EUROPEAN UNION's OFFICIAL ANTHEM Topic

Total Page:16

File Type:pdf, Size:1020Kb

EUROPEAN UNION's OFFICIAL ANTHEM Topic EUROPEAN UNION’S OFFICIAL ANTHEM LESSON PLAN Topic: „All people become brothers” – on the Anthem of Europe Aims The students will: find out the melody of the EU’s official anthem learn its origin and symbolic meaning discuss the significance of national and European symbols and ways to respect them. Materials projector, screen speakers laptop or computer with the Internet connection tablets with QR scanners worksheets Instructions Stage 1: INTRODUCTION Discussion on national symbols: What national symbols can you name? (flag, emblem, anthem) What are the symbols of your nation? (e.g. in Poland - flag: white-red, emblem: white eagle with a gold crown on a red background, anthem: „Mazurek Dąbrowskiego”) What role do they play? (e.g. they stress our being part of a nation) When and where do we usually sing a national anthem? (during national celebrations, national holidays, international sports events, such as Olympic games, matches etc..) How should we behave while singing an anthem? (show respect, stand at attention) Stage 2: PRESENTATION a) Symbols of the European Union – the flag, anthem, motto, currency, Europe Day. For a short review, use the poster from: https://europa.eu/european- union/sites/europaeu/files/symbols_en.pdf b) What do you know about the anthem of the European Union? What is its melody and who is its author? – allow time to elicit pupil’s answers. c) Play the anthem – choose the recording from the following: orchestra: https://www.coe.int/02/_lfr/dc/audio/SWR_hymne.mp3 piano: https://www.coe.int/02/_lfr/dc/audio/piano_hymne.mp3 pipe organ: https://www.coe.int/02/_lfr/dc/audio/grandorgue_hymne.mp3 STAGE 3: GROUPWORK a) Divide the class into groups (no larger than 4 students each) b) Each group receives a tablet and a worksheet. Task 1 Pupils scan the QR code which leads them to the app where they arrange a jigsaw puzzle – a portrait of Beethoven, the composer of the melody of the anthem. Task 2. Pupils solve the wordsearch which gives them the solution – surname and last name of the composer (Ludwig van Beethoven). Task 3 Pupils read the lyrics of „Ode to Joy” by F. Schiller. Task 4 Pupils read and complete the text about the anthem of the EU, using the hints provided. STAGE 4: CONSOLIDATION a) Representatives of all groups read out loud one piece of information from the completed text. The text deals with the origins of the anthem and its symbolism. b) To sum up, pupils listen to different adaptations of the EU anthem. They are encouraged to express their opinions on the different versions. Adaptations: hip hop: https://www.coe.int/02/_lfr/dc/audio/Hymne_hiphop.mp3 trans: https://www.coe.int/02/_lfr/dc/audio/Hymne_trance.mp3 techno: https://www.coe.int/02/_lfr/dc/audio/Hymne_techno.mp3 electric guitar: https://www.coe.int/02/_lfr/dc/audio/Hymne_guitare_long.mp3 big band: https://www.coe.int/02/_lfr/dc/audio/Hymne_BigBand1.mp3 jazz violin: https://www.coe.int/02/_lfr/dc/audio/Hymne_jazz_long.mp3 Author: Ewa Kowalska W O R K S H E E T TASK 1: Scan the QR code and solve the jigsaw puzzle: you will get a portrait of a famous German composer and pianist who lived in the years 1770 - 1827. TASK 2: From the wordsearch below cross out the words connected with national symbols. The solution (the remaining letters) will form a first name and surname of the composer whose portrait you have just arranged and who is the author of the music of th EU’s official anthem. F L A G L U D W I G A N T H E M V A N C U R R E N C Y B E E T H O V E V E M B L E M TASK 3: Read the text of the poem „Ode to Joy” by F. Schiller and discuss the values it mentions. What is the poem’s message? Joy, beautiful spark of the gods, Just and unjust Daughter from Elysium, Alike taste of her gift; We enter, drunk with fire, She gave us kisses and the fruit of the vine, Heavenly One, thy sanctuary! A tried friend to the end. Your magic binds again [Even] the worm has been granted sensuality, What convention strictly divides; And the cherub stands before God! All people become brothers, Where your gentle wing abides. Gladly, as His heavenly bodies fly On their courses through the heavens, Who has