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Spring End Year Exam
Quiz by Susan Harlow
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How Glooskap Found Summer Long ago, it grew very cold. Ice and snow covered the land. Fires could not keep people warm, and corn could not grow. Glooskap, the leader of the people, had to do something. Glooskap traveled far to the north. Everywhere he looked was cold and white with snow. He came to a house made of solid ice where a giant named Winter lived. Winter greeted Glooskap and invited him inside his house. Winter began to tell stories of the time when he ruled the Earth. Soon Glooskap fell asleep under Winter's spell. But Glooskap's messenger, Tatler, woke him. "Wake up, Glooskap!" said the bird. "In the south, you will find a woman who can defeat Winter," said Tatler. Glooskap traveled far to the south. He came to a land where it was warm and sunny. Grass grew and flowers bloomed in the beautiful land. Glooskap saw spirits dancing in a circle. At the center of the circle was Summer. She wore a crown of flowers in her long brown hair. Glooskap asked Summer to come north with him. She followed him to Winter's house of ice. Winter invited them in and asked them to sit down. He began to tell stories again. But Winter's spells could not capture Summer. She began to chant her own spell, and sweat ran down Winter's face. "I am stronger than you," said Summer. "You must leave this land and thaw your icy breath," she said. 10 Winter wept, and his tears became rivers of melted snow and ice. The corn grew, and flowers bloomed again. Summer told Winter, "You will have your own land in the north. It will always be winter there. You may come and visit other lands for part of the year. But in the spring, I will drive you out." Since that day, Winter has ruled for part of the year. But every spring, Summer drives him away. Sometimes it seems as if winter will never end. But Summer is stronger than Winter. Spring will always come.India Where Is It? India is a country in Asia. Much of it is surrounded by water. To the south and west is the Arabian Sea. To the south and east is the Bay of Bengal. The capital of India is New Delhi (DEL-ee). It is part of the much larger city of Delhi. More than twenty million people live in Delhi and New Delhi. People. More than one billion people live in India. Only China has more people than India. Most Indian people live in the countryside. The cities do not have as many people. They are very crowded, though. Around half of the people in India make their living from growing food. They grow crops or raise sheep, goats, and chickens for meat. They do not raise cows for meat. Most Indians are Hindu. Hurting a cow is against the Hindu religion. Land. India has many mountains and different kinds of flat land. The mountains are in the north. They are the highest in the world. Rich land covers the north of India. It was formed long ago as rivers flooded over and over. In the west is the dry desert. In the south is raised, flat land. This land takes up more than half of India. In May or June every year, winds bring a large amount of rain. This is called the monsoon season. Most of India's rain falls during this season. Celebrations People in India celebrate many special days. Diwali (dih-WAH-lee) lasts for five days. During this festival, people light small candles. They shoot firecrackers and give sweets to family and friends. Holi (HOH-lee) is a spring Hindu festival. During Holi, people celebrate the end of winter. They throw colored water and powder on each other. Animals. Many kinds of animals live in India. It is the only country in the world with both lions and tigers. Elephants live in the flat lands and forests. The mountains are home to bears, foxes, sheep, and wild goats. India is also home to the world's largest mangrove forest. Here, tigers swim with sea turtles, sharks, and crocodiles. Conclusion. India is a country of many people. People farm its rich soil to feed the nation. Its mountains and forests are home to many animals. Which part of India would you like to see?Broken windows are covered. Floorboards are patched and doors screwed back on. The road that was ruined by German tanks is shovelled and raked smooth. Boot-shaped bruises turn yellow then fade and disappear. Flowers grow and spread across the ugly German footprints stomped into garden beds. The village looks pretty once more. School stops for the summer and everyone is put to work on the kolkhoz, the village farm. Women and big boys begin harvesting the barley crops in the outer fields. The biggest girls milk the cows, morning and night, and keep the barns clean. Old Nikolay mends ploughs, horse harnesses, pitchforks and scythes in his workshop. Anna Pushinka teaches Yelena and her friends how to get the honey from the beehives that are scattered through the orchards. I am in charge of