👅It's so impressive how he immediately jumps between accents 👅His ability to switch accents in the middle of a sentence truly is a testament to his talent. Unbelievable.
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Accent Expert Gives a Tour of U.S. Accents - (Part One) | WIRED
A berceuse is "a musical composition usually in 6 8time that resembles a lullaby".
Otherwise it is typically in triple meter. Tonally most berceuses are simple, often merely alternating tonic and dominant harmonies; since the intended effect is to put a baby to sleep, wild chromaticism
would be somewhat out of character. Another characteristic of the
berceuse, for no reason other than convention, is a tendency to stay on
the "flat side"; noted examples including the berceuses by Chopin, who pioneered the form, Liszt, and Balakirev, which are all in D♭.
Caractéristiques La berceuse est un genre musical faisant généralement partie de la tradition orale. Elle est le plus souvent comprise dans une interaction composée d'au moins deux personnes. L'une des interactions la plus courante fait référence à la dyade mère/enfant (même s'ils en existe davantage), les hommes participant rarement au bercement de l'enfant. Ce genre musical permet d'instaurer une réelle relation intime entre la mère et l'enfant, transmettant ainsi des émotions (l'amour -maternel le plus souvent- tristesse, colère) des sons, intonations etc. favorisant l'apprentissage de la langue et dans des cas moins fréquents; des souvenirs, recommandations, histoire propre à la culture locale. Musicalement la berceuse est interprétée a cappella (lorsqu'elle est chantée) ou peut être instrumentale. Les caractéristiques rythmiques et mélodiques varient d'une berceuse à une autre; toutefois il existe certains éléments musicaux pouvant être communs à la majorité des berceuses. La berceuse peut se définir comme étant une "chanson ou rythme cadencé que l'on chante pour endormir les enfants"
La berceuse espagnole est appelée cancion de cuna (chanson de berceau), ou nana comme dans la poésie de Lorca, qui pressentait qu'elle avait un effet thérapeutique à la fois sur le petit enfant comme sur la mère, ce qui fut confirmé plus tard.
Elle est déclinée en Espagnecomme dans les pays hispanophones d'Amérique latine.
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Article connexe
Lullaby dans la section anglaise et italienne où il y a une description d'une bonne partie des berceuses européennes.
Lullaby A lullaby, or cradle song, is a soothing song or piece of music that is usually played for (or sung to) children (for adults see music and sleep). The purposes of lullabies vary. In some societies they are used to pass down cultural knowledge or tradition. In addition, lullabies are often used for the developing of communication skills, indication of emotional intent, maintenance of infants' undivided attention, modulation of infants' arousal, and regulation of behavior. Perhaps one of the most important uses of lullabies is as a sleep aid for infants.[2] As a result, the music is often simple and repetitive. Lullabies can be found in many countries, and have existed since ancient times.
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Etymology
The term 'lullaby' derives from the Middle Englishlullen ("to lull") and by[e] (in the sense of "near"); it was first recorded circa 1560.
A folk etymology derives lullaby from "Lilith-Abi" (Hebrew for "Lilith, begone"). In the Jewish
tradition, Lilith was a demon who was believed to steal children's
souls in the night. To guard against Lilith, Jewish mothers would hang
four amulets on nursery walls with the inscription "Lilith – abei"
["Lilith – begone"].
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Characteristics Lullabies tend to share exaggerated melodic tendencies, including
simple pitch contours, large pitch ranges, and generally higher pitch.
These clarify and convey heightened emotions, usually of love or
affection. When there is harmony, infants almost always prefer consonant
intervals over dissonant intervals. Furthermore, if there is a sequence
of dissonant intervals in a song, an infant will usually lose interest
and it becomes very difficult to regain its attention.
To reflect this, most lullabies contain primarily consonant intervals.
Tonally, most lullabies are simple, often merely alternating tonic and dominant harmonies.
In addition to pitch tendencies, lullabies share several
structural similarities. The most frequent tendencies are intermittent
repetitions and long pauses between sections. This dilutes the rate of material and appeals to infants' slower capacity for processing music.
