Галузь підготовки 02. 03 Гуманітарні науки напрям 020303 Українська мова і література
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- 2. Make a plan to the text. 3. Retell the text according to your plan. CLAUDE DEBUSSY
- 1. Answer the following questions
- Make a plan to the text. Retell the text according to your plan. KARATE
- 2. Make a plan to the text. 3. Retell the text according your plan. GYMNASTICS
- 2. Make a plan to the text. 3. Retell the text according to your plan. TANGO
- 2. Make a plan to the text. 3. Retell the text according to your plan. RUMBA
- 2. Make a plan to the text. 3. Retell the text according to your plan. SAMBA
1. Answer the following questions: 1. What is “boxing”? 2. What is the primary aim of each participant? 3. Where did boxing appear? 4. In ancient Rome, what did the boxers often wear? 5. Where and when was boxing revived after the fall of the Roman Empire? 6. Who was the first boxer to be recognized as a champion? 7. Who formulated a set of rules standardizing some practices and eliminating others in 1743? 8. How did the rules of boxing change later? 9. Who is your favorite boxer? 2. Make a plan to the text. 3. Retell the text according to your plan. CLAUDE DEBUSSY Debussy, (Achille) Claude (1862-1918), French composer, whose harmonic innovations helped pave the way for the musical upheavals of the 20th century. Debussy was born in Saint-Germain-en-Laye and studied at the Paris Conservatoire, which he entered at the age of 10. In 1879, as private musician to Nadezhda von Meck, the patron of Russian composer Peter Ilyich Tchaikovsky, Debussy traveled to Florence, Italy; Venice, Italy; Vienna, Austria; and Moscow. While in Russia Debussy became acquainted with the works of such Russian composers as Tchaikovsky, Aleksandr Borodin, Mily Balakirev, and Modest Mussorgsky and with Russian folk and Romani (Gypsy) music. He studied in Rome for two years, as required by the terms of the award, submitting new compositions regularly but unsuccessfully to the Grand Prix committee. He used whole-tone scales, which are constructed by notes a whole step apart rather than the usual patterns of whole steps and half steps used in traditional major or minor scales. In this excerpt from the first movement, the whole-tone scales create a floating effect, which contrasts clearly with his return to traditional harmonies at the end of the example. During the 1890s Debussy's works were performed with increasing frequency, and despite their controversial nature, he began to gain some recognition as a composer. Outstanding pieces from this period are the String Quartet in G Minor (1893) and the Prelude a l'apres-midi d'un faune (Prelude to the Afternoon of a Faun, 1894), his first mature orchestral work, derived from a poem by French symbolist Stephane Mallarme. From 1902 to 1910 Debussy wrote chiefly for the piano, rejecting the traditional percussive approach to the instrument and emphasizing instead its capabilities for delicate expressiveness. His most important works of this period include Estampes (Engravings, 1903), L'ile joyeuse (The Isle of Joy, 1904), Images (two series, 1905 and 1907), and several preludes. In 1909 Debussy learned that he was afflicted with cancer. Most of his late works are chamber music, including three extraordinary sonatas, for cello; for violin; and for flute, viola, and harp. Among Debussy's numerous other important works are the ballet score Jeux (Games, 1912), the orchestral poem La mer (The Sea, 1905), and the songs in Cinq poemes de Baudelaire (Five Poems of Baudelaire, 1889;). The innovations of French composer Claude Debussy make him among the greatest and most important composers of the 20th century. His compositional style has often been associated with the French impressionist painters who flourished at the end of the 19th century. His compositions were different from most romantic era program music in that the point was not merely to express an idea or tell a story, but rather to create an “atmosphere” through sound sketches and rich, though seemingly subdued instrumentation. The music of Debussy's mature style was the forerunner of much modern music and made him one of the most important composers of the late 19th and early 20th centuries. His innovations were chiefly harmonic. Although he did not devise the whole-tone scale, he was the first composer to exploit it successfully. His treatment of chords was radical for its time: Taking advantage of their individual colors and effects, he arranged them so as to weaken, rather than support, the illusion of any specified key. The lack of fixed tonality in Debussy's music gives it a dreamy quality that some critics of his time referred to as musical impressionism, after the resemblance they saw to the pictorial effect achieved by artists of the impressionist school. The term impressionism is still used to describe Debussy's work. Debussy himself did not create a school of composition, but he liberated music from the limitations of traditional harmony. Moreover, the high quality of his output proved to later composers the validity of experimenting with new ideas and techniques. 1. Answer the following questions: 1. What is Debussy’s nationality? 2. Where was he born? 3. Which works of Russian composers did he become acquainted with? 4. Which new elements did he use in his works? 5. When did he compose his first mature orchestral work? 6. What kind of music did he write from 1902? 7. Why was Debussy the greatest and most important composer of the 20th century? 8. Is the term impressionism used to describe Debussy’s work? 9. Have you ever listened to the works by Debussy?
