Instrumental

ÖZET Tarih sahnesinden, farklı biçimlerde yorumlanan, mirası farklı boyutlarda değerlendirilenler yalnızca siyasi kişilikler ya da Napolyon gibi askeri portreler değildir. Çoğu zaman kültürel aktörler, müzisyenler örneğinde olduğu gibi benzer bir yaklaşımla karşı karşıya kalırlar. Türk musikisinde icra alanında en önemli portreyi oluşturan Tanburî Cemil Bey de kimilerine göre bir gelenek yıkıcı kimilerine göre ise geleneğin benzersiz sesi olarak değerlendirilebilir. Tanburî Cemil Bey, yaşadığı dönemde yarattığı tüm sıra dışı etkiye rağmen sonraki yıllarda büyük bir ihmale uğramış, adeta unutulmaya terk edilmiştir. Oysa 1950'li yıllarda Niyazi Sayın ve Necdet Yaşar gibi değerli genç icracılar onu yeniden plakları üzerinden keşfetmişler, müzikal mirasını yorumlayarak modern çağa taşımışlardır. Bu genç kaşifler Cemil Bey'i yeniden, müziğin anlam dünyasında var edebilmişlerdir. Özellikle Niyazi Sayın, Tıpkı Cemil Bey'in yaptığı gibi klasik tavrın dışına çıkarak yeni bir tavır inşa edebilmiştir. Kısacası yaratıcı sanatçılarda ortak bir özellik olarak nitelendirilen " yaratıcı yıkıcılık " süreciyle bir geleneği yıkmış, yerine çok etkili olacak yeni bir gelenek kurabilmiştir. Bu tebliğde Neyzen Niyazi Sayın'ın Cumhuriyet döneminde Cemil Bey'in müziğinin kültürel taşıyıcılarından biri ve aynı zamanda kaynağa yönelik kâşif bir portre olarak analizi yapılacaktır. ABSTRACT It is not only political personalities or military portraits like Napoleon, which are interpreted in different forms and interpreted in different dimensions of history. Often, cultural actors face a similar approach, as is the case with musicians. Tanburî Cemil Bey who constitutes the most important portrait in the field of performing in Turkish musicals, according to some he is destroyer of tradition and according to others he is as an unique voice according to tradition. Tanburî Cemil Bey suffered a great deal of neglect in the following years despite all the extraordinary effects he had created in his life, and he was almost forgotten. However, in the 1950s, valuable young performers like Niyazi Sayın and Necdet Yaşar discovered it again on their recordings and interpreted the musical heritage and moved to modern age. These young explorers have been able to bring Cemil Bey back to the meaning of music again. Niyazi Sayın, in particular, was able to build a new attitude out of the classical attitude just as Cemil Bey did. Shortly, in the process of "creative destructiveness", which is described as a common feature in creative artists, a tradition has been able to break down a tradition and become a new and very effective one. In this paper, Neyzen Niyazi Sayın will be analyzed as one of the cultural bearers of Cemil Bey's music during the Republican period and as an explorative portrayal of the source at the same time.

This research aims to Enhance creativity Indonesian narrative essay writing through project based learning models with instrumental music learning in class V SD LPI At-Taufiq, District CempakaPutih, Central Jakarta, Jakarta, in the academic year 2017 / 2018.This research is a classroom action research, conducted collaboratively between Researchers and collaborators. Data collected through observation, testing and documentation. Data collection instruments were used that observation sheets, guidelines on the assessment tests and cameras. Data analysis with qualitative descriptive techniques statistics The results Showed learning project based learning models with instrumental music can Enhance students' creativity narrative essay writing. Improvement based on the quality of learning and behavior of students in the pre-action, the first cycle and the second cycle. Improvement can also be seen from the scores and percentages. The number of students who enter the category of creative pre-action as much as 3 students or 8:57%, First cycle 14 students 40% and cycle II 8 students Categorized as very creative and 21 students get creative category, meaning there were 29 students who completed or 82.85% of the total classical.

El texto se fundamenta en la idea de Horkheimer sobre la razón instrumentalista que impera por sobre una razón critica, esto se traslada al proceso de diseño desde el boceto para proponer algunas características con este fin y trabajarlas en el aula. El texto está dividido en tres partes: la reflexión del dibujo vs. el boceto, la propuesta de las características del bocetaje, y la relación entre el boceto y la metodología. Lo anterior, en una reflexión amplia, permite visualizar la actividad de bocetar como imprescindible para la metodología del diseño y alejarla de la situación que actualmente vive, donde un número de dibujos difícilmente resuelve un problema de diseño o donde el bocetaje se vuelve obsoleto porque el estudiante no lo toma en cuenta al utilizar un programa computacional.

