![]() ![]() ![]() Naturally, kids are often resistant to this change owing to the fact that “tee, u, vee, w, x, y and zed, Now I know my A-B-Cs, Next time won’t you sing with me” just doesn’t quite sound as cohesive as “tee/vee/zee/me”.īecause of the problem at the end of the alphabet song with “zed” not really fitting, a variety of other endings have been created to accommodate this, such as this one: This has resulted in them often having to re-teach children the “correct” pronunciation of “z” as “zed”, with the children having previously learned the song and the letter the American English way from such shows as Sesame Street. There still was a variety of common pronunciations in North America after this but by the 19th century, this changed in the United States with “zee” firmly establishing itself thanks to Noah Webster putting his seal of approval on it in 1827, and, of course, the Alphabet song copyrighted in 1835, rhyming “z” with “me”.īecause of the alphabet song, the pronunciation of “z” as “zee” has started to spread, much to the chagrin of elementary school teachers the English speaking world over. The first known instance of “zee” being recorded as the correct pronunciation of the letter “z” was in Lye’s New Spelling Book, published in 1677. This gave rise to the Old French “zede”, which resulted in the English “zed” around the 15th century.Īs to why people in the United States call “z”, “zee”, it is thought that this is likely simply adopted from the pronunciation of the letters “bee”, “cee”, “dee”, “eee”, “gee”, “pee”, “tee”, and “vee”. The British and others pronounce “z”, “zed”, owing to the origin of the letter “z”, the Greek letter “Zeta”. The primary exception, of course, is in the United States where “z” is pronounced “zee”. The vast majority of the English speaking world does this. It’s not just the British that pronounce “z” as “zed”. Mertens' unreflective approach puts the musical praxis in its untamed state central as theoretical verificateur.Ĭontemporaneousness as process of tactile concreteness where the real shows itself only in the last instance as ultimate Mienneté.Ī troup opened out, bolting horses on the German Autobahn reinforce Mertens' claim to unbound content where Compass strokes rivals (Z's rival) with Fair warnings in the manner of the Zee (Sea) and the Zed.Jack asks: Why do the British pronounce “Z” as “Zed”? ![]() Not needing a producer it is only the radical performativity which, in the last instance, causes the needed amok. Numerous figures of speech articulate themselves through the firm piano sounds towards the harp - and the guitar parts, the strings and the under pressure performed brass notes. The real as melodic one-in-one, sung 'sans appui' and without predefined ending point, zigzagging through the more than an hour long CD. The guide here is the opening title According to the real.įlexible lines serve as starting point (without beginning) and multiply themselves through the coordinates of the points connected to the lines. The composer-performer playfully puts in Zee versus Zed (in the tune of the game), the (open) Sea in (non-) relation to the closing, last letter of the alphabet, the Z(ed). With titles such as Zusammensetzen, Zing'up, Zoet'kemiesch and the vocal Z's rival where Mertens takes the singing part himself, the last letter of the alphabet serves as fil conducteur for the new album. With Zee versus Zed, Wim Mertens releases 10 pieces for an ensemble composed of strings, brass, harp and guitar. ![]()
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