KARATE Karate (Japanese, “empty hand”), martial art of unarmed self-defense in which directed or focused blows of the hands and feet, accompanied by special breathing and shouts, are dealt from poised positions. More than a method of combat, karate emphasizes self-discipline, positive attitude, and high moral purpose. It is taught professionally at different levels, and under different Asian names, as a self-defense skill, a competitive sport, and a free-style exercise. Karate students, dressed in the traditional garment, called gi, practice sparring. Besides being a method of self-defense, karate is also a form of exercise, a competitive sport, and a mental discipline. The art of karate is more than 1000 years old and originated in eastern Asia, first as monastic training and later as a defense method used by Chinese peasants against armed bandits. During the 17th century it became highly developed as an art on the island of Okinawa, Japan. In 1922 karate was introduced to the Japanese public by an Okinawan, Funakoshi Gichin, and the art is today chiefly associated with Japan. It was introduced into the U.S. after World War II. Many types, including Korean (tae kwon do) and Chinese styles, are taught in the U.S. Karate is related to judo and jujutsu, but stresses techniques for striking, with lethal kicks and punches, rather than wrestling or throwing an opponent. The three elements of speed, strength, and technique are vital to karate expertise. Constant alertness and a keen sense of timing and surprise are also requisites. Great attention is given to knowing the most vulnerable points of the human body, which may be attacked by the hands, elbows, knees, or feet. These areas include the face, neck, solar plexus, spinal column, groin, and kidneys. In ordinary karate competitions or exhibitions, only the area of the body above the waist is allowed as a target, and all blows are to be pulled. The karate trainee toughens hands and feet by driving them into containers of sand, rice, or gravel and by striking sandbags and special punching boards. Constant exercises are important for limbering up and for strengthening the muscles of the body. Deep-breathing exercises are also useful because exhalation and sudden shouts accompany the directed blows, particularly the final or so-called killing blows. Such breathing and cries help the rhythm of the karate attack, focus more force in each blow or block, and psychologically invigorate a person while disconcerting the opponent. The language of karate is chiefly Japanese. A karate training hall or gym is called a dojo, and the white, pajamalike garment worn in all training is called the gi. More than 200 specific Japanese terms are used for the various blows and moves that are employed in formal exercises called kata. Degrees of achievement are formally recognized in karate training, each represented by a cloth belt of a particular color worn around the gi, the usual colors being, in ascending order, white, green, purple, brown, and black. Qualifications for belts differ from school to school, depending upon the style and standard of karate taught. The black belt, or dan, signifies the highest proficiency in karate and, like the other belts, is itself qualified by degrees of honor or skill, the highest dan being the ninth or tenth degree.
1. What is it “karate”? 2. What does karate emphasize? 3. When and where did karate appear at first? 4. What country is the art “karate” associated with? 5. Does karate stress techniques for striking rather than wrestling and throwing an opponent? 6. In karate what points is great attention given to? 7. How does the karate trainee toughen hands and feet? 8. Why are deep-breathing exercises very useful in karate? 9. What is the language of karate? 10. How can you recognize the degree of achievement in karate?
