http___livro-ensino-medio.f1cf.com.br_sociologia_hr_sociology-151.html_1.xml
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What is the rhythm of music you "likes"? We have at our disposal various musical styles with different rhythms, organized by various durations and intensity of movements. The composers combine excerpts of songs in one or more rhythms that make the same express in all its features, both the message and the emotion contained in the letters. Much of the music produced during the military regime by leftists and opposition to authoritarianism, were built by rhythmic compositions and several other strategies to pass unnoticed by the censorship of the period. When listening to a song we are attracted not only by the content of the letters, but also to its rhythmic characteristics, melodic and harmonic. Some people like to set rhythms and slow, like the waltz, for example, or fast rhythms and strong, like samba, rock, etc.. ACTIVITY Let us understand how Chico Buarque and Geraldo Vandré used the rhythmic compositions to express their messages from their songs to "escape" the censorship of the Military Regime: "Not to say I did not speak of flowers" and "Wheel alive." Read the verses below and solve the issues: Whirl, Chico Buarque (1967): Some days it feels Like who left or died We halted suddenly Or was the world then that grew We want to have a voice In our destiny send But then comes the whirlwind And carries fate it go wheel world ferris wheel mill-wheel, spinning wheel Time ran laps In an instant my heart ... Not to say that I did not speak of flowers, Geraldo Vandré (1968): The fields hunger in large plantations marching the streets are still undecided cords flower their strongest refrain And believe in winning the canyon flowers Come, let's go to wait not know Who does know the time, do not expect to happen There are armed soldiers, beloved or not almost all lost arms in hand In the barracks they teach an old lesson: To die for their country and to live without reason ... Try to understand how the authors built their songs, identifying the relationship is between: the historical context (social reality), the lyrical content and pace that characterize this type of music. List the songs with the current social and cultural reality of our country, identifying their criticisms valid for the Brazilian reality. Assemble a group of students and present these issues in the classroom. Culture and Cultural Industries
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Što je ritam glazbe koju "voli"? Imamo na raspolaganju raznih glazbenih stilova s različitim ritmovima, u organizaciji različitih trajanja i intenzitet kretanja. U skladatelji kombiniraju izvatke iz pjesme u jednom ili više ritmova koje čine isti izraziti u svim svojim značajkama, i poruku i emociju sadržana u pismima. Puno glazbe proizvedene tijekom vojnog režima od strane ljevičara i protivljenja autoritarnosti, izgradili su ritmičke kompozicije i nekoliko drugih strategija proći nezapaženo od strane cenzure razdoblju. Kad slušate pjesmu smo privlači ne samo po sadržaju pisama, ali i svojim ritmičkim svojstvima, meloharmonijska. Neki ljudi vole davati ritam i usporiti, poput valcera, na primjer, ili brzim ritmovima i jak, kao sambe, rock, itd.. AKTIVNOST Neka nas razumjeti kako Chico Buarque i Geraldo Vandré koristi ritmičke kompozicije izraziti svoje poruke od svojih pjesama "pobjegne" cenzuriranje vojnog režima: "Ne kažem ja nisam govorio cvijeća" i ". kotača živa" Read stihovi ispod i riješiti probleme: Vrtlog, Chico Buarque (1967): Neki dan se osjeća kao koji su ostavili ili umrli smo se odjednom zaustavila Ili je svijet tada rastao Želimo imati pravo glasa U našoj sudbini slanje Ali onda dolazi vrtlog i nosi sudbinu prošlo kolo svjetski Ferris kotač mlin kotač, kolovrat Vrijeme trčao krugove u trenu mom srcu ... To ne znači da ja nisam govorio o cvijeću, Geraldo Vandré (1968): Polja glad u velikim plantažama marširaju ulicama su još uvijek neodlučni kablovi cvijet njihova najjača Refren I vjerujem u pobjedu kanjonu cvijeće Dođite, idemo čekati ne zna tko ne zna za vrijeme, ne očekuju se dogoditi Postoje naoružanih vojnika, dragi ili ne i gotovo sve izgubljene ruke u ruku u vojarni koje predaju staru lekciju: umrijeti za svoju zemlju i živjeti bez razloga ... Pokušajte shvatiti kako su autori izgradili svoje pjesme, identificiranje odnos je između: povijesni kontekst (društvena stvarnost), lirski sadržaj i tempo koji karakteriziraju ovu vrstu glazbe. Popis pjesama s aktualnom društvenom i kulturnom stvarnošću naše zemlje, identificira njihove kritike valjane za brazilski stvarnosti. Okupite grupu studenata i prezentirati ova pitanja u učionici. kulture i kulturne industrije