succeeded in the great attempt, Thus, brothers, you should run your race, To be a friend's friend, Joyful, like a hero going to conquest. Whoever has won a lovely woman, Add his to the jubilation! You millions, be embraced. Indeed, who calls even one soul This kiss is for all the world! Theirs upon this world! Brothers, above the starry canopy And whoever never managed, shall steal himself There must dwell a loving Father. Weeping away from this union! Do you fall in worship, you millions? World, do you know your creator? All creatures drink of joy Seek him in the heavens At nature's breast. Above the stars must He dwell. TASK 4: Complete the text with information on the EU anthem. You may use the terms provided below. The melody used to symbolize the EU comes from the …………………………………….. composed in ………………………………… by ………………………………… Van Beethoven, when he set music to the "………………………………… to Joy", ………………………………… von Schiller's lyrical verse from …………………………………. The anthem symbolises not only the European Union but also Europe in a wider sense. The poem "Ode to …………………………………" expresses ………………………………… 's idealistic vision of the human race becoming ………………………………… - a vision ………………………………… shared. In …………………………………, the ………………………………… of Europe adopted Beethoven's "Ode to Joy" theme as its anthem. In 1985, it was adopted by EU leaders as the …………………………………. There are no ………………………………… to the anthem; it consists of music only. In the universal language of …………………………………, this anthem expresses the European ideals of …………………………………. The European anthem is not intended to replace the national anthems of the EU countries but rather to celebrate the ………………………………… they share. The anthem is played at official ceremonies involving the ………………………………… and generally at all sorts of events with a ………………………………… character. TERMS TO COMPLETE THE TEXT: Ninth Symphony 1972 Friedrich 1785 brothers Ludwig Joy Beethoven music Ode freedom, peace and solidarity words European Union 1823 Schiller Council values official anthem of the European Union European KEY Task 1: 1. Embed code for the puzzle: <span title="Ludwig van Beethoven - online jigsaw puzzle - 35 pieces" style="display:inline- block;margin:.6em;width:160px"><a href="https://www.jigsawplanet.com/?rc=play&amp;pid=39f8fd122765" style="display:block;text- decoration:none;position:relative;width:128px;margin:0 auto .4em auto"><img alt="preview" style="display:block;border:1px #000 solid;box-shadow:2px 2px 5px rgba(0,0,0,.2)" src="https://im.jigsawplanet.com/?rc=img&amp;pid=39f8fd122765&amp;size=160"><span style="position:absolute;right:5px;bottom:4px"><span style="font:bold 16px Verdana,sans- serif;color:#fff;text-shadow:1px 1px 2px #000;vertical-align:middle">35 </span><img style="border:0;vertical-align:middle" src="https://www.jigsawplanet.com/img/preview/piece.png" alt="piece"></span></a><a style="display:block;text-align:center;overflow:hidden" href="https://www.jigsawplanet.com/?rc=play&amp;pid=39f8fd122765">Ludwig van Beethoven</a></span> Task 2: F L A G L U D V I G A N T H E M V A N C U R R E N C Y B E E T H O V E N E M B L E M Task 4: The melody used to symbolize the EU comes from the Ninth Symphony composed in 1823 by Ludwig Van Beethoven, when he set music to the "Ode to Joy", Friedrich von Schiller's lyrical verse from 1785. The anthem symbolises not only the European Union but also Europe in a wider sense. The poem "Ode to Joy" expresses Schiller's idealistic vision of the human race becoming brothers - a vision Beethoven shared. In 1972, the Council of Europe adopted Beethoven's "Ode to Joy" theme as its anthem. In 1985, it was adopted by EU leaders as the official anthem of the European Union. There are no words to the anthem; it consists of music only. In the universal language of music, this anthem expresses the European ideals of freedom, peace and solidarity. The European anthem is not intended to replace the national anthems of the EU countries but rather to celebrate the values they share. The anthem is played at official ceremonies involving the European Union and generally at all sorts of events with a European character. (source: europa.eu/european-union/about-eu/symbols/anthem_en) ATTACHMENT VARIOUS ADAPTATIONS OF THE EU’s OFFICIAL ANTHEM 1 2 3 4 5 6 .