Gymnastics, competitive sport that tests an athlete's strength, rhythm, balance, flexibility, and agility. There are three major forms of competitive gymnastics: artistic gymnastics, rhythmic gymnastics, and trampoline. Artistic gymnastics and trampoline have men’s and women’s competitions. Rhythmic gymnastics is open only to women. Artistic gymnastics consists of prescribed sets of events, each of which is scored separately by judges to determine a winner. Rhythmic gymnastics consists of several events in which the gymnasts use objects such as balls and hoops while performing choreographed routines, which are judged to determine a winner. In trampoline, gymnasts bounce up and down on a trampoline and are judged on the movements they perform while airborne. The term gymnastics also refers to a system of physical exercises used for therapeutic or educational purposes. Therapeutic or remedial gymnastics is a series of selected exercises that help relieve physical discomfort or restore function to disabled people. Educational gymnastics is a program that challenges students to master tactics involving strength, flexibility, and conditioning. Artistic gymnastics competition has been part of the modern Olympic Games since the Games began in 1896. Extensive television coverage helped the sport gain great popularity in the late 20th century. Men compete in six different events in artistic gymnastics. The events are as follows: floor exercise; pommel horse; rings; vault; parallel bars; horizontal bar. Women compete in four events in artistic gymnastics. The events are as follows: vault; uneven bars; balance beam; floor exercise. In rhythmic gymnastics, which became an Olympic sport in 1984, gymnasts compete on a mat. Using rope, a hoop, a ball, clubs, and a ribbon (in separate events), they perform choreographed movements set to music. Some acrobatic movements are permitted, but no flight is allowed Trampoline first appeared in the Olympics as a medal sport at the 2000 Games in Sydney, Australia, with a men’s individual event and a women’s individual event. Contestants bounce up and down on a trampoline while performing somersaults, twists, and other movements. Athletes can bounce up to 9 m high, and some gymnasts can stay in the air for up to two seconds. The first gymnasts were acrobats who performed in ancient Egypt. In the 2nd millennium bc, men and women of Crete (Kriti) during the age of Minoan culture developed the art of bull leaping. In bull leaping the performer would run toward a charging bull, grab its horns, and, upon being tossed into the air, execute various midair stunts before landing on the bull's back, then dismount with a flip. In the early 1800s a form of gymnastics developed in Germany as a defined set of skills performed both with and without specific kinds of apparatus. German educator Friedrich Ludwig Jahn, known as the father of gymnastics, planned exercises using pieces of stationary apparatus to develop self-discipline and physical strength. The Swedish system, devised by gymnast Pehr Henrik Ling, emphasized, on the other hand, rhythm and coordination through routines practiced with hoops, clubs, and small balls. German and Swedish immigrants to North America in the 19th century brought their commitment to gymnastics with them. A compromise between the German and Swedish system was introduced into school physical education programs in the United States by the end of the 19th century. European gymnastics did not, however, generally appeal to American and Canadian children. Rather, the predominantly English cultural heritage had created an atmosphere in which games were preferred to the rote patterns of exercise. In fact, gymnastics did not achieve popularity in North America until the 1970s, when gymnasts at the Olympics captured the public’s imagination. 1. Answer the following questions: 1. How many major forms of competitive gymnastics do you know? 2. Does the term ‘gymnastics’ mean only the kind of competitive sport? 3. What are men’s events in artistic gymnastics? 4. What are women’s events in artistic gymnastics? 5. What sport equipment does the gymnast use in rhythmic gymnastics? 6. What is it ‘trampoline’? 7. Where and when did gymnastics begin its existence? 8. Who was the father of gymnastics?
