tracks: ‘Time Is an Enemy’
    Judas! Blood on the Tracks: ‘Time is an enemy’ by John Hinchey ‘Up to Me,’ an outtake eventually released on Biograph, is a rueful ballad of love wasted that picks up the action at the conclusion of ‘Idiot Wind,’immediately after the singer realizes that he and his beloved have fallen out of each other’s orbits. But its tone seems tempered by the realizations of those songs, discussed in the preceding chapter, in which the singer assimilates a devastating romantic loss and struggles to regain speaking terms both with his lost beloved and with himself. Now, in ‘Up to Me,’ the singer he returns to tell her – and himself – what he’s going to do about it. His plan of action is paradoxical: he’s heading out on the ‘Union Central’ in search of the same missing wife he’s leaving. The song I just described is over by the end of the third verse, yet ‘Up to Me’ is twelve verses long. The song gets away from Dylan, overflowing the bounds of the paradoxical farewell note. The lyric feels unfinished, and unlike, for instance, the original version of ‘Idiot Wind’ (later released on The Bootleg Series, Vol. 1-3), it also strikes me as unfinishable, except by starting over from scratch. Indeed, ‘Shelter from the Storm’ can be seen as a radical revision (and revisioning) of ‘Up to Me.’ The problem is that the momentum of feeling that sweeps the singer from one verse to the next seems to be largely unconscious, feelings he recognizes (if at all) only after the fact.
    [Show full text]
  • Pop / Rock / Commercial Music Wed, 25 Aug 2021 21:09:33 +0000 Page 1
    Pop / Rock / Commercial music www.redmoonrecords.com Artist Title ID Format Label Print Catalog N° Condition Price Note 10000 MANIACS The wishing chair 19160 1xLP Elektra Warner GER 960428-1 EX/EX 10,00 € RE 10CC Look hear? 1413 1xLP Warner USA BSK3442 EX+/VG 7,75 € PRO 10CC Live and let live 6546 2xLP Mercury USA SRM28600 EX/EX 18,00 € GF-CC Phonogram 10CC Good morning judge 8602 1x7" Mercury IT 6008025 VG/VG 2,60 € \Don't squeeze me like… Phonogram 10CC Bloody tourists 8975 1xLP Polydor USA PD-1-6161 EX/EX 7,75 € GF 10CC The original soundtrack 30074 1xLP Mercury Back to EU 0600753129586 M-/M- 15,00 € RE GF 180g black 13 ENGINES A blur to me now 1291 1xCD SBK rec. Capitol USA 7777962072 USED 8,00 € Original sticker attached on the cover 13 ENGINES Perpetual motion 6079 1xCD Atlantic EMI CAN 075678256929 USED 8,00 € machine 1910 FRUITGUM Simon says 2486 1xLP Buddah Helidon YU 6.23167AF EX-/VG+ 10,00 € Verty little woc COMPANY 1910 FRUITGUM Simon says-The best of 3541 1xCD Buddha BMG USA 886972424422 12,90 € COMPANY 1910 Fruitgum co. 2 CELLOS Live at Arena Zagreb 23685 1xDVD Masterworks Sony EU 0888837454193 10,90 € 2 UNLIMITED Edge of heaven (5 vers.) 7995 1xCDs Byte rec. EU 5411585558049 USED 3,00 € 2 UNLIMITED Wanna get up (4 vers.) 12897 1xCDs Byte rec. EU 5411585558001 USED 3,00 € 2K ***K the millennium (3 7873 1xCDs Blast first Mute EU 5016027601460 USED 3,10 € Sample copy tracks) 2PLAY So confused (5 tracks) 15229 1xCDs Sony EU NMI 674801 2 4,00 € Incl."Turn me on" 360 GRADI Ba ba bye (4 tracks) 6151 1xCDs Universal IT 156 762-2
    [Show full text]
  • Madonna's Postmodern Revolution
    Journal of Literature and Art Studies, January 2021, Vol. 11, No. 1, 26-32 doi: 10.17265/2159-5836/2021.01.004 D DAVID PUBLISHING The Rebel Madame: Madonna’s Postmodern Revolution Diego Santos Vieira de Jesus ESPM-Rio, Rio de Janeiro, Brazil The aim is to examine Madonna’s revolution regarding gender, sexuality, politics, and religion with the focus on her songs, videos, and live performances. The main argument indicates that Madonna has used postmodern strategies of representation to challenge the foundational truths of sex and gender, promote gender deconstruction and sexual multiplicity, create political sites of resistance, question the Catholic dissociation between the physical and the divine, and bring visual and musical influences from multiple cultures and marginalized identities. Keywords: Madonna, postmodernism, pop culture, sex, gender, sexuality, politics, religion, spirituality Introduction Madonna is not only the world’s highest earning female entertainer, but a pop culture icon. Her career is based on an overall direction that incorporates vision, customer and industry insight, leveraging competences and weaknesses, consistent implementation, and a drive towards continuous renewal. She constructed herself often rewriting her past, organized her own cult borrowing from multiple subaltern subcultures, and targeted different audiences. As a postmodern icon, Madonna also reflects social contradictions and attitudes toward sexuality and religion and addresses the complexities of race and gender. Her use of multiple media—music, concert tours, films, and videos—shows how images and symbols associated with multiracial, LGBT, and feminist groups were inserted into the mainstream. She gave voice to political interventions in mass popular culture, although many critics argue that subaltern voices were co-opted to provide maximum profit.