Recommended publications
  • Measuring Individual Identity: Experimental Evidence
    Measuring Individual Identity: Experimental Evidence Alexander Kuo Center for Advanced Study in the Social Sciences Juan March Institute [email protected] Yotam Margalit Department of Political Science Columbia University [email protected] Abstract What determines the identity category people feel they most belong to? What is the political significance of one’s proclaimed identity? Recent research addresses this question using surveys that explicitly ask individuals about their identity. Yet little is known about the nature of the attachments conveyed in responses to identity questions. We conduct a set of studies and experiments that investigate these reported attachments. Our findings suggest that: (1) the purported identity captured in survey responses varies significantly within subjects over time; (2) changes in people’s primary identity can be highly influenced by situational triggers; (3) changes in purported self-identity do not imply a corresponding change in policy preferences. Our results are drawn from three studies that vary in terms of design, country sample, and research instrument. The findings have implications for research on identity choice, as well as on the use of surveys in studying the role of identity in comparative politics. 1 ―We have spoken to many people in this country [X] and they have all described themselves in different ways. Some people describe themselves in terms of their language, religion, race, and others describe themselves in economic terms, such as working class, middle class, or a farmer. Besides being [a citizen of X], which specific group do you feel you belong to first and foremost?‖ [Afrobarometer Surveys, 1999-2002] Introduction What determines the identity category people feel they belong to? What is the political significance of one’s proclaimed identity? The answers to these questions are important for understanding phenomena such as policy preferences, social cleavages, and perhaps even political conflict.
    [Show full text]
  • Palestine and Poland; a Personal Perspective
    1 Nationalism in Comparison: Palestine and Poland; A Personal Perspective Gregory P. Rabb Professor of Political Science Jamestown Community College INTRODUCTION Defining and understanding nationalism in general can be difficult when done without referencing a particular nation or people. This paper is an attempt to understand nationalism in a comparative perspective as recommended by Benedict Anderson in his work entitled “Imagined Communities: Reflections on the Origin and Spread of Nationalism” (2016). Mr. Anderson also recommends understanding nationalism by focusing on the western hemisphere (or so called “new world”) rather than analyzing nationalism in the context of the so-called “old world” from a Euro-centric perspective. I am no Benedict Anderson, but I hope I met his recommendation by understanding nationalism from a personal perspective which I will explain shortly. NATIONALISM When introducing these concepts to my students I talk about the nation-state as the way in which we have organized the world since the Treaty of Westphalia-a Euro-centric perspective. The state is the government, however that is organized, and the nation is the people who are held together by any one or more of the following characteristics: common language, religion, history, ethnicity, and/or national identity including a commitment to a certain set of values (e.g. the emphasis on individual rights and the Constitution as our civil religion as seen in the US) and symbols (e.g. the monarchy and currency in the UK and the flag in the US). We then discuss the “stresses” from above, below, and beside (without) which may be heralding the end of the so-called nation-state era.
