Integrative motivation and global language (English) acquisition in Poland

This study investigated the consistency of a measure of integrative motivation in the prediction of achievement in English as a foreign language in 18 samples of Polish school students. The results are shown to have implications for concerns expressed that integrative motivation might not be appropriate to the acquisition of English because it is a global language and moreover that other factors such as the gender of the student or the environment of the class might also influence its predictability. Results of a hierarchical linear modeling analysis indicated that for the older samples, integrative motivation was a consistent predictor of grades in English, unaffected by either the gender of the student or class environment acting as covariates. Comparable results were obtained for the younger samples except that student gender also contributed to the prediction of grades in English. Examination of the correlations of the elements of the integrative motivation score with English grades demonstrated that the aggregate score is the more consistent correlate from sample to sample than the elements themselves. Such results lead to the hypothesis that integrative motivation is a multi-dimensional construct and different aspects of the motivational complex come into play for each individual. That is, two individuals can hold the same level of integrative motivation and thus attain the same level of achievement but one might be higher in some elements and lower in others than another individual, resulting in consistent correlations of the aggregate but less so for the elements.

Form, fi gure, and the experience of time in seven southern composers of the 1950s-60s

After the 1980s it is diffi cult, following stylistic criteria, to draw a map of contemporary academic music. All styles are compossible, and all are practiced. In this context, the geographical entity “South of Italy” does not stand out for a musical identity with special technical-stylistic features. Rather, at a socio-cultural level, the South remains today – in music no less than in all areas where there is a gap between top development and stagnation – a land of emigrants: six out of the seven composers treated (Ivan Fedele, Giuseppe Colardo, Rosario Mirigliano, Giuseppe Soccio, Nicola Cisternino, Biagio Putignano, Paolo Aralla) live in the North of Italy. The positive aspect of this is the affi nity of the South with the transnational and superstructural community of contemporary music, which from European and Western has now become almost global. The composers under consideration belong to the generation of the ‘50s, rooted in the serial and post-serial movements (from which Franco Donatoni, Luciano Berio, Luigi Nono, Salvatore Sciarrino, Giacinto Scelsi, are the principals models, to mention only the Italians), dipped in the general phenomenon of timbrism (particularly spectralism), and acquainted with electronics. They draw from these sources various instruments of compositional technique and aspects of their poetics. In particular these composers, active from the ‘80s, develop new ways of construction of the temporal form of music. They share the goal to establish a new continuity, different from the tonal one but at the same time transcending the serial and post-serial disintegration and fragmentation. The primary means to this end is a new enhancement of the category of fi gure, as a clear and distinct, recognizable aggregate of pitches, intervals, register, durations, timbre, articulation, dynamics, and texture. Each composer elaborates the atonal fi gural material in different ways, emphasizing one aspect or another. For example, Fedele (1953) is a master in the management of form per se, Colardo (1953) in the activation of disturbed harmonic effects, Mirigliano (1950) in the creation of a slight tension from the smallest vibrations of sound, Soccio (1950) in the set up of movement by means of accumulations and discharges of energy, Cisternino (1957) in a Cagean-Scelsian emphasis on sound as such, Putignano (1960) in the suspension of time through the succession and transformation of images, Aralla (1960) in the foundation of form from below, from the concreteness of sound.