    [Show full text]
  • Bernhard Gander (*1969)
    BERNHARD GANDER (*1969) 1 - 15 Bunny Games (2006) 23:04 für Ensemble dem Klangforum Wien gewidmet 16 fluc ‘n‘ flex (2007) 10:54 für Akkordeon Krassimir Sterev gewidmet 17 ö (2005) 8:24 für Quintett Motörhead gewidmet 18 Peter Parker (2004) 10:09 für Klavier Hsin-Huei Huang gewidmet 19 fête.gare (2002) 10:44 für Ensemble TT: 63:15 18 Hsin-Huei Huang Klavier 16 Krassimir Sterev Akkordeon 1 - 15 Emilio Pomárico 17 Johannes Kalitzke 19 Sylvain Cambreling Klangforum Wien 1 - 15 Erste Bank Kompositionsauftrag Coverphoto: © Hans Labler 2 Klangforum Wien Eva Furrer Flöte 1 -15 , 17 Markus Deuter Oboe 1 -15 Bernhard Zachhuber Klarinette 17 , 19 Ernesto Molinari Klarinette 19 Donna Molinari Klarinette 19 Thomas Monod Klarinette 1 -15 Lorelei Dowling Fagott 1 -15 Christoph Walder Horn, Wagnertuba 1 -15 , 19 Anders Nyqvist Flügelhorn 1 -15 Jef Brothwell Trompete 19 Andreas Eberle Posaune, Tenorhorn 1 -15 , 19 Gunde Jäch-Micko Violine 1 -15 , 19 Annette Bik Violine 1 -15 Ivana Pristasova Violine 19 Dimitrios Polisoidis Viola 1 -15 Andrew Jezek Viola 1 -15 , 17 Benedikt Leitner Violoncello 1 -15 , 17 Andreas Lindenbaum Violoncello 1 -15 , 19 Uli Fussenegger Kontrabass 1 -15 , 19 Krassimir Sterev Akkordeon 16,17 , 19 Manuel de Roo E-Gitarre 1 -15 Florian Müller Klavier 1 -15 Lukas Schiske Schlagwerk 1 -15 , 19 Björn Wilker Schlagwerk 1 -15 Berndt Thurner Schlagwerk 19 3 Bernhard Gander bunny games (2006) ö (2005) 15 kurze stücke über ö…quintett für bassflöte, bassklarinette, akkordeon, verführung madonna abschied alkohol nähe wei- bratsche und cello
    [Show full text]
  • Songs by Artist
    Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co.