    [Show full text]
  • United Kingdom National Anthems Comprehension
    United Kingdom National Anthems Comprehension The National Anthem of the United Kingdom is God Save the Queen. It was first performed as a patriotic song in 1745 but only became known as the National Anthem from the beginning of the 19th Century. God Save the Queen represents the whole of the United Kingdom. However, when England, Wales, Scotland and Northern Ireland compete as separate countries in sporting events, they have other national songs. God Save the Queen God save our gracious Queen! Long live our noble Queen! God save the Queen! Send her victorious, Happy and glorious, Long to reign over us, God save the Queen. Since 2010, England has used the song Jerusalem as their national song at the Commonwealth Games after it won a public poll. The composer, teacher and historian of music Hubert Parry set the short poem ‘And did those feet in ancient time’ by William Blake to his own melody. Jerusalem was written in the Victorian times in the middle of the industrial revolution, a time when many factories were being built and cities were crowded. The words of the song remind people of the beauty of nature and the countryside. It is considered to be England's most popular patriotic song. Page 1 of 5 visit twinkl.com Jerusalem Bring me my bow of burning gold! And did those feet in ancient time Bring me my arrows of desire! Walk upon England's Bring me my spear! mountain green? O clouds, unfold! And was the holy Lamb of God Bring me my chariot of fire! On England's pleasant pastures seen? I will not cease from mental fight, And did the countenance divine Nor shall my sword sleep in my hand, Shine forth upon our clouded hills? Till we have built Jerusalem And was Jerusalem builded here In England's green and In England's green and pleasant land.
    [Show full text]
  • University of Copenhagen Faculty Or Humanities
    Moving Archives Agency, emotions and visual memories of industrialization in Greenland Jørgensen, Anne Mette Publication date: 2017 Document version Other version Document license: CC BY-NC-ND Citation for published version (APA): Jørgensen, A. M. (2017). Moving Archives: Agency, emotions and visual memories of industrialization in Greenland. Det Humanistiske Fakultet, Københavns Universitet. Download date: 08. Apr. 2020 UNIVERSITY OF COPENHAGEN FACULTY OR HUMANITIES PhD Thesis Anne Mette Jørgensen Moving Archives. Agency, emotions and visual memories of industrialization in Greenland Supervisor: Associate Professor Ph.D. Kirsten Thisted Submitted on: 15 February 2017 Name of department: Department of Cross-Cultural and Regional Studies Name of department: Minority Studies Section Author(s): Anne Mette Jørgensen Title and subtitle: Moving Archives. Agency, emotions and visual memories of industrialization in Greenland Topic description: Memory, emotion, agency, history, visual anthropology, methodology, museums, post-colonialism, Greenland Supervisor: Kirsten Thisted Submitted on: 15 February 2017 Cover photography: A table during a photo elicitation interview, Ilulissat April 2015 ©AMJørgensen 2 CONTENTS Pre-face 5 Abstract 7 Resumé in Danish 8 1. Introduction 9 a. Aim and argument 9 b. Research questions 13 c. Analytical framework 13 d. Moving archives - Methodological engagements 16 e. The process 18 f. Outline of the Thesis 23 2. Contexts 27 a. Themes, times, spaces 27 b. Industrialization in Greenland 28 c. Colonial and postcolonial archives and museums 40 d. Industrialization in the Disko Bay Area 52 3. Conceptualizing Memory as Moving Archives 60 a. Analytical framework: Memory, agency and emotion 61 b. Memory as agency 62 c. Memory as practice 65 d. Memory as emotion 67 e.