collecting eggs. My friends Olga and Nina help. Olga and Nina are five, a year younger than me. They are twins and look exactly alike, except Ninaâs nose is a little bit crooked from when she fell out of bed and squashed it sideways on the floor. The hens, ducks and geese wander free in the summer, so collecting eggs is like a treasure hunt and takes hours. Catching the hens for their daily hugs takes even longer, but I think itâs important because hugs make everyone happy and happy hens lay bigger eggs. Olga says Iâm the best hen-hugger in all of Russia. Nina says Iâll be the best cow-hugger, too, when my arms grow longer. But good hugs have nothing to do with the size of your arms. Itâs all to do with the size of your heart. When we are done with the hens, Olga, Nina and I can spend the rest of the day doing whatever we like. We climb the apricot trees, chase squirrels, lie in the meadow marvelling at how hot Ushankaâs black fur becomes in the sunshine, make daisy chains and race little boats of bark in the stream. I teach Olga and Nina the alphabet and we use charcoal to write our letters and our names all over the village â on doors and walls and the freshly cut ends of firewood. In between, I practise my knots. In case the German princemonsters return. I slip into Old Nikolayâs workshop and tie knots in the harnesses hanging on the walls. I wander into gardens where the washing is hung out to dry and tie knots in the laces on pants and smocks. I creep up behind Anna Pushinka and tie knots in her apron strings. I find baling twine in the hay shed and tie my own ankles together. I do such a good job of these last knots that I canât get them undone. I have to jump all the way to Olga and Ninaâs house and ask them to cut me free with their mamaâs knife. At the end of each day, Ushanka and I run out into the distant barley fields to meet Mama. This is my favourite part of the day, because Mama always shouts, âLittle Rabbit!â and smothers my head with kisses. And as we walk home, we sing. Everyone â women, big boys and me. I love to sing. Almost as much as I love to be kissed by Mama. Sometimes one of the boys, Mikhail, has his balalaika with him. He takes the instrument out from beneath the sheaves of barley piled high on the wagon and plays music. We sing about forests and orchards and people who find their true love. As we walk home, arm in arm, my heart fills with happiness and my belly swells with pride that I am allowed to sing along with the big boys. And I can almost forget about the German prince-monsters and their lies about Russia and their big ugly boots. Almost. But today, when Mikhail reaches for his balalaika, I see other things hiding beneath the barley sheaves. Three of the mamas rush forward and cover them up, but itâs too late. I know they are there. Iâve already seen them. Rifles. Lots of rifles. Mikhail hugs his balalaika to his chest and blushes. âSo play!â cries Mama, her voice oddly loud and high. âLetâs play Sashaâs favourite song, âThe Little Birch Treeâ.â So Mikhail plays and everyone sings about the lovely birch tree with its curly leaves and the branches that will be turned into silver flutes. They sing too quickly, too loudly, and as they sing and walk, they cast nervous sideways glances at me. âItâs alright,â I say, when the song comes to an end. âI didnât see the rifles.â Mama nods and smiles, and I know it was the right thing to say. But I did see the rifles. And I think about Yelena wanting to get lots of guns and dynamite for the Partisans so they can shoot the Germans and blow them into thousands of tiny pieces, and Mama looking as though she agreed, and I know this is what the mamas and the big boys are doing. As well as harvesting, they are helping the Partisans. Three days later, I wake before dawn and I am all alone. Yelena is always here beside me when I wake. But not this morning. I climb down from our bed above the stove. Mama is filling a cloth sack with bread. She ties it closed with a piece of string and hands it to Yelena. âStay out of sight,â says Mama. âAnd donât return until after dark.â âWhereâs she going?â I ask. âNowhere,â snaps Mama. âThen why does she need all that bread?â I ask. âThereâs nothing left for us.â Mama baked four loaves last night and she has stuffed them all into the sack. Yelena opens her mouth, but before she can speak, Mama shoves her out the door and sends her on the way to nowhere. Mama turns and stares at me, her blue, blue cornflower eyes wide with worry. âI know,â I say, flopping down on the bench. âI didnât see any bread.â Mama sits beside me and takes my hand. âAnd . . .?â she prods, obviously waiting for more. I puzzle for a while, then say, âAnd I donât have a sister called Yelena.â Mama laughs, softly and with a little bit of sadness around the edges. âSweet Little Rabbit! You do have a sister called Yelena.â âI do?