Rhythmically, there are shared patterns. Lullabies are usually in
triple meter or 6/8 time, giving them a "characteristic swinging or
rocking motion."
This mimics the movement a baby experiences in the womb as a mother
moves. In addition, infants' preference for rhythm shares a strong
connection with what they hear when they are bounced, and even their own
body movements. The tempos of lullabies tend to be generally slow, and the utterances are short. Again, this aids in the infant's processing of the song.
Lullabies almost never have instrumental accompaniments. Infants
have shown a strong preference for unaccompanied lullabies over
accompanied lullabies. Again, this appeals to infants' more limited ability to process information.
Lullabies are often used for their soothing nature, even for
non-infants. One study found lullabies to be the most successful type of
music or sound for relieving stress and improving the overall
psychological health of pregnant women.
These characteristics tend to be consistent across cultures. It
was found that adults of various cultural backgrounds could recognize
and identify lullabies without knowing the cultural context of the song. Infants have shown a strong preferences for songs with these qualities.
Cross-cultural prevalence
Lullabies
are often used to pass down or strengthen the cultural roles and
practices. In an observation of the setting of lullabies in Albanian
culture, lullabies tended to be paired with the rocking of the child in a
cradle. This is reflected in the swinging rhythmicity of the music. In
addition to serving as a cultural symbol of the infant's familial
status, the cradle's presence during the singing of lullabies helps the
infant associate lullabies with falling asleep and waking up.
Therapeutic value
Studies conducted by Dr. Jeffery Perlman, chief of newborn medicine at NewYork–Presbyterian Hospital's
Komansky Center for Children's Health, find that gentle music therapy
not only slows down the heart rate of prematurely delivered infants but
also helps them feed and sleep better. This helps them gain weight and
speeds their recovery. A study published in May 2013 in the Journal of the American Academy of Pediatrics under the aegis of the Beth Israel Medical Center
in New York City found that the type of music matters. Therapeutically
designed "live" music – and lullabies sung in person – can influence cardiac and respiratory function. Another study published in February 2011 in Arts in Psychotherapy by Jayne M. Standley of the National Institute for Infant and Child Medical Music Therapy at Florida State University suggests that babies who receive this kind of therapy leave the hospital sooner.
Additional research by Jayne M. Standley has demonstrated that
the physiological responses of prematurely delivered infants undergoing
intensive care can be regulated by listening to gentle lullabies through
headphones. In addition to slowing heart and respiration rates,
lullabies have been associated with increased oxygen saturation levels
and the possible prevention of potentially life-threatening episodes of
apnea and bradycardia.
Gentle music can also provide stimulation for premature infants to
behave in ways that boost their development and keep them alive.
Lullabies can serve as a low-risk source of stimulation and
reinforcement for increasing nipple sucking (feeding) rates, providing
infants with the nutrition they require for growth and development.
Lullabies are thus associated with encouraging the rapid development of
the neurological system and with a shorter length of hospitalization.
More recent research has shown that lullabies sung live can have
beneficial effects on physiological functioning and development in
premature infants. The live element of a slow, repetitive entrained
rhythm can regulate sucking behavior. Infants have a natural tendency to
entrain to the sounds that surround them. Beat perception begins during
fetal development in the womb and infants are born with an innate
musical preference. The element of live breathing sounds can regulate
infant heart rate, quiet-alert states, and sleep. Live lullabies can
also enhance parent-child bonding, thus decreasing parental stress
associated with the intensive care. In short, live lullabies sung by
music therapists induce relaxation, rest, comfort, and optimal growth
and development.
Many lullabies, regardless of the meaning of their words, possess
a peaceful hypnotic quality. Others are mournful or dark, like a
lament. The Gaelic lullaby "Ba, Ba, Mo Leanabh Beag" was written in 1848
during the potato famine, which caused much hardship in the Scottish
Highlands. The song mentions, soft potatoes, the mother's situation, and
her fears for her child. In the 1920s, poet Federico García Lorca
studied Spanish lullabies and noted the "poetic character" and "depth
of sadness" of many of them. Lorca's theory was that a large part of the
function of the lullaby is to help a mother vocalize her worries and
concerns. In short, they also serve as therapy for the mother.
