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Civitas. The Making of the Roman ­Empire – Stadtgeschichte erlernen
Selbstverständnis, Identität und Funktionen einer Stadt: Wo in der Antike liegen die Wurzeln, auf die wir unsere Stadtform zurückführen? Welche Elemente gehörten zu einem Stadtbild, welches Selbstverständnis hatten ihre Bürgerinnen und Bürger? Wie war städtisches Leben strukturiert? Civitas eröffnet allen, die sich für den Ursprung europäischer Stadtkultur interessieren, die Möglichkeit, diesen Fragen nachzugehen. Das Weblog bietet mithilfe eines innovativen Lernszenarios eine Einführung in die römische Stadtgeschichte.
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Climate 2020
The Research and Transfer Centre "Sustainability and Climate Change Management" (FTZ-NK) and its European School of Sustainability Sciences and Research (ESSSR) were organizing the 7th Climate Change Online Conference CLIMATE2020. The objective of the online conference was to convey the most recent research results on climate change and its impacts, as well as to provide especially early career researchers from all over the world with the opportunity to present their findings at a global level. The conference also offered you insights on numerous climate projects, initiatives and strategies, which are currently being implemented on the five continents and considered to be latest examples of worldwide climate change adaptation and mitigation activities.
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hhintersection
hhintersection ist eine innovative Kunstvermittlungsplattform in Hamburg, die als Webseite startet und über Performances, Workshops und Ausstellungen Künstler*innen unterschiedlicher Disziplinen und Nationen zusammenbringt.

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Material
The hammered dulcimer - Video
The moment that a player lifts the hammers and strikes the strings, music is there. Have you seen this musical instrument before? (Fig.1) A percussive stretched-string instrument that needs a hammer to strike, an instrument that reveals the astonishing diversity of the world's music?This instrument is called the hammered dulcimer. On the Map of the distribution of the hammered dulcimer and possible routes of dissemination given by Grove Music Online (Fig.2), the route of dissemination overlaps with the Silk Road. (Fig.3) For many centuries, the Silk Road, the network of trade routes that connected the East and the West, was central to cultural interaction between the regions. With the evolution of history, many countries have experienced prosperity and decline, many regions have merged and split, but the trade network has never stopped contributing to cultural exchanges. It may lead us to the possibility that this instrument traveling along the Silk Road with people, was used to make some of the first "world music" jam sessions and was developed together with the trade of silk and porcelain on the journey. Now, let us explore the uniqueness of the various hammered dulcimer along the Silk Road together. According to the Grove Music Online, the hammered dulcimer has been known by dozens of different names. (Fig.4) The various names can be classified into different families and also convey some of the character of the instrument such as structure, material, and even usage scenarios within each culture. About the origin of this instrument, due to the great age, the academic circle has not yet reached a unified conclusion. Among all the statements, the prototype of santur can be seen as the earliest. Santur (Fig.5) is the Persian term in the areas that are influenced by Persian culture such as Egypt, Georgia, Greece and India. Its history can be traced back to iconographical documents of ancient Babylonian (1600–911 BCE) and neo-Assyrian (911–612 BCE) eras. Around the sixth century BC (Fig.6), santur already appeared among the instruments in the orchestra of Nebuchadnezzar. (Fig.7) Today in Iran, santur is still an important instrument in the traditional orchestra. It is also used in motrebi (music for entertainment), but almost never in folk music. It is made of walnut wood. The sides of the trapeziform case form an angle of 45° to the wider end. The players hold two light hammers (mezrāb) in three fingers of each hand (Fig.5.1). Now let’s hear a piece of Iran Santur music. (https://www.youtube.com/watch?v=-0eeq0kphY8 https://www.youtube.com/watch?v=hbcHmXcww-k) In our map of the distribution of the hammered dulcimer and possible routes of dissemination (Fig.2), the the dotted arrow north-west from Turkey to Western Europe shows us the possibility of a way that hammered dulcimer was introduced from Byzantium to Western Europe in the 15th century. The instrument then dispersed into the rest of Europe and won many different names there. In Germany, it is mostly called Hackbrett (Fig.9), its cognates among Germanic peoples are shown on the slide. ( hackbräd, hackbräde (Swed.); hakkebrett (Dan.); hakkebord (Flem.); Hachbratt (Swiss-Ger.) etc.) While the term tympanon is used in Western Europe, cimbalom is used in Eastern Europe. In 1870s in Budapest, the Hungarian concert cimbalom was designed and created by Vencel József Schunda, this innovation enabled cimbalom to appear in symphonic works and then play an increasingly significant role in in the modern music works of Hungarian composer such as Peter Eötvös. Now let us hear a piece of his music. In the Orient, (Fig. 8/8.1)on the other hand, Mandarin Chinese term Yangqin is most commonly used. One popular theory said that Yangqin was introduced to Southern China in the Ming dynasty (1368–1644) and originated from the Persian santur. Some scholars also say that the hammered dulcimer has made a detour to Europe first or it was entirely originated in Europe, then later went to China along sea-based trade routes. That is why its original name yang means “foreign”. Through China, Yangqin was further introduced to other countries in East Asian, for example Korea. Nowadays, the other character of yang with the meaning of “elevated” has come into public acceptance. Yangqin’s resonating chamber is covered with a thin soundboard of white pine or other softwoods. The hammers are springy and thin bamboo beaters with one side of the end covered by rubber. This unique construction allows players to use various technique to produce sounds with different texture. Since the mid-20th century, to adjust to the new concert-hall environment, yangqin has been reformed, both the size and range has been enlarged. Yangqin with four and half octaves and full chromaticism has already been popularized. Now let’s hear a piece of Chinese Yangqin music. Thank you for watching fresh::sounds – Instruments of the Silkroad, the episode of hammered dulcimer. Stay tuned if you want to know more about silk road instruments. Major literature source: www.oxfordmusiconline.com D. Kettlewell: The Dulcimer (diss., U. of Loughborough, 1976) Fig.1 The hammered dulcimer https://en.wikipedia.org/wiki/Hammereddulcimer#/media/File:Hammereddulcimer.JPG Fig.2 Map of the distribution of the dulcimer and possible routes of dissemination www.oxfordmusiconline.com Fig.3 https://en.wikipedia.org/wiki/File:Silk_route.jpg Fig.4 material for Picture about the 6 families The Persian term Santur: Egypt, Georgia, Greece, India The Mandarin Chinese term Yangqin: Mongolia yoochin; Korea yanggŭm; among the Central Asian Uighurs yenjing The English term ‘psaltery’: salterio(It., Sp.); psaltérion, saltérion, psalterium(Fr.) The term ‘dulcimer’: Britain, North America and New Zealand) dowcemere, dulcimor(e), dulcimur, The German Term Hackbrett: hackbräde(Swed.); hakkebrett (Dan.); hakkebord (Flem.); Hachbratt (Swiss-Ger.) Fig.5 https://en.wikipedia.org/wiki/Santur#/media/File:PersianClassicalSantur.jpg Fig.5.1 曲目 Rashid Khan - Aziz beshi bekenarom - Gole gandom - Ay shirinom joonom Shekare ahoo Baroon baroone Koreyshim Jahromi Asmar asmar - Akh Leyli Leyli - Mastom mastom - Damkol damkol Yedoone anar dodoone anar Koshi tala - Halooye ganom khare Bandar Digital Booklet: Farjami, Hossein: The Art of the Santoor from Iran Fig. 5.2 https://www.kvraudio.com/news/cinematique-instruments-releases-santur---persian-metallic-strings-for-kontakt-38375 Fig. 5.3 http://www.jikaseh.com/product/santur/ Fig. 5.4 https://www.ethnicmusical.com/shop/santur-12-bridge-sadeghi/ Fig. 5.5 https://tictail.com/musicalinstruments/persian-quality-santoor-santur-dulcimer-with-hard-case-1426685/photos Fig.6 来源于中国文献 在网上没有找到这个图 Fig.7 NebukadnessarII https://zh.wikipedia.org/wiki/File:NebukadnessarII.jpg Fig. 8 http://www.3cwm.com/mobile/neirong.asp?id=27859 Fig. 8.1 https://www.amazon.cn/dp/B00B5PWI04 Fig. 8.2 http://m.boyayueqi.net/product/133.html Fig. 8.3 https://tao.hooos.com/goods_19245664429.html Fig. 8.4 http://dosodo.co.jp/catalog/DSC08307.png Fig.9 https://www.music-station.eu/schneider-hackbrett-h80.html Fig. 9.1 https://www.music-station.eu/struebel-hackbrett-edelholz-schwarznuss-3-choerig.html Text: Jiaxin Li Animation: Janina Luckow conception and Sound sound design: Xiao Fu Voice Over: Todd Harrop Music Sources: The Art Of The Santoor From Iran - The Road To Esfahan (Santoor: Hossein Farjami) Kodaly: Hary Janos - Intermezzo ( solo-cimbalom: Hans-Kristian Kjos Sørensen with Kristiansand Symphony Orchestra) Traditional chinese Yangqin Solo - General's Command (Yangqin: Mi Xuanye Production by: CCMC MTSU ) picture: Nebukadnessar II: Hedning
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Griechische Geschichte III – Hellenismus (Quellen)