â I ask, now confused. âI havenât seen the rifles or the bread, but I have seen Yelena?â âYes.â Mama smiles and the magic makes me smile, too. And I am glad that Yelena is real because I love her very much. âYelena is real,â Mama explains, âbut she does not carry sacks of bread into the forest for the Partisans.â âOf course not!â I shout, slapping my forehead. âBecause there is no bread!â Mama laughs loudly now, with not a hint of sadness. She hugs me, pressing me against her warm, loving heart, covering my head with kisses. âClever Little Rabbit,â she murmurs, and then, in barely a whisper, âYour papa would be so proud.â When I wake the next morning, Yelena is sleeping beside me, her mouth open, her braided hair unravelling. Mama is serving kasha to a strange woman seated at our table. I crawl down from above the stove and slide along the bench beside her. I stare at her pants, her tunic, the rope she is using as a belt and her big boots. Sheâs dressed like a man! And thereâs a rifle leaning against the wall near the door. âHello,â I say. âIâm Sasha.â The woman doesnât reply. She just shovels down her kasha. I line my four wooden bears along the table in front of her bowl and say, âThese are my bears: Big Bear, Medium Bear, Little Bear and Even Littler Bear.â âHello, Sasha. Hello, bears.â She smiles but she doesnât tell me her name. âWhy are you dressed like a man?â I ask, tugging at the sleeve of her tunic. âBecause menâs clothes make it easier to run and climb and crawl and shoot,â she says. âYouâre a Partisan!â I gasp. âBut sheâs not real,â says Mama, placing a bowl of kasha before me. âIs the kasha real?â I ask. Mama laughs. âYes, Little Rabbit.â Iâm glad the food is real, because Iâm hungry. But Iâm disappointed that the woman is not real. I was going to ask if I could use her rope-belt to tie her ankles together. For practice. But if sheâs not real, then the rope and her ankles arenât either. The woman finishes her kasha, hangs her rifle over her shoulder, kisses Mama on the cheek then slips out the door. I run to the window to watch her leave, but by the time I get there, sheâs gone. Vanished. âBecause sheâs not real,â I whisper. A week later, Mama and I are working in the garden. We sing as we weed between the flowers and pluck caterpillars from the vegetables. Anna Pushinka is picking strawberries in her garden and wanders over. âTaste these,â she says, holding out the basket. Mama reaches in and takes out a fat strawberry and a tiny piece of folded paper. The strawberry goes into her mouth, the paper into her pocket. âWhatâs on the paper?â I ask. âPaper?â Anna Pushinka replies with a wave of her hand. âGoodness, Sasha! Who has money for paper? These are lean times. We must choose between paper for writing and noodles for our soup. And I always choose noodles.â She chuckles and I know the paper is yet another thing that is not real. That night, Mama slips the paper to Yelena, but she drops it on the floor. I pick it up for her, and I see that there are tiny words and numbers written all over it. I wish I could read better. Iâm desperate to know what it says. Or rather, what it doesnât say, because itâs not real. Later, when Mama has tucked us into our bed above the stove and Ushanka has wrapped herself around the top of my head, I ask Yelena, âWhatâs on the paper?â âWhat paper?â says Yelena. âThe paper that isnât real,â I reply. Yelena stares at me, nibbling her lip, then whispers, âA message for the Partisans. Stuff about where the Germans have their headquarters and when their trains are travelling and where they store their ammunition.â âWhy?â âSo the Partisans can blow them up.â Yelena grabs my arm. âBut donât tell anyone. Itâs a secret.â âWhatâs a secret?â I ask. âThe message.â âWhat message?â I say, my eyes wide. Yelena laughs. âGood boy, Sasha.â My belly swells with pride. I know how to play this game. âHow are your knots coming along?â asks Yelena. âGood! Yesterday, I crept into the dairy and tied knots in the apron strings of all the girls who were milking and only one of them noticed. Today, I tied Olgaâs ankles together with Mamaâs embroidery thread and just now, while you were taking a bath, I tied the sleeves of your blouse together in an enormous knot.â Yelena rolls her eyes, then says, âIâll see if I can find you some rope for practising.â âPractising what?â I ask. âYour knots,â she says. âWhat knots?