第184回 WORKSHOP報告(11月3日) / 参加者48名

1.後半マテリアルの紹介 M先生

《 今回のworkshop 》
○【前半】:“The study of foreign languages in foreign country”
○【後半】:PLUR FAMILY (Peace Love Unity Respect)

The study of foreign languages in foreign country

A lot of people go oversea to study English or other languages nowadays. They have some reasons to go to foreign countries. For example, they want to improve language skill, take advantage of the skill to work after the life in foreign country. There are some systems to study in foreign country like working holiday, international program at school all over the world. There are a lot of agents to support the student to study in foreign countries. Nowadays a lot of foreigners come to Japan and the international community advances all over the world. English or other languages will be important to communicate each other between Japanese and foreigners. We have to learn foreign languages.



Q1. Do you agree with the students who go oversea to study foreign language? Why, why not.
Please explain your opinion.

Q2. What is the advantage and disadvantage to go abroad to study for long time?

Q3. Do you want to go abroad for Working Holiday? Why, why not?

Q4. If you go to foreign country, where and what do you want to study?

Q5. Which agent is the best to support the student who go abroad?
ex) EF education first, Wish International etc.

Q6. If you have some experience to study in foreign country, please share you experience.

PLUR FAMILY (Peace Love Unity Respect)


House music is a genre of electronic dance music created by club DJs and music producers in Chicago around the early 80s. Early house music was generally characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines.
While house displayed several characteristics similar to disco music, house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components. Many house songs were instrumental, with no vocals; some had singing throughout the song with lyrics; and some had singing but no actual words.
DJs began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines. These DJs began to mix synth pop, rap, Latin, and even jazz into their tracks. Latin music, particularly salsa clave rhythms became a dominating riff of house music. The genre was originally associated with Hispanic and Black American LGBT subcultures, but has spread to the mainstream. The genre spread internationally to London, then to American cities such as New York and Detroit, and eventually globally.
Major acts such as Madonna, Janet Jackson, Kylie Minogue and Bjork to name a few, were all influenced by house music in the 90s and beyond. After enjoying significant success which started in the late 80s, house music grew even larger during the second wave of progressive house (late 90s ~ early Y2Ks).
The genre has remained popular and fused into other popular subgenres, notably ghetto house, deep house, future house and tech house. As of today, house music remains popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.

Techno is a form of electronic dance music that emerged in Detroit, in the mid to late 80s. The first recorded use of the word techno in reference to a specific genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of sub-genres have been built.
Techno resulted from the melding of styles including house, funk, electro, and electric jazz with electronic music by artists such as Kraftwerk, and Yellow Magic Orchestra. This is the influence of futuristic and fictional themes relevant to life in late capitalist society.
The transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality. Pioneering producers use the word techno to describe the musical style that helped create this unique blend.
In this manner, “techno” dance music defeats the alienating effect of mechanization on the modern consciousness.
Stylistically, techno is generally repetitive instrumental music, often produced for use in a continuous DJ set. The central rhythmic component is most often in common time (4/4), where time is marked with a bass drum on each quarter note pulse, a backbeat played by snare or clap on the second and fourth pulses of the bar, and an open hi-hat sounding every second eighth note. The tempo tends to vary approximately from 120 to 150 beats per minute (bpm).
Depending on the style of techno. The creative use of music production technology, such as drum machines, synthesizers, and digital audio workstations, is viewed as an important aspect of the music’s aesthetic. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound.
Drum machines from the 80s such as Roland’s TR-808 and TR-909 are highly prized, and software emulations of such retro technology are popular among techno producers.
Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance.

Trance is a genre of electronic music that emerged from the rave scene in the UK in the late 80s and developed further during the early 90s, to Germany before spreading throughout the rest of Europe, as a more melodic offshoot from techno and house. At the same time trance music was developing in Europe, the genre was also gathering a following in the Indian state of Goa.
Trance music is characterized by a tempo lying between 110-150 bpm, repeating melodic phrases, and a musical form that distinctly builds tension and elements throughout a track often culminating in 1 to 2 “peaks” or “drops”.
Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno, house, pop, chill-out, classical music, tech house, ambient, and film music.
A trance is a state of hypnotism and heightened consciousness. This is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-ups and releases.
The name “Trance” may refer to an induced emotional euphoric feeling, chills, or an uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 90s before the genre’s focus changed.
A common characteristic of trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion entirely, leaving the melody or atmospherics to stand alone for an extended period before gradually building up again. Trance tracks are often lengthy to allow for such progression and commonly have sufficiently sparse opening and closing sections to facilitate mixing by DJs.
Trance is mostly instrumental, although vocals can be mixed in: typically they are performed by mezzo-soprano to soprano female soloists, often without a traditional verse or chorus structure.
Structured vocal form in trance music forms the basis of the vocal trance subgenre, which has been described as grand, soaring, opera like and ethereal female leads floating amongst the synths. However, male singers have also been featured.