    [Show full text]
  • Estonia Today Estonia’S Blue-Black-White Tricolour Flag 120
    Fact Sheet June 2004 Estonia Today Estonia’s Blue-Black-White Tricolour Flag 120 The year of the Estonian National Flag was declared at the 84th celebration of the signing of the Tartu Peace Treaty. The declaration was made by President Arnold Rüütel, Chairman of the Riigikogu Ene Ergma, Prime Minister Juhan Parts. 4 June 2004 will mark 120 years since the blessing of the tricolour in Otepää. 2004 is the official year of the Estonian National Flag and 4 June is now an official National Holiday, National Flag Day. The blue-black-white tricolour has been adopted by Following the occupation of Estonia by Soviet forces the Estonian people, and has become the most in 1940, Estonia’s national symbols were forcibly important and loved national symbol. The tricolour replaced by Soviet symbols. The raising of the has been one of the most important factors in the Estonian flag or even the possession of the tricolour independence, consciousness and solidarity of the was considered a crime for which some people were Estonian people. even sent to prison camps or killed. Expatriate Estonian organisations and societies must be The idea of the blue-black-white colour combination commended for upholding the honour of the Estonian was born from the Estonian Awakening Period at the National Flag during the difficult period of Soviet founding of the “Vironia” Society (now Eesti occupation. The 100th anniversary of the Estonian Üliõpilaste Selts, Estonian Students Society) on Flag was celebrated in exile. The Singing Revolution 29 September 1881. of the late 1980s paved the way for the raising of the The first blue-black-white flag was made in the spring blue-black-white Estonian flag to the top of the Pikk of 1884.
    [Show full text]
  • Laa Cooinaghtyn Illiam Dhone 2020- Roie
    Published by Mec Vannin, The Manx Nationalist Party Earroo / Issue 60 Jerrey Geurree / January 2020 Laa Cooinaghtyn Illiam Dhone 2020 - Roie Raa ‘sy Ghaelg liorish Markys y Kermitt Failt erriu ooilley gys Laa Cooinaghtyn er yn R.U., t'eh orrin goaill rish dy vel Manninee faagail er yn oyr nagh vel Illiam Dhone, sy vlein Daa Housane as drogh staid nyn jeer, er y chooid smoo, ee Mannin nish myr t’ad smooinaghtyn Feed. Yn cliaghtey ain rish ymmodee kyndagh rish drogh reiltys 'syn ellan urree. Ta shin lane dy leih ta jeeaghyn bleintyn, shen goaill toshiaght lesh hene. er Mannin myr aght nyn lyst startaghyn roie-raa mychione y vlein chaaie, as as bea y vishaghey as shen ooilley. As eisht oraid Ghaelgagh as oraid elley Ta'n Kiare as Feed bunnys dyn niart ta Sisyphus rolley e chlagh. 'sy Vaarle. erbee. C'raad ta'n niart firrinagh? Vel eh ayns Coonseil ny Shirveishee? Cha Agh cre aght fodmayd cur lhietrymmys Yn vlein shoh, bee daa oraid scanshoil nel eh. Myr smoo as ny smoo, ta'n niart er y laou shoh? Seign da’n reiltys 'sy Vaarle mychione chyndaays ny politickagh 'syn ellan nish ny lhie eddyr aa-hoie keeshyn dy ve kynjagh son h'emshyr as nyn gurrym rish y Oik Coonseil ny Shirveishee as Oik yn ooilley sleih as co-lughtyn ayns chymbyllaght as myr shen, reih shin Turneyr Theayagh as ta'd bunnys dyn Mannin. Seign da’n reiltys goaill rish jannoo yn roie-raa 'sy Ghaelg as y rick politickagh. nagh jean tooilley sleih jannoo veg er Vaarle neesht.