â Yelena, my big sister who is twelve and always serious tInfluence of China and India China ChinaChina under the Han emperor Wudi (c. 100 bce) and (inset) at the end of the Chunqiu (Spring and Autumn) Period (c. 500 bce). Between approximately 150 bce and 150 ce, most of Southeast Asia was first influenced by the more mature cultures of its neighbours to the north and west. Thus began a process that lasted for the better part of a millennium and fundamentally changed Southeast Asia. In some ways the circumstances were very different. China, concerned about increasingly powerful chiefdoms in Vietnam disturbing its trade, encroached into the region and by the end of the 1st century bce had incorporated it as a remote province of the Han empire. For generations, the Vietnamese opposed Chinese rule, but they were unable to gain their independence until 939 ce. From India, however, there is no evidence of conquests, colonization, or even extensive migration. Indians came to Southeast Asia, but they did not come to rule, and no Indian power appears to have pursued an interest in controlling a Southeast Asian power from afar, a factor that may help to explain why only the Vietnamese accepted the Chinese model. Yet, in other ways the processes of Indianization and Sinicization were remarkably similar. Southeast Asia already was socially and culturally diverse, making accommodation easy. Furthermore, indigenous peoples shaped the adaption and adoption of outside influences and, indeed, seem to have sought out concepts and practices that enhanced rather than redirected changes already underway in their own societies. They also rejected some components: for example, some of the vocabulary and general theories related to the Indian notions of social hierarchy were borrowed but much of the specific practices were not, and neither Indian nor Chinese views of women as socially and legally inferior were accepted. In the later stages of the assimilation processâparticularly in the Indianized areasâlocal syncretism often produced exuberant variations, which, despite familiar appearances, were expressions of local genius rather than just inspired borrowings. Get Unlimited Access Try Britannica Premium for free and discover more. Sculptures at Borobudur, central Java, Indonesia. 1 of 2 Sculptures at Borobudur, central Java, Indonesia. Pagan, Myanmar 2 of 2 Pagan, MyanmarRuins of ancient Buddhist shrines and pagodas, Pagan, Myanmar. Still, Chinese and Indian influences were anything but superficial. They provided writing systems and literature, systems of statecraft, and concepts of social hierarchy and religious belief, all of which were both of intrinsic interest and pragmatic significance to Southeast Asians of the day. For elites seeking to gain and retain control over larger and more complex populations, the applications of these ideas were obvious, but it would also seem that the sheer beauty and symbolic power of Hindu and Buddhist arts tapped a responsive vein in the Southeast Asian soul. The result was an imposing array of architectural and other cultural wonders, at first very much in the Indian image and hewing close to current styles and later in more original, indigenous interpretations. The seriousness and profundity with which all this activity was undertaken is unmistakable. By the 7th century ce, Palembang in southern Sumatra was being visited by Chinese and other Buddhist devotees from throughout Asia, who came to study doctrine and to copy manuscripts in institutions that rivaled in importance those in India itself. Later, beginning in the 8th century, temple and court complexes of surpassing grandeur and beauty were constructed in central Java, Myanmar, and Cambodia; the Borobudur of the Ćailendra dynasty in Java, the myriad temples of the Burman dynastic capital of Pagan, and the monuments constructed at Angkor during the Khmer empire in Cambodia rank without question among the glories of the ancient world.A solution is composed of a solute dissolved in a solvent. In the sugar water described in Figure 5-1, the solute was sugar and the solvent was water, and the solute molecules diffused through the solvent. It is also possible for solvent molecules to diffuse. In the case of cells, the solutes are organic and inorganic compounds, and the solvent is water. The process by which water molecules diffuse across a cell membrane from an area of higher concentration to an area of lower concentration is called osmosis (ahs-MOH-sis). Because water is moving from a higher to lower concentration, osmosis does not require cells to expend energy. Therefore, osmosis is the passive transport of water. Direction of Osmosis The net direction of osmosis depends on the relative concentra- tion of solutes on the two sides of the membrane. Examine Table 5-1. When the concentration of solute molecules outside the cell is lower than the concentration in the cytosol, the solution outside is hypotonic to the cytosol. In this situation, water diffuses into the cell until equilibrium is established. When the concentration of solute molecules outside the cell is higher than the concentration in the cytosol, the solution outside is hypertonic to the cytosol. In this situation, water diffuses out of the cell until equilibrium is established. Observing Diffusion Materials 600 mL beaker, 25 cm dialysis tubing, funnel, 15 mL starch solution (10 percent), 20 drops Lugolâs solution, 300 mL water, 100 mL graduated cylinder, 20 cm piece of string (2) Procedure 1. Put on your disposable gloves, lab apron, and safety goggles. 