    [Show full text]
  • Arxiv:2105.10507V1 [Hep-Th] 21 May 2021 Contents
    Prepared for submission to JHEP de Sitter Decays to Infinity Patrick Draper,a Isabel Garcia Garcia,b and Benjamin Lillarda aDepartment of Physics, University of Illinois, Urbana, IL 61801 bKavli Institute for Theoretical Physics, University of California, Santa Barbara, CA 93106, USA E-mail: [email protected], [email protected], [email protected] Abstract: Bubbles of nothing are a class of vacuum decay processes present in some theories with compactified extra dimensions. We investigate the existence and properties of bubbles of nothing in models where the scalar pseudomoduli controlling the size of the extra dimensions are stabilized at positive vacuum energy, which is a necessary feature of any realistic model. We map the construction of bubbles of nothing to a four-dimensional Coleman-De Luccia problem and establish necessary conditions on the asymptotic behavior of the scalar potential for the existence of suitable solutions. We perform detailed analyses in the context of five-dimensional theories with metastable dS S1 vacua, using analytic 4 × approximations and numerical methods to calculate the decay rate. We find that bubbles of nothing sometimes exist in potentials with no ordinary Coleman-De Luccia decay process, and that in the examples we study, when both processes exist, the bubble of nothing decay rate is faster. Our methods can be generalized to other stabilizing potentials and internal manifolds. arXiv:2105.10507v1 [hep-th] 21 May 2021 Contents 1 Introduction1 2 Vacuum Decay in the Presence of Gravity3 2.1 Coleman-De
    [Show full text]
  • Madonna E Seu Acervo Multiartístico: Os Fetichismos Visuais Na Obra Do Maior Mito
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 41º Congresso Brasileiro de Ciências da Comunicação – Joinville - SC – 2 a 8/09/2018 Madonna e seu Acervo Multiartístico: os fetichismos visuais na obra do maior mito 1 pop do século XX Rafael Nacif de Toledo PIZA2 Universidade do Estado do Rio de Janeiro - UERJ Resumo O presente artigo pretende fazer uma retrospectiva da carreira da cantora Madonna, tendo como ponto de tensionamento os fetichismos visuais, conceito desenvolvido pelo italiano Massimo Canevacci em 2008. Nosso intuito é analisar o desenvolvimento cronológico da obra da cantora, relacionando suas iniciativas ao escopo teórico criado pelo sociólogo italiano, oferecendo pistas para decifrarmos os segredos de sua longevidade e do sucesso por trás de sua persona pública. Palavras-chave Madonna, cronologia, fetichismos visuais. Introdução Ser fã de Madonna é um privilégio e uma honra. Acompanhar a carreira de uma cantora, atriz, produtora, diretora de cinema, celebridade e personalidade é uma tarefa das mais prazerosas e dispendiosas. Montar uma coleção de objetos da Madonna pode custar alguns bons reais que poderiam ser investidos em outras coisas, como carros, roupas e outros itens de consumo. Mas deixando o lado mercantil de lado e focando na parte estética, o que Madonna nos apresenta é uma coleção de hits para as pistas de dança e baladas empacotados em formatos correspondentes às tecnologias do período, sempre com fotografias riquíssimas e figurinos ousados, tipologias inovadoras e designs de cair o queixo. Madonna e os fetichismos visuais de Canevacci Em 2008, Massimo Canevacci desenvolve “Fetichismos visuais: corpos erópticos e metrópole comunucacional” (Ateliê Editorial, 2008).
    [Show full text]
  • [2005] EWHC 449 (Ch) [2005] E.C.D.R
    [2006] E.M.L.R. 2 Page 1 [2005] EWHC 449 (Ch) [2005] E.C.D.R. 21 [2006] E.M.L.R. 2 [2005] F.S.R. 34 (2005) 28(6) I.P.D. 28046 Official Transcript [2005] EWHC 449 (Ch) [2005] E.C.D.R. 21 [2006] E.M.L.R. 2 [2005] F.S.R. 34 (2005) 28(6) I.P.D. 28046 Official Transcript (Cite as: [2006] E.M.L.R. 2) to be regarded as the relevant work for copyright [2005] EWHC 449 (Ch) purposes. The claimant indicated that, if this was right, she would not seek to amend her claim by *21 Coffey v Warner/ Chappell Music Ltd pleading reliance on the song “Forever After” as a whole. High Court, Chancery Division H4 HELD, dismissing the claim: J. (Blackburne H5 1. It was not open to a claimant to pick and March 18, 20051 choose the elements of a work upon which he relied in order to make the question of whether a substan- Copyright; Musical works; Originality; Striking tial part had been copied more likely to be out; answered in his favour.IPC Media Ltd v Highbury Leisure Publishing Ltd [2004] EWHC 2985; [2005] H1 Copyright in a musical work—work alleged to F.S.R. 20 followed. be infringed was the combination of vocal charac- teristics in and around a single lyrical line of a H6 2. What the copyright work was in any given song—features claimed were not sufficiently separ- case was not governed by what the claimant chose able from the rest of the song as to constitute a mu- to say that it was.
    [Show full text]