    [Show full text]
  • My Country, 'Tis of Thee Introduction
    1 My Country, ’Tis of Thee Introduction Samuel Francis Smith was a twenty-four-year-old Baptist seminary student in Massachusetts when he wrote the lyrics of “America (My Country, ’Tis of Thee),” the patriotic song that would serve as an unofficial national anthem for nearly one-hundred years. In 1831, while studying at Andover Theological Seminary, Smith was asked by composer Lowell Mason to translate some German song books. Inspired by one of the German songs— “God Bless Our Native Land” (set to the tune of “God Save the King”)—Smith set out to write an original patriotic song for America set to the same melody. The result was what Smith called “America” and what would eventually be better known as “My Country, ’Tis of Thee.” The song was first performed on July 4, 1831, by a children’s choir in Boston. Smith’s lyrics invoked the history of America—“Land where my fathers died, / Land of the Pilgrims’ Pride, / From every mountain side / Let freedom ring”—as well as its beauty and sense of itself as a blessed land—“I love thy rocks and rills, / Thy woods and templed hills, / My heart with rapture thrills, / Like that above.” “America” soon took on a life of its own, quickly becoming widely known and well loved, and the song served as an unofficial national anthem until the adoption of “The Star-Spangled Banner” in 1931. In 1864, in the midst of the Civil War, Smith sent a copy of the song to former US Representative J. Wiley Edmands of Massachusetts.
    [Show full text]
  • Poland's Constitution of 1997
    PDF generated: 26 Aug 2021, 16:44 constituteproject.org Poland's Constitution of 1997 This complete constitution has been generated from excerpts of texts from the repository of the Comparative Constitutions Project, and distributed on constituteproject.org. constituteproject.org PDF generated: 26 Aug 2021, 16:44 Table of contents Preamble . 3 Chapter I: The Republic . 3 Chapter II: The Freedoms, Rights, and Obligations of Citizens . 7 Chapter III: Sources of Law . 17 Chapter IV: The Sejm and The Senate . 19 Chapter V: The President of the Republic of Poland . 26 Chapter VI: The Council of Ministers and Government Administration . 32 Chapter VII: Local Government . 36 Chapter VIII: Courts and Tribunals . 38 Chapter IX: Organs of State Control and For Defence of Rights . 44 Chapter X: Public Finances . 47 Chapter XI: Extraordinary Measures . 49 Chapter XII: Amending the Constitution . 51 Chapter XIII: Final and Transitional Provisions . 52 Poland 1997 Page 2 constituteproject.org PDF generated: 26 Aug 2021, 16:44 • Motives for writing constitution • Preamble Preamble Having regard for the existence and future of our Homeland, Which recovered, in 1989, the possibility of a sovereign and democratic determination of its fate, We, the Polish Nation -all citizens of the Republic, • God or other deities Both those who believe in God as the source of truth, justice, good and beauty, As well as those not sharing such faith but respecting those universal values as arising from other sources, Equal in rights and obligations towards the common good
    [Show full text]
  • Myth and Symbols of European Integration – Western and Eastern Perspectives
    Myth and Symbols of European Integration – Western and Eastern Perspectives Course Code: MK_016 Language of Instruction: English Course tutor(s) Dr Krzysztof Kowalski works as a Senior Lecturer at the Institute of European Studies at the Jagiellonian University. His interests cover the anthropology of Europe, anthropology of European institutions (institutional anthropology), processes of history, memory and heritage invention at a European, national, regional and local level. Description The aim of the course is to present an anthropological point of view on the integration of Europe with special attention put on a variety of different readings of European, institutional symbolism especially in the context of its Western and Eastern understandings. The category of myth and symbols as well as memory and history will be the crucial element of the course. Special emphasis will be placed on examining strategies of the social invention of these phenomena. The symbolization of time and space of Europe will be discussed in depth so as to present their role in the appearance of local, national and supranational identities. Type of course Additional (elective) course for all specializations and specialty (MA level) Year of Studies: 1 or 2 Number of ECTS points 4.5 Prerequisites (if applicable) There is no prerequisite. Intended Learning Outcomes Students will understand the process of invention of European symbolism, mythology heritage and history as a means providing the citizens of the EU with a conceptual framework owing to which the European (and civilian) identity takes its form. As special emphasis will be given to anthropological perspectives of analysis, students will be familiarized with the process of self and other in contemporary Europe; in other words how social, political and ethnic exclusion and inclusion are symbolically constructed.