2. Pour 300 mL of water in the 600 mL beaker. 3. Add 20 drops of Lugolâs solution to the water. CAUTION: Lugolâs solution is a poison and eye and skin irritant. 4. Open the dialysis tubing, and tie one end tightly with a piece of string. 5. Using the funnel, pour 15 mL of 10 percent starch solution into the dialysis tubing. 6. Tie the other end of the dialysis tubing tightly with the second piece of string, forming a sealed bag around the starch solution. 7. Place the bag into the solution in the beaker, and observe the setup for a color change. Analysis What happened to the color in the bag? What happened to the color of the water around the bag? Explain your observations. Quick Lab www.scilinks.org Topic: Osmosis Keyword: HM61090 mb06se_homs01.qxd 11/27/07 8:52 AM Page 98 HOMEOSTASIS AND CELL TRANSPORT 99 When the concentrations of solutes outside and inside the cell are equal, the outside solution is said to be isotonic to the cytosol. Under these conditions, water diffuses into and out of the cell at equal rates, so there is no net movement of water. Notice that the prefixes hypo-, hyper-, and iso- refer to the relative solute concentrations of two solutions. Thus, if the solution outside the cell is hypotonic to the cytosol, then the cytosol must be hyper- tonic to that solution. Conversely, if the solution outside is hypertonic to the cytosol, then the cytosol must be hypotonic to the solution. Water tends to diffuse from hypo- tonic solutions to hypertonic solutions. How Cells Deal with Osmosis Cells that are exposed to an isotonic external environment usually have no difficulty keeping the movement of water across the cell membrane in balance. This is the case with the cells of ver- tebrate animals on land and of most other organ- isms living in the sea. In contrast, many cells function in a hypotonic environment. Such is the case for unicellular freshwater organisms. Water constantly diffuses into these organisms. Because they require a relatively lower concentration of water in the cytosol to function normally, unicel- lular organisms must rid themselves of the excess water that enters by osmosis. Some of them, such as the paramecia shown in Figure 5-2, do this with contractile vacuoles (kon-TRAK-til VAK-y Ì Ìo Ì Ìo-OL), which are organelles that remove water. Contractile vacuoles collect the excess water and then contract, pumping the water out of the cell. Unlike diffusion and osmosis, this pumping action is not a form of passive trans- port because it requires the cell to expend energy. Copyright © by Holt, Rinehart and Winston. All rights reserved. (a) (b) Vacuole filling with water Vacuole contracting TABLE 5-1 Direction of Osmosis Condition External solution is hypotonic to cytosol External solution is hypertonic to cytosol External solution is isotonic to cytosol Net movement of water into the cell out of the cell none H2O H2O H2O H2O H2O H2O The paramecia shown below live in fresh water, which is hypotonic to their cytosol. (a) Contractile vacuoles collect excess water that moves by osmosis into the cytosol. (b) The vacuoles then contract, returning the water to the outside of the cell. (LM 315) FIGURE 5-2 100 CHAPTER 5 (a) HYPOTONIC Cell walls (b) HYPERTONIC (a) ISOTONIC (b) HYPOTONIC (c) HYPERTONIC Other cells, including many of those in multicellular organisms, respond to hypotonic environments by pumping solutes out of the cytosol. This lowers the solute concentration in the cytosol, bring- ing it closer to the solute concentration in the environment. As a result, water molecules are less likely to diffuse into the cell. Most plant cells, like animal cells, live in a hypotonic environ- ment. In fact, the cells that make up plant roots may be surrounded by water. This water moves into plant cells by osmosis. These cells swell as they fill with water until the cell membrane is pressed against the inside of the cell wall, as Figure 5-3a shows. The cell wall is strong enough to resist the pressure exerted by the water inside the expanding cell. The pressure that water molecules exert against the cell wall is called turgor pressure (TER-GOR PRESH-er). In a hypertonic environment, water leaves the cells through osmosis. As shown in Figure 5-3b, the cells shrink away from the cell walls, and turgor pressure is lost. This condition is called plasmolysis (plaz-MAHL-uh-sis), and is the reason that plants wilt if they donât receive enough water. Some cells cannot compensate for changes in the solute con-Filmic Techniques Based on the work of Brad Smilanich Mis-en-Scene: originally a French theatrical term arrangements of all the visual elements of the stage area in film â âthe contents of the frame and the way those contents are organizedâ include: lighting, costume, dĂ©cor, props, camera movement