Culturally appropriate activities for Spanish speaking families and educators of children who are deaf or hard of hearing

A look at teaching language to a child who is deaf or hard of hearing from a Spanish speaking home. A guide, including songs, activities and wordlists for families and teachers of the deaf.

Volatile profile of Spanish Cistus plants as sources of antimicrobials for industrial applications

Cistus is a plant genus traditionally used in folk medicine as remedy for several microbial disorders and infections. The abundance of Cistus spp. in the Iberian Peninsula together with their ability to renew after wildfire contribute to their profitability as suppliers of functional ingredients. The aim of this study was to provide a comprehensive characterization of the volatile profile of different Cistus plants grown in Spain:Cistus ladanifer L., Cistus albidus L., Cistus salviifolius L., and Cistus clusii Dunal (the latter has not been studied before). A system combining headspace solid-phase microextraction and gas chromatography coupled to mass spectrometry (HS-SPME-GC–MS) was implemented; thereby, the volatile compounds were extracted and analyzed in a fast, reliable and environment-friendly way. A total of 111 volatile compounds were identified, 28 of which were reported in Cistus for the first time. The most abundant components of the samples (mono and sesquiterpenes) have been previously reported as potent antimicrobial agents. Therefore, this work reveals the potential use of the Cistus spp. studied as natural sources of antimicrobial compounds for industrial production of cosmeceuticals, among other applications.

Énekszó : dalok népi versekre, op. 1 = Songs on Hungarian popular words /

16 songs based on folk texts.

The souls of black folk : essays and sketches /

Of our spiritual strivings -- Of the dawn of freedom -- Of Mr. Booker T. Washington and others -- Of the meaning of progress -- Of the wings of Atalanta -- Of the training of black men -- Of the black belt -- Of the quest of the golden fleece -- Of the sons of master and man -- Of the faith of the fathers -- Of the passing of the first-born -- Of Alexander Crummell -- Of the coming of John -- The sorrow songs.

La copla : bosquejo de un estudio folk-lórico /

"Conferencia leída en la Fiesta de la Copla que celebró el ateno de Madrid el día 6 de abril de 1910."

Eight songs with pianoforte accompaniment, op. 47 /

For medium voice and piano.

Tech songs : the M.I.T. kommers book /

For 1-4 men's voices with and without piano acc.

Mobilising of the German 1848 Protest Song Tradition in the Context of International Twentieth Century Folk Revivals

The rediscovery of democratic traditions of folk song in Germany after the Second World War was not just the counter-reaction of singers and academics to the misuse of German folk song by the Nazis. Such a shift to a more ‘progressive’ interpretation and promotion of folk tradition at that time was not distinct to Germany and had already taken place in other parts of the Western world. After firstly examining the relationship between folk song and national ideologies in the nineteenth century, this article will focus on the democratic ideological basis on which the 1848 revolutionary song tradition was reconstructed after the Third Reich. It will look at how the New Social Movements of West Germany and the folk scene of the GDR functioned in providing channels of transmission for this, and how in this process a collective cultural memory was created whereby lost songs – such as those of the 1848 Revolution – could be awakened from extinction. These processes will be illustrated by textual and musical adaptations of key 1848 songs such as ‘Badisches Wiegenlied’ (Baden Lullaby), ‘Das Blutgericht’ (The Blood Court) and ‘Trotz alledem’ (For all that) within the context of the West German folk movement and its counterpart in the GDR.

Internationalization venture analysis of NMusic to the Spanish market

Field lab: Entrepreneurial and innovative ventures

Using Songs to Improve EFL Students' Pronunciation

Se analiza la utilidad de las canciones en las clases de inglés y cómo pueden usarse para la enseñanza de la pronunciación. Estudiantes de todas las edades tienen un gran interés por la música, de modo que es un recurso que debe aprovecharse. Con el fin de comprender y mejorar la producción de distintos sonidos y elementos suprasegmentales, se presenta a los profesores de inglés como lengua extranjera para hispanohablantes estas ideas para usar canciones en la clase. Esta invéstigación está basada en la experiencia de la autora como aprendiente y docente de la lengua extranjera.The importance of using songs in the English classroom and how it can be implemented to teach pronunciation is analyzed here. Students of all ages have a strong i  nterest in music; therefore, it is a resource that should be taken into account. To understand and improve the production of varied sounds and suprasegmental features, English as a Foreign Language teachers of Spanish speakers are given these ideas to analyze songs in class. This research is based on the author's experience as a foreign language leamer and teacher.

Songs of Resilience

The chapters of this book form a persuasive chorus of social practices that advocate the use of music to build a capacity for resilience in individuals and groups. As a whole they exemplify music projects that share common features aligned with an ecological view of reform in health, education and social work systems. Internationally renowned and early career academics have collaborated with practitioners to sing ‘Songs of Resilience’; some of which are narratives that report on the effects of music practices for a general population, and some are based on a specific approach, genre or service. Others are quite literally ‘songs’ that demonstrate aspects of resilience in action. The book makes the connection between music and resilience explicit by posing the following questions—Do music projects in education, health and social services build a measurable capacity for resilience amongst individuals? Can we replicate these projects’ outcomes to develop a capacity for resilience in diverse cultural groups? Does shared use of the term ‘resilience’ help to secure funding for innovative musical activities that provide tangible health, education and social outcomes?