Drum and Bass was born in the late 80s and early 90s. It combined syncopated breakbeats, and other samples from a wide range of different genres, such as dialogue and effects from films and television programs. A faster subgenre was known as “hardcore” made up of high-tempo breakbeats, heavy basslines and samples of older Jamaican music, were known as “jungle”,
It became recognized as a separate musical genre on pirate radio in Britain. It is important to note when discussing the history of drum and bass prior to jungle, music was getting faster and more experimental.
By 1994, jungle had begun to gain mainstream popularity and fans of the music became a more recognizable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion.
Despite the affiliation with the ecstasy-fueled rave scene, jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK’s hip-hop scene; as a consequence of jungle’s often aggressive or menacing sound and themes of violence.
However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London.
By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the raggamuffin style and create what would become collectively labelled, as drum and bass.
As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance around the mid 90s. It also began to split into recognizable subgenres such as liquid and grime. As a lighter and often jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including neurofunk, which drew greater influence from techno music and the soundscapes of science fiction and anime films.

Breakbeats In the late 80s, became an essential feature of many genres within the global dance music scene, including big beat, nu skool breaks, acid breaks, electro-funk, bass and dubstep. Incorporating many components of those genres, subgenres followed during the early to mid 90s and had a unique sound that was soon internationally popular among producers, DJs, and nightclubs.
DJs from a variety of genres work breakbeats tracks into their sets. This may occur because the tempo of breaks tracks can be readily mixed with these genres. Breakbeats are used in many hip hop, jungle and hardcore songs, and can also be heard in other music, from popular music to background music in car and clothing commercials on radio or TV.

What people have been talking about in the rave scene for over 20 years, are the same conversations that people are having now about the same feelings.
The culture is changing, new people are coming that don’t do it “for the right reasons.” The music is different, the DJ is not good and so on.

Over the years, a lot of people that go for the “bad reasons” end up not going after a while. A new wave of ravers come in and most of them, are amplified with psychoactives. Over time, they start to notice some weird or creepy stuff. Disillusionment sets in, and suddenly there’s this bad aftertaste left behind.

Sometimes it happens over years, sometimes it happens with one bad incident. At the same time, there is a lot of amazing good stuff going on in this culture, and what’s fascinating. Finding people who are there for the reasons you enjoy too. Those people are gems, and you should get to know them more.

They might not always be the craziest dancers or have the most connections or be the prettiest people or whatever. But they seem to keep coming back to parties, or at least they keep talking about music even when their schedules don’t let them go out so much. When our lives change, and we live far apart, we can share music remembering the groove.
A revolutionary program’s aims is to become a waste-free festival. Therefore, art projects need to be as sustainable as possible. In order to fulfil this objective, it is required for artists to supply a list with all materials used in their work. This ensures that they have taken into account the environmental impact of the work and it has implemented environmentally friendly means of production.

It is strongly encouraged for the use of reclaimed or recycled materials. Also know what happens to the work and project after the festival is finished. Don’t let it turn to waste!
Nowadays, the people that are coming to raves and getting in for the wrong reasons; are becoming a playground for kids to do drugs. Not many know what PLUR is. Everyone is just there to do drugs and go home.
What ever happened to the love? The expression of the self through dance? The expression of unity through connecting with one another? What ever happened to meeting new people and trading kandi? Have you ever heard anyone talk about the interconnectedness you feel, when the DJ starts the music and you start to dance to the harmonic sounds? Have you heard people talk about how beautiful it is to meet other people and families? Do you know what those people are doing, they’re selling kandi now.

Drug checking has demonstrated value as a harm reduction and health promotion, the use of such services remain a contentious issue. Aimed to investigate the proportion and patterns of illicit drug use among young people.

● How does the evolution of EDM reflect on the social panorama of life?

● How does misconception exist largely due to the presence of people who are completely into banned substances?

● What kind of reputation do ravers have because the culture is known for promoting drugs?

● How do you intend to “trigger” people and what message will they take home?