or distance . . . all photographic decisions etc. Proxemics: Spatial relationship among characters within the mis-en-scene Rule of Thirds: a compositional rule of thumb in painting, design, photography etc. suggests image divided into 9 equal parts with two vertical and two horizontal lines important elements of the mis-en-scene should be placed along these lines and their intersections some suggest aligning with intersections makes for more interesting pictures than just centreing the subject Proxemics Camera Distance: Quite literally, how far the camera is from the subject being filmed The Hand Camera Camera Distance: Quite literally, how far the camera is from the subject being filmed Extreme Close Up: Singles out one small portion of the body or object Used to intensify emotion, or show reaction Camera Distance: Close up Shot: Shows head of character or small significant object Used to show emotions Camera Distance: Medium Shot: shows figures from the waist up allows character to be seen within background Camera Distance: Long Shot: shows figures from feet up similar to the âstageâ in live theatre orients audience to figures within a location or surrounding Camera Distance: Extreme Long Shot: Sometimes called an âestablishing shotâ Panoramic view of an exterior location orients audience to a location Camera Distance: Camera Angle: Cameraâs angle of view relative to the subject being photographed High Angle Shot: looks down on the subject often used to make the subject look small and insignificant (in combination with camera distance) puts the camera (audience) in âpowerâ position Camera Angle: Low Angle Shot: looks up at the subject often used to make the subject look large and powerful puts the camera (audience) in a âsubmissiveâ position Camera Angle: Flat Angle Shot: camera on same plane as the subject feels most ânormalâ to an audience Camera Angle: Canted Shot: frame is unbalanced in relation to the subject may indicate a symbolic unbalance in the character Camera Angle: Camera Movement literally the camera moving with or around or to follow the subjects in the mis-en-scene or frame Camera Movement: Tilting Movement camera moves up or down on a horizontal axis similar to head nodding movement may be used to show subjects relation to surroundings Camera Movement: Panning Movement camera moves side to side on a vertical axis similar to head shaking movement may be used to establish setting Camera Movement: Dolly Movement camera mounted on a vehicle that moves along with the subject (camera moves, not pivots) follows the subject to signify something important Camera Movement: Crane Shot camera mounted on a crane or boom permits camera to move in & out, up & down, backward & forward often used for high aerial establishing shots Misc. Shots: Hand Held: camera carried to seem jerky, giving ârealistic feelâ Push In: camera moves up to a characterâs face to indicate an epiphany (realization) Spiral: camera circles subject for effect End for ELA 20-2 and 10-1 Shot Transitions/Editing: artificial editing done to string together multiple shots to create a narrative scene or sequence a cut is the change from one shot to another usually separated in to âsoftâ and âhardâ cuts Jump Cut: an instantaneous change from one shot to another this can be very natural or may disorient the audience, depending on how it is used Transitions/Editing Swish Pan: A pan where the speed of the camera is so fast that images are blurry used often to connect events in different settings that are connected by time Transitions/Editing Dissolve: transition where one shot gradually dissapears while another shot gradually appears often used to suggest change of setting or long time passage i.e. flashbacks Transitions/Editing Fade In/Out: transition where the shot gradually overexposes to white or underexposes to black often used to suggest a lengthy passage of time or change in location Transitions/Editing Wipe: transition where one shot is gradually eliminated as another shot moves onto the screen can be vertically or horizontally often suggests movement of the camera to another location Transitions/Editing Iris In/Out: transition where one shot gradually appears as an expanding circle in the middle of an old image suggests . . .??? Transitions/Editing Shot-Reverse Shot: one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. Since the characters are shown facing in opposite directions, the viewer unconciously assumes that they are looking at each other. Transitions/Editing Two-Shot: Face-up shot of two people. Often used in interviews, or when two presenters are hosting a show. A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people. Transitions/Editing Shot Transitions/Editing: Sound: used to reflect or enhance what is shown visually on the screen can include dialogue, music, sound effects, voiceover etc. Diegetic Sound: sound that has a source in the