Das eManual Alte Geschichte stellt ein umfassendes Lernszenario für alle an der Alten Geschichte Interessierten dar. Es wird in vier Säulen eine profunde Einführung in die griechische wie römische Geschichte bieten. Säule II umfasst: Quellen zu allen Epochen der Alten Geschichte in englischer oder deutscher Übersetzung mit Kommentaren und Leitfragen zu den Quellen. Quellen zu Alexander der Große - Tod Philipp II. . Diodor, 16, 93-94 – Original . Diodor, 16, 93-94 – Übersetzung (englisch) . Diodor, 16, 93-94 – Leitfragen + Kommentar - Die Gründung Alexandrias . Plut. Alex. 26 – Original . Plut. Alex. 26 – Übersetzung (englisch) . Plut. Alex. 26 – Leitfragen + Kommentar - Die Schlacht von Gaugamela . Plut. Alex., 31,3-33,7 – Original . Plut. Alex., 31,3-33,7 – Übersetzung (englisch) . Plut. Alex., 31,3-33,7 – Leitfragen + Kommentar - Alexander in der Oase Siwah . Arrian, 3,4,5 – Original . Arrian, 3,4,5 – Übersetzung (englisch) . Arrian, 3,4,5 – Leitfragen + Kommentar - Die Ermordung Parmenions und seiner Familie . Plut. Alex. 48-49 – Original . Plut. Alex. 48-49 – Übersetzung (englisch) . Plut. Alex. 48-49 – Leitfragen + Kommentar - Pagenverschwörung . Arrian 4, 13-14 – Original . Arrian 4, 13-14 – Übersetzung (deutsch) . Arrian 4, 13-14 – Leitfragen + Kommentar - Meuterei am Hydaspes . Arrian, 5, 25-28 – Original . Arrian, 5, 25-28 – Übersetzung (deutsch) . Arrian, 5, 25-28 – Leitfragen + Kommentar - Massenhochzeit in Susa . Arrian 7,4,4-8 – Original . Arrian 7,4,4-8 – Übersetzung (deutsch) . Arrian 7,4,4-8 – Leitfragen + Kommentar - Tod des Hephaistion . Plut. Alex. 72 – Original . Plut. Alex. 72 – Übersetzung (englisch) . Plut. Alex. 72 – Leitfragen + Kommentar - Alexander, Homer und Achilles . Arrian 1,11,6-12,4 – Original . Arrian 1,11,6-12,4 – Übersetzung (deutsch) . Arrian 1,11,6-12,4 – Leitfragen + Kommentar
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Sustainable Energy Production
This material about Sustainable Energy Production" helps you to explore how global patterns of energy production from fossil fuels hamper development and contribute to existential threats especially for Small Island Development States (SIDS). You will learn which role renewable energy generation and improved energy supply technologies can play in creating sustainable development pathways and you will be able to distinguish different alternative energy sources and understand the strengths and weaknesses associated with them. Dr. Dinesh Surroop and Dr. Anirudh Singh portray their island’s energy regimes in terms of current energy production, related socio-economic challenge and describe how Fiji and Mauritius have benefited from the introduction of renewable energy. They talk about the potential of various type renewables in their islands but also existing barriers and constraints and illustrate by means of some concrete examples how climate variability and climate change are impacting their islands already today. Dr. Dinesh Surroop, University of Mauritius, and Dr. Anirudh Singh, University of the South Pacific explain the adaptation and mitigation potential of renewable energies and the importance of environmentally sound socio-economic development in SIDS. You also get some further background information and trade-offs of conventional energy production.

Teams

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QuaXP
The project aims to raise or sharpen public awareness on data quality problems in the context of machine learning. Targeting everyone, with or without prior knowledge in the area of computer science, the project implements two levels of difficulty: “beginner”, requiring neither background in machine learning nor coding skills, and “advanced”, for learners with basic coding skills. The goal of both is the exploration of the problems with data quality for machine learning, in several steps: assess the quality of the data, clean the data, observe the influence of the cleaning on the performance of the model.
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HOOU Cares – Barabend
Mittwoch, 12.02.2020 20:00 Uhr Im Februar treffen wir uns zu Hoou Cares im Omnipollos (https://goo.gl/maps/8X2kD5pJEhvr4wwy6)!
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Lernplattform für machtkritische Bildung mit OER
Wir sind das F3_kollektiv und entwickeln eine digitale Lernplattform für machtkritische Bildungsarbeit. Darauf veröffentlichen wir einerseits unsere selbst produzierten OER-Tools. Andererseits rezensieren wir dort Bildungsmaterialien, die wir als machtkritisch und qualitativ hochwertig bewerten und deshalb für die Bildungsarbeit empfehlen. Besonders wichtig sind uns dabei Ansätze, Perspektiven, Initiativen und Best-Practice-Beispiele aus dem Globalen Süden und von People of Color in Deutschland. Durch die HOOU Förderung können wir neben der Lernplattform auch gleich ein interaktives OER-Tool entwickeln, welches die Digitalisierungspraxis des Bundesamtes für Migration und Flüchtlinge problematisiert und eine rassismuskritische Reflexion darüber anstößt. Herzliche Grüße -- F3_kollektiv. bilden suchen verändern mail@f3kollektiv.net Tragt euch auf der Website in unseren Newsletter ein: https://www.f3kollektiv.net Machtkritische Bildungsmaterialien zur Digitalisierung https://www.digital-global.net/ F3_kollektiv e.V. Neuerburgstr. 4 51103 Köln