The phrases mirti bad-u (‘to die hunger-ɪɴs.sɢ’), mirti iš bad-o (‘to die iš hunger- ɢᴇɴ.sɢ’), mirti nuo bad-o (‘to die nuo hunger-ɢᴇɴ.sɢ’) are generally considered to be synonymous ways to express a cause of death. Still, if the instrumental case, the preposition iš and the preposition nuo may be interchangeable with- out a difference of interpretation in this expression out of context, these three syntactic constructions cannot be considered equivalent: precise analysis of the contexts where these constructions occur shows that each construction corresponds to a specific semantic value, which distinguishes it from the other two. In sum, these two syntactic constructions provide three different representations of the event ‘die of hunger’, hence, in some contexts, the sub- stitution of one construction for another is not possible. The analysis of this micro phenomenon will enable us to extend our study to other expressions involving a cause, to propose definitions of the semantics of the instrumental case and of the prepositions iš and nuo and finally to observe that ‘cause’ is a complex label covering very different situations which arise directly from the forms constructing them.

La tesi magistrale verte sull'analisi della desinenza proto-indoeuropea *-bhi: dopo averne affrontato le questioni etimologiche, la ricerca si concentra sulle occorrenze micenee di -pi e su quelle omeriche di -φι. Accanto ai metodi di analisi e alle terminologie più tradizionali, si farà uso anche di un approccio più specificamente linguistico, basato sul concetto di ruolo semantico: i ruoli semantici, infatti, rappresentano un valido supporto alla comprensione di usi e funzioni della desinenza.
Grazie ai dati emersi dall'analisi delle tavolette di Pilo, di Cnosso e di Tebe e dai poemi omerici, sarà possibile mostrare, nelle Conclusioni, che -pi e -φι sembrerebbero essere desinenze vere e proprie, più che forme avverbiali o cristallizzate. Inoltre, in particolare grazie all'analisi condotta su alcune occorrenze omeriche, si avanzerà anche l'ipotesi che i poemi contengano possibili costrutti achei, rappresentati dai sintagmi con 'preposizione ablativale + -φι', nei quali la desinenza parrebbe sostituire il dativo, il caso al quale -φι, come è reso evidente dall'analisi svolta, sembrerebbe essere accostato per funzioni e ruoli semantici espressi.

In recent decades, practitioner interest in the notion of 'play' at work has generated a surge of research on the topic of play-at-work activities. Findings suggest that activity-based play-at-work can produce an array of positive outcomes for individuals and the organization. However, there remains uncertainty about which forms of play are effective for meeting which particular objectives as past reviews have either focused on a narrow activity or treated all activities as uniform. In this paper, we draw on knowledge from the play and management literatures to review 122 studies of activity-based play-at-work and its outcomes. By identifying several activity-based play-at-work concepts from the literature, we apply both theoretical and data-driven approaches to generate a two-dimensional typology comprising four categories. These categories are manager-initiated work-embedded play (e.g., serious play), self-/peer-initiated work-embedded play (e.g., experiencing one's work as a 'game,' 'puzzle,' or 'sport'), manager-initiated diversionary play (e.g., celebrations), and self-/peer-initiated diversionary play (e.g., joking practices). In our discussion, we unify play-at-work activities under an energy-management framework and consider implications for understanding each of the four categories in our typology using both theories applied in past research and energy-related theories from neighboring literatures.

Sustainable competitive advantage lies in the intellectual capital of firms, where it has become important to retain employees and train them for future leadership. Hence, firms must recognize the importance of the work values and attitudes of the employed Generation. Understanding Generational diversity and using the right strategy is crucial for the firm’s success. Theorization of Generational differences have been applied in Western Cultures more often than Eastern Cultures, hence this research expanded the concept of Generational diversity to the banking workforce of Karachi, Pakistan. The relationship between Generation X and Y work values and attitudes on employee performance was examined. Three hundred people from Generation X and Y were taken as a sample from the Commercial Banks in Karachi and responses on different work attitudes and values were taken. It was found that values and attitudes have a significant relationship with employee performance for both Generation X and...

В работе описывается употребление беспредложного творительного падежа, предлога is и предлога b(r)ez в среднечакавском говоре села Куклица на острове Углян.