Combined with lament, lullaby can have "restorative resounding"
properties for hospice inpatients and their families. Lullabies
typically soothe people through the awake/sleep transition, and
similarly can soothe people through the life/death transition. Music
therapists have called these tunes "lullaments", that which sustain the
spirit, support psychological structure, and enable resilience during
times of vulnerability to the effects of adversity. Lullaments are
music-contextualized expressions of attachment and detachment,
sadness/tears and happiness/laughter, privilege and loss, nurturance and
grief, deterioration, stasis and moving forward.
Many Christmas carols are designed as lullabies for the infant Jesus, the most famous of them being "Silent Night".
"Hush Little Baby" has been observed cross-culturally and is known to
have a natural capacity for soothing and energizing infants, as well as
nurturing caregiving bonds.
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Mother–infant interaction
Infants exhibit a natural preference for infant-directed over non-infant-directed lullabiesand their own mothers' voice over that of another female.
Much research has been generated on the role of lullabies in
nurturing caregiving bonds between mother and child. Mothers who sing
lullabies to their infants engage in a bonding activity that actually
alters the underlying neural structure of the infant brain such that the
infant becomes "tuned" into music and its association with parental
affiliation.
In one Taiwanese study of Kangaroo Care, a technique practiced on
newborn infants in which a mother holds her child tightly against her
chest, it was demonstrated that infant–mother dyads who listened to
their choice of lullaby were associated with more quiet sleep states and
less occurrence of crying by the infant and were also associated with
significantly lower maternal anxiety, than those dyads who did not
listen to lullabies. The therapeutic effect of lullabies can thus have a
strong impact on calming anxieties and nurturing bonds, which is
especially important with premature and fragile infants.
In classical music
Lullabies written by established classical composers are often given the form-name berceuse, which is French for lullaby, or cradle song. The most famous lullaby is the one by Johannes Brahms ("Wiegenlied",
1868). While there has been no confirmation, there are many strong
arguments that Brahms suffered from a sleep disorder known as sleep apnea.
It is speculated (based on lullabies' utility as a sleep aid) that this
was part of his inspiration for composing "Wiegenlied."
Chopin's "Berceuse" is a composition for solo piano. Other famous examples of the genre include Maurice Ravel's Berceuse sur le nom de Gabriel Fauré for violin and piano; the Berceuse élégiaque by Ferruccio Busoni; the "Berceuse" from the operaJocelyn by Benjamin Godard; the "Berceuse" by Igor Stravinsky which is featured in the Firebird ballet, and Lullaby for String Quartet by George Gershwin. The English composer Nicholas Maw's orchestral nocturne, The World in the Evening, is subtitled "lullaby for large orchestra". German composer's Paul Graener last movement of his suiteFrom The Realm of Pan is entitled "Pan sings the world a lullaby".
"Berceuse" section of Dolly Suite
for Piano four-hands, Op. 56, No. 1, by Fauré. Sometimes transcribed
for violin and piano: not to be confused with the Op. 16 work, above.
Berceuse for an Unwanted Child (Reginald Foresythe) 1934
Berceuse for Solo Piano in A flat Major, Op. 72, No. 2, by Tchaikovsky
Berceuse (sur les paroles classiques), from 24 Pieces in Free Style, for organ, by Louis Vierne
Berceuse for Mallory, a big band jazz composition by Steve Spiegl
(Puériculture) Femmechargée de bercer un enfant.
cette succession de grands noms de duchesses, les gouvernantes et les sous-gouvernantes, les habilleuses, les berceuses, tout un monde de femmes qu'on se représente si élégamment
délicates, si pleines de respectueuses attentions pour l'enfant qui leur
est confié.- (G. Lenotre, Vieilles Maisons, Vieux Papiers, Paris : Perrin, 1910 & Éditions Taillandier, 2013, vol.2)
(Musique) Forme musicale instrumentale ou vocale destinée à endormir les enfants. Chanter une berceuse.
