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I la laed and Arthur Johnson wrote it down, and I wish you would give him credit because he did a very good job. It is all simple music, you know, in keeping with my character. " The intention was to have a score that would translate the characters' emotions through its melodies. The score was recorded in five days with musical arranger Alfred Newman. The main theme used as a leitmotif for the blind flower girl is the song "La Violetera" "Who'll Buy my Violets" from Spanish composer Jos Padilla. Chaplin was unable to secure the original song performer, Raquel Meller, in the lead role, but used her song anyway as a major theme.
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2. The hidden curriculum helps a student realize the objectives of the learning process and how to translate these objectives into actions. The effectiveness of a teaching method depends on the learning objectives, the learners and the skill of the teacher. It can also stimulate the learners desire to develop his/her cognitive, psychomotor, social and spiritual domains. Compared to other types of curriculum the hidden curriculum talks more of integration between individuals into the academe and the preparation of the learners into a participative way of communication in their home, school and community. Thus, one of the focuses of hidden curriculum is individualism. Students learn how to recognize their own capacity and develop their ability in a specific area of what they can do and how they can do it. Thus, the learning styles of the learners should be considered. The hidden curriculum also considers the interrelatedness of reality. In the classroom, students are given the opportunity to state their agreements and disagreements on certain topics and issues. They are also given an equal chance to have a public sharing that would build their confidence and competency.
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They also play, for nearly half an hour, a furious rendition of the Tommy Tucker blues rock vehicle Hi Heel Sneakers, which Green dispatched in six minutes on one of the few non Blue Note albums in his discography, the 1967 organ trio date Iron City!For Green to play crossover material at this time was nothing shocking; Wes Montgomery had also tipped his hat to Little Anthony with Goin Out of My Head, among other then current pop songs. But whats clear on the Antibes tracks, as well as on Slick!, from five years later, is the consistency and integrity of Greens attack, his boppish yet blues rooted vocabulary, his soul. They remain the same regardless of genre or instrumentation. Though Slick!finds Green using Fender Rhodes Emmanuel Riggins, drummer/producer Karriems father and electric bass Ronnie Ware, the set opens with Nows the Time, reflecting Greens longtime of Charlie Parker. Jobims How Insensitive, played fairly straightforwardly in Paris, resurfaces on Slick!as a half hour odyssey with the deep funk detours of Greg Vibrations Williams on drums and Gerald Izzard on percussion and whistle. The closing medley, another half hour, melds material from Stanley Clarke and Stevie Wonder, Bobby Womack, the Ohio Players and the OJays. Green was bringing Detroit to western Canada, no passport necessary. Whatever the setting, Greens playing had a uniquely communicative quality, though by todays standards its not especially complex or technically ambitious. His bop lines took a handful of familiar routes. His blues licks could be unabashedly repetitive; at the peak of excitement he might play one riff and ride it for an entire chorus or more. But he always fully commits to these moments and puts them across with clean and unflagging articulation.