Tango, Argentine dance and musical genre, rooted in a combination of African, European, and native Argentine music and dance traditions.Often referred to by Argentines as "a sad feeling that can be danced," the tango has become one of the most popular dance and musical forms worldwide. As a dance, the tango requires a couple to be chest-to-chest, in a tight embrace. As a musical form, tango has evolved from improvised dance pieces of the mid- to late 19th century – often performed by black and mulatto instrumentalists – to the modern nuevo tango compositions of the late Argentine musician Astor Piazzolla. The black community of Buenos Aires played an indirect but significant role in the creation of the tango. By the mid-19th century, nearly a quarter of Buenos Aires's inhabitants were black, owing to the city's role as a port of entry for the slave trade in the previous century. Argentine blacks, who resided in poor neighborhoods, succeeded in preserving their culture through community events such as dance and music festivals. The most popular Afro-Argentine dance was the candombe, which fused syncopated rhythms and improvised steps from various African traditions. According to the early Argentine scholar of tango, Jose Gobello, the candombe was the precursor of the tango. Gobello suggests that contact between Afro-Argentines and the compadritos – poor urban street roughs, who recalled in their behavior and dress the 19th-century gaucho, or Argentine cowboy – gave rise to the tango at a late 1870s dance venue. Many of the early tango musicians were Afro-Argentine: the noted pianist Rosendo Mendizabal played a central role in the development of tango music, while Sebastian Ramos Mejia became the first notable player of the bandoneon – an accordion-like instrument of German origin that later became fundamental to tango music. The Argentine historian Ricardo Rodriguez Molas contends that the word "tango," which in certain African languages means "closed place" or "reserved ground," is likely to be of African origin. Other scholars have traced the word back to the Latin verb tangere, meaning to touch; they believe that African slaves might have picked up the word "tango" from their European captors. In many parts of Latin America, "tango" came to connote a place where blacks, both free and enslaved, gathered together to dance; while in Argentina, "tango" came to be associated with black dances in general. "It was in this sense," notes Collier, "that the word eventually reached Spain, as a name for African-American or African-influenced dances of transatlantic provenance." Before World War II, the tango was developed in dance halls, cafes, and brothels in the working-class barrios (districts) of Argentina's major cities. By 1913 the tango had become popular among the Argentine middle classes, who contributed to the development of a tango craze in Europe and Russia. Since the golden age of tango in the 1920s, tango music and dance have continued to gain popularity worldwide. 1. Answer the following questions: 1. What is it ‘tango’? 2. As a dance, what does tango require? 3. As a musical form, what has tango evolved from? 4. Who played the significant role in the creation of the tango? 5. What musical instrument became fundamental to tango music? 6. How many versions about the origin of the word ‘tango’ are there? 7. How can you describe this style of dancing ‘tango’? 8. Is it popular in our country?
Rumba, a secular Afro-Cuban performance ritual synthesizing dance, song, and music. During the 18th century, large numbers of slaves of Yoruba, Calabar, and Kongo descent were brought to Cuba to work in the sugar-producing region of Matanzas. Following the abolition of slavery in 1886, these and other liberated blacks headed to Cuba's urban centers in search of employment and settled on the outskirts of the cities. The rumba was born out of festive social gatherings in the suburban environment of Matanzas during the late 19th and early 20th centuries. Rumba synthesizes African-derived rhythms, songs, and dances, in particular those of Bantu origin. Rumba soon spread to Havana and other parts of Cuba and, after World War II, was exported to Europe and the United States, where it was modified into a type of ballroom dance. A number of percussive instruments accompany the rumba. Originally, empty drawers turned upside down, empty bottles, frying pans, and spoons were used to make music for the rumba. Subsequently, rumba musicians replaced these instruments with wooden boxes, in particular those used to package salted cod and candles. Although wooden boxes are still occasionally incorporated, today rumba instrumentation usually features three conga drums, which are collectively referred to as the tambores Other instruments in the rumba repertoire are the cata or guagua (a wooden tube played with sticks), the guiro (a serrated wooden cylinder played with a metal pick-like object), and either the maruga (an iron shaker) or the maracas. The claves (two hardwood sticks) are struck together to produce a syncopated beat of the same name (clave), which provides a distinctive ground rhythm for the other instruments. There are three types of rumba: yambu, guaguanco, and columbia, each with its own unique rhythms, song format, and dance steps. Of these, the guaguanco is the most popular. It is faster than the yambu, but slower than the columbia. The music for guaguanco has the following structure. After the claves have set the tempo for the song, the drums and the other instruments gradually join in, and the singer enters with the diana, a short string of melodic syllables. The singer, who is usually a man, then proceeds to sing an extended, lyrical solo or duet, known in Spanish as the canto, which often recalls and comments upon a certain person or event. The singer eventually indicates a phrase in the song that will be used as the chorus. The dancers usually enter after the chorus has started. An animated call-response section begins in which the singer begins to improvise lines, which alternate with the chorus. This exchange may continue for several minutes before the song ends. In the guaguanco, a male dancer tries to attract the female dancer, but she flirtatiously avoids his advances. While circling around her, the male dancer intermittently makes a quick gesture with his hand or leg that symbolizes an attempt to "possess" the female dancer, who responds by quickly covering her pelvic region with her hands or crossed arms. The ultimate possessive gesture is a pelvic thrust by the male called the vacunao. The dance ends when the male has successfully caught the female off-guard with the vacunao or when the female dancer proves herself to be impervious to the male dancer's efforts to possess her. The yambu is a slower dance in which a male and female performers dance as if they were elderly. The male does not do the vacunao in this dance. The yambu is the least-frequently performed type of rumba. The columbia is the fastest and most acrobatic of the three types of rumba. Its rhythmic patterns are short and sharp, and it is done by a solo male dancer. Some of the steps are closely related to those performed by members of all-male secret societies known as Abakuas Unlike the other two forms of rumba, columbia's lyrics sometimes include words and phrases in African languages, in particular Yoruba. Rumba continues to be a vital tradition at the grassroots level, especially in and around Matanzas and Havana.