Bastille Day, celebrated annually on July 14, is the French national holiday that commemorates the storming of the Bastille fortress in 1789 - a pivotal uprising that helped spark the French Revolution. It also honors the Fête de la Fédération of 1790, which celebrated the unity of the French people. 🎊 Known in France as le 14 juillet (the Fourteenth of July) or la fête nationale, the day is traditionally marked by elaborate festivities. In Paris, it features the oldest and largest regular military parade in Europe held along the Champs-Élysées, culminating with spectacular fireworks over the Eiffel Tower.
🎆 However, recent celebrations have frequently been tempered by extreme weather and severe wildfires that have forced some municipalities to cancel traditional firework displays and public balls. 🎉 Aside from events across France, the holiday is widely celebrated around the world. In the United States, cities with strong French connections, such as New York, host massive public street fairs featuring live music, classic cars, champagne, and authentic French cuisine.
Elle est instituée par la loi Raspail du («La République adopte le 14 Juillet comme jour de fête nationale annuelle»), qui ne mentionne pas quel évènement est commémoré: la prise de la Bastille du , une action décisive dans l'abolition de la monarchie absolue, ou la Fête de la Fédération de 1790, symbole de l'union de la Nation et premier anniversaire de la prise de la Bastille, tous deux étant des symboles de la Révolution française.
European leaders including French President Emmanuel Macron were
treated to a demonstration of the Flyboard Air, a sort of gas
turbine-powered jet-pack/hover-board/flying platform originally invented
by jet-ski champ Franky Zapata, during Bastille Day festivities in Paris
on Sunday.
Jet-powered Flyboard
Steals Show at Bastille Day
Military Parade in France
President Emmanuel Macron said he was “proud" or the "innovative” French army after seeing the flyboard designed by Franky Zapata
Zapata carried what certainly appeared to be an
unloaded rifle (or a replica of such) as he flew over French military
forces parading down the Avenue des Champs-Élysées with the flags of
the European Intervention Initiative, a strategic coordination pact
between 10 countries.
In a clip posted by France2, Macron somehow
manages to appear completely nonchalant about this whole thing: Uh, does this remind anyone else of something?
According to France24,
Zapata appears to have carried the rifle in part due to interest in the
Flyboard’s potential military applications. French Armed Forces
Minister Florence Parly told France Inter radio that the device “can
allow tests for different kinds of uses, for example as a flying
logistical platform or, indeed, as an assault platform,” according to
the news network. Zapata also said in 2017 that he was working with the U.S. military on the device for combat applications.
There are longstanding and well-known engineering issues that have prevented conventional jet-packs from becoming more than sideshow novelties that also happen to be extremely expensive to operate, with rare exceptions.
Those include the large amount of energy necessary to sustain flight,
the difficulty of controlling the craft, and the obvious safety issues
inherent in strapping a powerful jet engine to someone’s back.
A September 2018 look at Zapata’s work with the U.S. military in the Drive
noted his variant, which is a flying platform, had solved some of those
issues by introducing seven computer-controlled jet turbines that send
flight data to a tablet-sized display as well as “built-in redundancies
and automatic compensation if one of the jet engines fails.” Zapata
advertises a custom-tooled version called the Fly-EZ as ideal for military purposes
ranging from naval personnel transfers and routine ground patrols to
actual combat insertions and “denied area penetration.” According to the
Drive, the craft can carry up to 280 pounds, fly at 80 miles per hour
for up to 12 minutes, and attain altitudes of 9,000 feet, though not
necessarily at the maximum load. (France24 cited different specifications for the one used in the demonstration at a maximum speed of 118 miles per hour for 10 minutes )
However,
the Drive noted that it would still be extremely expensive to equip
troops with the system (with a prospective price of $250,000 apiece) and
doesn’t solve other issues that came up in prior military inquiries
into jet-packs. Those include noise that would disrupt stealth
operations, leaving the operator entirely exposed to enemy fire with
limited-at-best options for retaliation, and the fact that helicopters
can already transport troops and materiel en masse at much longer ranges
and duration. That doesn’t rule out their use in all
scenarios - examples could include kitting out military bases for
rapid-response teams or use in disaster relief operations - but it does
remain to be seen whether the Fly-board will ever be broadly adopted by
armed forces.
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