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Towards Natural Speech Patterns for Vietnamese Learners
Get PDFNatural speech patterns for Vietnamese learners
This paper describes methods used to assist learners in bridging the gap between their awareness of what they produce orally and what they need to produce to communicate successfully.
The techniques discussed in this session were originally designed for use with Vietnamese professionals aiming to achieve IELTS band scores from 6.0 to 7.0 and who struggled with using natural English rhythm and stress patterns in speaking, and with understanding connected speech in listening texts. This approach utilizes short video clips from YouTube and movie trailers to enable
students to identify and differentiate English versus Vietnamese speech patterns, highlighting a range of suprasegmental features
Mind The Gap: Disjoints in NZCEL Provision
Get PDFThe New Zealand Certificates in English Language (NZCEL) aim to standardize programmes across
education providers. They cover Levels 1F-5 (CEFR low A1-C1), with academic, workplace and/or
professional qualifiers from Levels 3-5. After two years of provision, there is significant concern
about the gap between L3 (CEFR B1 exit) and L4 (CEFR B2 exit), with many providers favouring
increased hours for L3. This presentation explores the gap between the two levels and the success or
failure of approaches and materials designed to bridge it. A series of focus groups were held,
involving current providers, which identified specific weaknesses in the skills and knowledge-base of
L3 learners on exit. The groups also explored the effectiveness of teaching approaches designed to
bridge these gaps. Contributions from FG discussions inform the presentation, including a
description of typical student profiles at each level and anecdotal evidence to support a suggested
increase in learning hours for L3 participants.
Tertiary, Paper, NZCEL, NCEA, unit standards
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Art NZ 158, 2016 - Fiona Pardington article
No full textEdward Hanfling, "Taking and Making: Fiona Pardington's Beautiful Hesitation in Auckland", Art New Zealand, No. 158, Winter 2016, pp. 82-85.
The article is a critical analysis of the exhibition of Fiona Pardington's photographs, "Beautiful Hesitation", at Auckland Art Gallery Toi o Tamaki.
From the concluding paragraph (p. 85):
"As much as I think I prefer the simple photographs to the extravagant ones, the exhibition makes me wonder if the impact of the former depends on the latter, and vice versa. I suspect that the contrasts are integral to the artist's sensibility; she needs to go off in all directions to be true to herself. What is good about her work is that it messes with preconceptions and expectations about 'good' and 'bad' photographs. She makes pictorialism look cool and postmodernism naff, and in the end all the styles and conventions seem like just different ways of making pictures rather than hard-won aesthetic principles of more or less contemporary relevance. The photographs, as much as the objects in them, veer between triviality and transcendence, invoke love and voyeurism and pain and pretension, get down and dirty as well as high and mighty, such that judgement becomes futile in the face of all these different ways of being human. Yes, some of it is wank, pure and simple, but that is human and wholesome too - and is it not a trusted adage that as an artist you should please yourself first?
Kōrero: A gathering of stars, a gathering of stories; He huinga whetū, he huinga kōrero
Get PDFA book celebrating the achievements of Wintec Māori alumni in a variety of fields from journalism to sport, nursing to fashion. The book, launched as part of Wintec's Matariki celebration, profiles 12 achievers in words and images, with each story being told both in English and in Māori. Stories, photographs and book design were by Wintec Media Arts students under the guidance of tutors
Pianist/Keyboardist for SH48 National Tour 2016, Palmerston North
No full textThe 2016 national tour of SH48, a musical by Hamilton-based Chris Williams, used a pre-recorded soundtrack for which I played the piano and keyboard parts
Fibre Optic Distributed Temperature Sensing (FODTS) to Characterize Groundwater/Stream Interaction in New Zealand Hydrogeological Settings
No full textStick To Your Gun - Fantastic Planet Film Festival 2016
No full textA seriously twisted variation on a Tom and Jerry cartoon, with a side of bondage. A wild blend of live action and animation.
A gun-loving woman aspires to cook breakfast for the man handcuffed to her bed, but first she has to stop a wild chicken from destroying everything.
