Write a flash story about one (1) of the following situations*:
1. Vowing not to bathe for an entire year, a neglected stepson becomes obsessed with a neighbor
2. In a post-apocalyptic world, a spoiled teenager uncovers a hidden family secret.
3. Longing for a simpler life, an out-of-work writer gets trapped in a parallel universe.
4. While dog-sitting, an unsuccessful comedian develops short-term memory loss
5 After too many cups of coffee, a single mother of three slowly transforms into a centaur.
6. After being left at the alter, a pathological liar goes on a game show. The story (or poem, if you like) should be one-page long, and tumed in as a 2nd document. * These situations thanks to a terrific book called The Amazing Story Generator by Jason Sacher. Embarassed
For this exposition I will concentrate on the Māori individuals of New Zealand, and taking a gander at the progressions and improvements in both their customary music and that of their cutting edge mainstream culture, a lot of which is received from American and European sources. I will incorporate crafted by a few ethnomusicologists who have involvement in the regions of Māori music, present day New Zealand mainstream culture, and American rap music and its effective reach. The Māori individuals Have had their own conventional melodies since they initially occupied New Zealand. Be that as it may, there have been changes to the social circumstance of the music and how it is gotten by both the white open and Māori youth. In this article I will concentrate on three, the amazing quality of Māori customary music, the progressions made as a response to this and the impact of other present day kinds and styles, explicitly American rap, to talk about these progressions and how they have educated ethnomusicology either emphatically or adversely. In doing as such I would like to demonstrate that a dynamic melodic continuum is working in New Zealand youth culture, educated by both their customs and outside impacts, but then is making unique new music along these lines. Melody misfortune and investigating conventional music The Māori have occupied New Zealand since the fourteenth century when they touched base from other Pacific islands looking for new grounds to move to and develop. It is hard for an ethnomusicologist to discover or have discovered any tunes making due from the most punctual parts of Māori history, for a few reasons. Right off the bat, the same number of Māori melodies are to do with conventions and practices, when those customs or practices end up out of date or leave utilize, at that point the tunes will be lost with them.For precedent, when kayaks began to be supplanted with sail delivers, all tunes about paddling were either lost, or adjusted to discuss cruise sends. Furthermore, in view of superstitious convictions, numerous melodies have limited exhibitions, where just certain individuals from the clan or network are permitted to visit and tune in or participate. This additionally restrains the quantity of Māori who will learn proposals tunes, as they are educated simply by oral custom. The instructing itself is a point of enthusiasm, as customarily the people melodies of Māori are educated in an extremely strict sense,as they are not intended to change naturally or be re-deciphered, aside from if the network overall takes in another rendition in accordance with another significance, similarly as with the kayak/cruise dispatch precedent above. Much of the time, the tunes will be gone down through ages, safeguarded as precisely as could be expected under the circumstances, which would in certainty make it simple for an ethnomusicologist to find these collectibles of society melody. Be that as it may, these customs were stopped unexpectedly by the mediation of European evangelists. The evangelists were acknowledged to a degree by Māori interest, and arrived a long time before the settlement of Waitangi in 1840,which implied the taking of New Zealand by the English under ruler Victoria and the official surrender of the Māori as a people (however strife continueed for quite a long time). These preachers willingly volunteered instruct the apparently crude Māori clans in each part of Christian and European goals. This incorporated their music, as the Europeans found their conventional people drones 'excessive', 'obscene' and even 'lascivious'.The teachers set about their assignment rapidly, to such an extent that by 1830, a letter sent from an evangelist to his brother by marriage at home in England read; Quietness and great request has prevailing to their local ferocity… ; we never hear anything of their tunes or moves. Instead of their customary music, the evangelists trained them psalms and church music. In doing as such, they additionally showed the basics of western music hypothesis, which they urged the Māori to embrace as their new melodic dialect. This implied numerous new Māori tunes were made, utilizing conventional words and stories, yet with diatonic harmonies that made them listenable and recognizable to an European ear.Though this was generally recognized and finished to the Māori's own educating, some customary tunes were kept covered up and discharged in both Māori content accumulations and those of inquisitive westerners. One such was John McGregor, a protect of caught Māori warriors held in a stranded mass at Auckland harbor. John 'gathered and later distributed countless recorded by the captives'.He could be said to have been one of the first to research and record Māori customary music, yet this white enthusiasm for the music did not begin to return until the twentieth century. This change happened on a stupendous scale throughout the following century, and right up 'til the present time Māori music is viewed as synonymous with psalms and European-based tunes. This view has been broadly held by the white overall population for the majority of the twentieth century, however numerous Māori know it not to be altogether precise. Ethnomusicologist Mervyn Mclean expressed that 'among the general population everywhere, in any case, such melodies are a for the most part concealed tradition'.A recovery of the Māori culture started during the 1960s, named the 'Māori renaissance',and with it came both the innovation and the inspiration to record and safeguard the conventional tunes that were left among the masses. This made the activity of gathering and examining Māori music much simpler for ethnomusicologists, as up until this use of new chronicle innovation, they had been unable to source vocalists and melodies out. Mclean makes reference to that 'arrangements for hands on work took an over the top measure of time'in the late 1950s, and notices that without the 'enormous preferred standpoint' of meeting a few willing Māori Elders 'I would not have had the assets to make due in the field'. Changes and current learning The conventional Māori tune frames, and also being non-diatonic as recently expressed, were in certainty totally incongruent with western tonal dialect. In spite of the fact that the songs sung could be interpreted into melodic documentation, they were not in a settled time signature or specific key as we would comprehend it. The absence of consonant development perplexed observers to exhibitions in the nineteenth century, as the Māori music depended more on redundancy, both cadenced and symphonious, and diverse execution approaches by various artists, for the shading and assortment in their music.>GET ANSWER