    [Show full text]
  • GD No 2020/0062
    Tuarastyl Vleinoil ANNUAL REPORT 2019/2020 of the Manx Heritage Foundation Undinys Eiraght Vannin ta dellal trading as Culture Vannin fo’n ennym Culture Vannin Incorporating the report Goaill stiagh tuarystal y Ving of the Gaelic Broadcasting Ymskeaylley Ghaelgagh Committee www.culturevannin.im Our year in numbers Nyn vlein ayns earrooyn EXISTING FILMS: The Secret 1800s Bank Vault in Castletown views OUR MOST POPULAR FILM 1,023,828 ONLINE HAD OVER NEWLY UPLOADED: The Isle of Man’s first 1 million UFO sighting? 3,067 views views during the year ON FACEBOOK: Chibbyr Vreeshey: St. Bridget’s Well at the Nunnery 20,600 views Videos added to YouTube 1,546,477 views videos newly uploaded 200 (making a total of 652 videos now available) 158,827 hours of viewing followers to our main Culture Vannin Twitter account, 3,648 with 1,598,000 impressions new audio files Listens in the past year: have been released Over 10,100 224 on SoundCloud (total of 522 now +3,522 on BandCamp available) =13,600 increase in Likes on our #culturevannin 19% main Facebook page images released 323 on Flickr Across our accounts: Facebook Twitter combined likes of pages and total followers on Twitter 14,444 members of groups on Facebook 7,698 across three accounts 1 CULTURE VANNIN ANNUAL REPORT 2019/2020 Contents Cooishyn sthie 03 SOME WORDS FROM OUR CHAIR 04 GOAN VEIH’N CHAAIRLIAGH AIN 05 WHO WE ARE AND WHAT WE DO 06 QUOI TA SHIN AS CRE TA SHIN JANNOO DEVELOPMENT WORK OBBYR VISHEE 07 SOME HIGHLIGHTS 08 PAART DY HALLEEYN CRONNAL A SUCCESS STORY FOR OUR VA COURYN Y VLEIN
    [Show full text]
  • The European Union Symbols and Their Adoption by the European Parliament
    The European Union Symbols and their Adoption by the European Parliament Standard Note: SN/IA/4874 Last updated: 22 October 2008 Author: Vaughne Miller Section International Affairs and Defence Section This Note considers the symbols traditionally used by the European Union institutions and the recent formal adoption of them by the European Parliament. This information is provided to Members of Parliament in support of their parliamentary duties and is not intended to address the specific circumstances of any particular individual. It should not be relied upon as being up to date; the law or policies may have changed since it was last updated; and it should not be relied upon as legal or professional advice or as a substitute for it. A suitably qualified professional should be consulted if specific advice or information is required. This information is provided subject to our general terms and conditions which are available online or may be provided on request in hard copy. Authors are available to discuss the content of this briefing with Members and their staff, but not with the general public. Contents 1 The Symbols of the EU 3 1.1 Flag 3 1.2 Anthem 4 1.3 Europe Day 4 1.4 Motto 5 1.5 Euro 5 2 Attempts to formalise the symbols through Treaty change 6 2.1 The Treaty Establishing a Constitution for Europe 6 2.2 The Treaty of Lisbon 6 3 European Parliament amendment to Rules of Procedure 7 3.1 Constitutional Affairs Committee report 7 3.2 The Plenary adopts the symbols 7 4 Implications and reaction 9 2 1 The Symbols of the EU The process for the adoption of the EU single currency in three stages was enshrined in the 1991 Treaty on European Union (Maastricht Treaty), although the aim of economic and monetary union (EMU) had been acknowledged at the 1969 European Council summit at The Hague.1 The EU flag, anthem and Europe Day were adopted by the European Council in Milan in 1985, while the “United in Diversity” motto was adopted in 2000.
    [Show full text]
  • The Role of Music in European Integration Discourses on Intellectual Europe
    The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations.
    [Show full text]