В куклицком и многих соседних чакавских говорах беспредложный творительный (БТ) употребляется довольно широко. Этот факт противоречит расхожему мнению, что в чакавском наречии (в особенности в северночакавском и среднечакавском диалектах) БТ практически нет. БТ в куклицком говоре имеет почти такие же семантико-синтаксические функции, как и в хорватском литературном языке. При этом в куклицком говоре нет т.н. предикативного творительного, которому в куклицком соответствует либо им., либо вин. падеж. В отличие от хорватского лит. языка, в куклицком говоре имеется комитативный БТ. Именно он может, в том числе, употребляться как именная часть сказуемого при связке.

Предлог is (только с творительным падежом) употребляется и в варианте sa. Вариант sa обязателен непосредственно при автонимно употребленном тексте и в некоторых подобных случаях, в иных же случаях встречается лишь изредка и только у менее консервативных носителей. Is имеет комитативное и инструментальное значения. В обоих значениях is пересекается с БТ.

Комитативное (в широком смысле) употребление предлога is/sa примерно такое же, как употребление хорв. лит. s(a). Среди синтаксических конструкций с комитативным is особого внимания заслуживает своеобразная сочинительная формально-комитативная конструкция (ФКК). Её употребление по сравнению с одноимённой конструкцией в русском языке очень ограничено. В комитативном же БТ, в отличие от конструкции с предлогом is, спутник может быть (почти) только неодушевленным, а также не выступает ни актантом, ни членом сочинительной ФКК. Имеются также некоторые другие ограничения на комитативный БТ.

Инструментальное is обязательно при несклоняемых группах и при личных местоимениях. Оно также почти всегда употребляется при группах с указательными местоимениями типа ʽэтотʼ, ʽтотʼ. При нераспространённых существительных инструментальное is встречается редко (отмечено несколько примеров, главным образом в значении инструмента). В известной мере схожее распределение предлога с(а) и БТ в одном и том же значении между местоимениями и существительными в черногорском селе Завала толкуется в Соболев 2006: 62-3 как результат аналогического воздействия одушевленных существительных на местоимения. Судя по говорам, в которых комитативное is/s(a) чаще стоит при местоимениях, чем при одушевленных существительных (Куклица, Преко, Банялука (Пецо 1956), простая аналогия с одушевленными существительными — вряд ли лучшее объяснение данного феномена. В настоящей работе предлагается комплексное объяснение, в котором главную роль играют структурные особенности личных местоимений.

Предлог b(r)ez формально специфичен тем, что иногда имеет собственное ударение, которое, пожалуй, можно объяснить его контрастивным значением. Семантически он отличается тем, что его, с некоторыми оговорками, можно рассматривать как предлог ис (главным образом комитативный) под отрицанием. Тем не менее, семантические и синтаксические отношения предлогов b(r)ez и is довольно асимметричны. Интерес с типологической точки зрения вызывает то, что предлог b(r)ez обладает посессивным значением в большей степени чем предлог is.

Intrinsic value is a concept central to the environmentalist movement. Whether one believes that natural objects have intrinsic value is supposed to determine whether one takes a ecocentric or homocentric approach to environmentalism, whether we practice deep or (merely) shallow ecology. Yet this concept is also a center of controversy and confusion. Just what does it mean for something to have intrinsic value? Is it the same thing as inherent value? Is it "objective" value? What of extrinsic, or, instrumental value? Is it somehow less objective? Questions such as these will be the subject of my paper. After a brief historical analysis of the relevant concepts, I shall consider the problem in the context of a wetland in the intercoastal waterway of Northeast Florida and propose a theory of intrinsic value based on the philosophy of John Dewey and George Herbert Mead.[i] Although we're unlikely to reach full agreement on some of these questions, I believe that we can come to agree enough on the intrinsic value of our environment to build a consensus in public policy.

Sustainable competitive advantage lies in the intellectual capital of firms, where it has become important to retain employees and train them for future leadership. Hence, firms must recognize the importance of the work values and attitudes of the employed Generation. Understanding Generational diversity and using the right strategy is crucial for the firm’s success. Theorization of Generational differences have been applied in Western Cultures more often than Eastern Cultures, hence this research expanded the concept of Generational diversity to the banking workforce of Karachi, Pakistan. The relationship between Generation X and Y work values and attitudes on employee performance was examined. Three hundred people from Generation X and Y were taken as a sample from the Commercial Banks in Karachi and responses on different work attitudes and values were taken. It was found that values and attitudes have a significant relationship with employee performance for both Generation X and...

The Rehearsing in Style article published in 2007 in TEMPO Music Educators' Magazine, discusses the importance of considering style first when rehearsing a band or any other ensemble.  Notes and Rhythms, as well as dynamics, are not the end-all in any level of the ensemble.