world of the story dialogue spoken by characters, sound made by objects, or music coming from a source grounded in the story of the film Non-diegetic Sound: sound that has a source outside the world of the story usually part of the score or the soundtrack Parallel Sound: sound that complements the image shown i.e. romantic music during a love scene Counterpoint Sound: sound that contradicts the âfeelingâ of the image a happy song played while images of graphic violence are portrayed Voiceover: voice of a non-visible narrator laid over the scene often provides some comment about the narrative of the film Sound Bridge: used to âsoftenâ the transition between one scene and another takes sound from the next shot and overlays it on the current shot 2-3 seconds earlier than we see the image Examples of Diegetic/Non-Diegetic: In the first clip, the non-diegetic music changes to diegetic music when the main character moves inside of the convenience store. In the second clip, the âduhn duhn duuuuhâ which often is non-diegetic becomes diegetic because it is the band in the passing bus playing that music! End for ELA 20-1 Lighting: Can be used by a director to: Control the mood of a scene guide a viewerâs eye to a specific place in mis-en-scene Emphasize and de-emphasize elements in frame Add texture and color Make people look beautiful, ugly, sinister, or angelic Standard 3-Point Lighting: uses three lights called the key light, fill light and back light forms the basis of most lighting. once you understand three point lighting you are well on the way to understanding all lighting. Key Light: main light usually the strongest and has the most influence on the look of the scene. it is placed to one side of the camera/subject so that side is well lit and other side has shadow. Fill Light: secondary light is placed on the opposite side of the key light used to fill the shadows created by key softer and less bright than key Back Light: placed behind the subject ; lights it from the rear. provides definition and subtle highlights around the subject's outlines. Separates subject from background provides a three-dimensional look. Standard 3-Point Lighting: http://www.zvork.fr/vls/ Try using this simulator to play with lighting with those 3 points.To understand melody in music, think about some music youâre familiar with. If you were asked to hum it, what would that sound like? The part of the music that youâd hum is the melody. Itâs the main thread of sound that your brain tracks and holds onto when youâre listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like âThe Flight of the Bumblebee.â They can be slow and majestic, like âFinlandia.â They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. Itâs easy to recognize and identify melodies from different folk traditions such as the Japanese folk song âSakuraâ or the Irish tune âStar of the County Down.â Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song âLean on Meâ written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when thereâs an accompaniment. Here are a few bars of âLean on Meâ with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then thereâs that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most âhummableâ tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethovenâs âOde to Joy,â one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John Williamâs âPrincess Leia Theme.â Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and thatâs the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when itâs performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling youâd like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form whatâs called a pentatonic scale. Itâs used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If youâre writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this âforeshorteningâ creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song âWe Donât Talk about Bruno.â Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in âOne Day Moreâ from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound âmelodicâ when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. Itâs usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesnât have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments wonât have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but youâd have a hard time humming it. Itâs music, but it doesnât have a melody. Rap music is another style of music where there doesnât have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but itâs the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of âDuel of the Fates.â This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. Itâs fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! Youâll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether youâre humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.Redewendungen: Ăber den eigenen Schatten springen