1. What is it ‘rumba’? 2. How and when was rumba born? 3. What does rumba synthesize? 4. What happened to rumba in Europe and the United States? 5. What percussive instruments does the rumba accompany? 6. How many types of rumba do you know? 7. How does the male dancer behave in the guaguanco? 8. Is the yambu slower than the guaguanco? 9. What is the structure of the columbia? 10. Is rumba very popular in our country?
Samba, Brazil’s most famous musical genre and dance, created by Brazilians of African descent living in Rio de Janeiro during the late 1800s.To Brazilians, samba is many different things: abandon and solace, celebration and exuberance, national identity and pride. Though samba is most closely associated with the pre-Lent festivities known as Carnival, there are several forms of samba that are played year-round in various contexts. Percussive instruments dominate samba and give it a highly syncopated, layered sound. Technically, a 2/4 meter with the heaviest accent on the second beat and a stanza-and-refrain structure characterize samba. Samba is rooted in the music and dance traditions of Angola, the African kingdom (now country) that was home for many of the slaves brought to Brazil. The word samba is believed to have derived from the Kimbundu word semba, a circle dance that features a navel-touching dance step. Many historians trace the musical roots of samba to the lundu music tradition brought to Brazil by slaves from Angola. This African dance and form of music are two of the numerous elements that were fused to create samba in Rio de Janeiro during the late 1800s. Following the abolishment of slavery in 1888 and the subsequent decline of the plantation economy, a large number of ex-slaves living in the northern region of Brazil migrated south to Rio de Janeiro in search of opportunity. Some settled on the steep hillsides surrounding the city, the morros, while others settled in a central part of the city in the neighborhood of Estacio near Praca Onze (Plaza Eleven). Praca Onze and the houses of prominent black women known as tias (aunts), who sold African food and led services for the worship of African gods, became meeting places for black musicians. The music they played–lundu, polka, habanera as well as marcha and maxixe, two popular types of Brazilian music–factored in the creation of samba music. Pioneering musicians such as Ismael Silva distinguished samba from marcha and maxixe by slowing the tempo, and adding longer notes and two-bar phrasing. The traditional form of samba is played on a four-stringed, ukulele-like instrument called cavaquinho; a shallow, covered drumhead with jingling disks called the pandeiro; and its smaller, cymbal-less counterpart the tamborim, which is played with a stick. This form of samba later became known as the samba de morro. Numerous forms of samba developed out of the traditional samba de morro. One of the earliest was samba de breque, a style developed during the 1930s by singer Moreira da Silva. In songs such as "Acertei no Milhar" (I Hit Upon Thousands, 1938), Silva would periodically stop the song in order to dramatize the situation he was singing about through improvised dialogues. This form of samba became known as samba-cancao and is associated with composers such as Noel Rosa and Ary Barosso. Barosso spawned yet another form of samba in 1939 when he recorded one of the most famous Brazilian songs of all time, "Aquarela do Brasil" (Watercolor of Brazil). This song launched a new category of samba called samba-exaltacao (samba of praise) that celebrated the natural wonders of Brazil. In the 1970s several musicians living in Ramos, a suburb of Rio, espoused a form of samba known as samba-pagode. They incorporated a type of drum called the tan-tan, exchanged the cavaquinho for a banjo, and sang about daily life in a colloquial language that gave their music an unpolished, down-to-earth quality. While it was initially limited to informal settings such as parties, singer Beth Carvalho popularized samba-pagode through her 1983 album Beth Carvalho no Pagode. Numerous other forms of samba thrive in Brazil today, including samba de gafieira, samba de roda, and samba-reggae.
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