Written and Directed by Joe Hitchcock
Produced by Morgan Leigh Stewar
Performance in the Studio: towards a continuum of real and illusory recording practices
No full textPaper presented as part of a panel presentation at the NZ Musicological Society Conference.
ABSTRACT FOR THE PANEL:
In recent scholarship on recorded music, authors have addressed, implicitly and explicitly, the twin notions of “reality” and “illusion”. The prevailing position amongst writers is that what matters is not whether a recording is “real”, so much as whether the illusion of reality is accurately conveyed, and how it is done so. This idea finds a clear representation in Moore’s work on authenticity (2002, 2012) and Zagorski-Thomas’ concept of “sonic cartoons” (2014).
Led by Braae, this panel begins with four case studies that address the notion of “reality” in recorded music with a particular focus on how artists’ studio and performance practices engage, and respond to this idea. The first section works from an historical perspective; Jason Long considers the technological and aesthetic shifts in the 1960s and early 1970s that enabled artists to disengage from the idea that a recorded text presented some version of reality. Long examines David Bowie’s Ziggy Stardust and the artist’s self-conscious creation of a character that belongs to selected texts.
Nick Braae continues this theme, in reference to the singing styles of Freddie Mercury. Braae argues that Mercury’s experimentation with different voice types on Queen’s 1970s records presented an alternative realisation of the idea that there was no “real” artist, simply different personae who inhabited the worlds of different songs.
The following two panellists, Jeremy Mayall and Kent Macpherson, address contemporary practices. Focusing on the role of timbral manipulation as a compositional tool, Mayall compares the practices of popular musicians with jazz and classical performers. He suggests that the musicians have contrasting attitudes towards evoking the impression of “reality” despite the fact that all of them work in the same production context.
Macpherson presents a contrary case study. He discusses Icelandic composer Olafur Arnalds’ “The Chopin Project”, which involved using old instruments and intimate spaces to intimate the presence of a “real” space in the recorded texts. Macpherson looks at specific production techniques, instruments and microphones and their role in achieving spatial and temporal fidelity, thus raising the question of whether it is actually possible to capture a “real” performance
Music and Taste: exploring sonic cuisine
No full textDoes what we hear influence our perception of, and behaviors toward, food and drink? If so, what are the mechanisms underlying these cross-modal effects? And finally, how can a composer utilise this information to create multi-sensory compositions that include taste elements to expand an audiences experience and engagement with a piece of music?
While many people intuitively believe that our sense of hearing has little influence on our experiences of foodstuffs, the evidence that has been published to date suggests that this is not always the case. This research has revealed that what we hear (be it music, the sounds we make while eating, or even pure tones or bursts of white noise) can have a dramatic effect on our perceptions of food and drink. These effects include perceptions of freshness based on timbral qualities of ‘crunch’, and changing bitterness to sweetness in candy through different frequencies.
The paper will explore practical examples of how some of this scientific information has been used to guide elements in the composition of a number of new musical works that feature an edible (and/or olfactory) element - with a particular focus on a multi-sensory piece titled “Flutter” - which involves all five primary senses, including three flavour elements intrinsically linked to the piece through visual colour and sonic texture.
The compositions that will be discussed serve as practice-based experiments into the world of multi-sensory music. Concrete evidence of the cross-modal correspondences outside of the scientific lab is still in early stages of information gathering. Due to the nature of human perception this information can also be quite varied, and at times anecdotal, but the research is slowly developing through an ongoing process of both: practice-based composition (accompanied by real-world performances); and scientific method, in collaboration with the Sensory Science department at Otago University
Moment of Inertia - PLUNGE
No full textMoment of Inertia
2016 | Loop | Projected Video Triptych with Audio | Video: Dan Inglis | Music: Jeremy Mayall | Featuring: Scott Granville
A video installation consisting of looping images projected onto three wall-mounted cloth panels, and accompanied by recorded music composed by Jeremy Mayall, ‘Moment of Inertia’ examines ideas of time and motion, eternity and cycles, travel, and predetermination.
The piece has been exhibited at BYOB Hamilton 2016, and as part of the 2016 PLUNGE exhibition at Ramp Gallery, Hamilton, New Zealand