The Project DB Essay Example for Free

The Project DB Essay Project Planning entails a lot of complexities most especially when the project at hand is quite complicated and limited in nature particularly in time constraints. Nevertheless, there are specific tools designed to facilitate manageable and easy project planning possible. Such tools may be classified according to the nature of the project handled. For small to medium sized projects, tools such as Gantt Charts, Critical Path Analysis, Program Evaluation Technique (PERT), and Planning Cycle may be used. While planning large projects may employ the use of the tools such as Planning Management Methodologies, Stakeholder Analysis, and Stakeholder Management.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Among these, the commonly used are the Gantt Charts, Critical Path Analysis, and PERT. All these three requires Work Breakdown Structure. Gantt chart (designed by Henry Gantt) is very useful in the sense that it is much easier to construct and understand. The activity in relationship to time is immediately obvious unlike the other tools. Its value is easily recognized as it is less complex to look at. While Critical Path Analysis or CPM and PERT are both powerful tools, the first one identifies which tasks should be done on time to complete the project on time, at the same time, identifies which tasks can afford to have delay yet still completing the project on time. Thus, CPM identifies the shortest possible time to complete the project, the resources needed, and the most efficient way of shortening the time. PERT is a slight modification on CPM. It makes use of quite skeptical view of time for each project stage. The optimistic, pessimistic, and most likely time is indeed helpful to prevent biases from unrealistically short time-scales assumptions. Hence, in my own point of view, I personally prefer to use CPM since it has a lot of advantages over the others considering that it can present the early and late completion of the project with respect to the time allotted to complete the project.    Works Cited Page    Project Planning Management Tools. 15 July 2008. Mind Tools Affiliate Program. 03 Aug. 2008. http://www.mindtools.com/critpath.html

The historical and significance of Weber output

The historical and significance of Weber output The historical and significant of Weber output (Der Freischutz )in the romantic Germany Opera. The so called Camerata that first met in Florence in the 1580s arose in German Opera. On seventeenth century, Opera came in and dominated Germany. The development of Italy Opera, urged the singing and the performance arts by Italian skills, the delightful in neither show nor theatre brought acknowledge to the rest of Europe. Germany Opera are very much influenced by Italy Opera. Two major Opera composer of Germany, Beethoven and Weber learned from Italian composer and this is the continuous line on the opera development of Germany. ( Edward J.D 1976) During the seventeenth and eighteenth centuries, Italian rival became a factor that Germany opera was struggling with it. Handel and Gluck elect opera seria as a foreign tradition work. Some composer tried to challenge the domination of Italian, Mozart sophisticated music evolved the simple singspiel, Weber create a unique Opera Der Freischutz which influence the romanticism. Wagner is the one to change the Germany Opera never to be the same, significantly great influence to the opera and the later composers. This few composers brought a strong operatic to European cultural. (Edward J.D 1976) Throughout seventeenth, eighteenth and nineteenth centuries, the historically show the importance of opera was there. The musical expression of the opera is the main source of all. There are various definitions for Opera, for my thought, Opera is an art form, sung on the staged in magnificent costume, accompaniment of instrumentals lead the expressive music goes by. It is also device by human expression is made artistic, the equality of piece of music is the same as every poem, the duration and level difficulties of music, must contain emotional climax. Religious is a part of the scenery for opera, the characteristic of the type of opera we called â€Å"Romantic†. (Edward J.D 1976) Exaggeration is the romantic interpretation of older music, for example two different composers output would create a different technique and expressing. To play Bach 48 prelude, used of harpsichord which gives no variety of color and dynamic contrast, yet the beautiful and even expressive we can still played in the music. With another comparison, Weber output by playing without dynamic and experience, the eventually result will be lifeless; as Weber is a typical romantic composer, his outputs depends on his very existence upon intensification or exaggeration. (John D.D 1980) Germany Opera was being concerned when Vienna turn to be international operatic centre, at the mean time of Mozart striking but this is nothing to do with him. The long duration of development took Germany Opera to be well known due to unsatisfactory of libretto badly made. (John W 1976) The two major composers of Germany who wrote opera – Mozart and Hasse brought foreign repertory to the German Opera house. Both of them neglected the important of own country opera music. According to John Warrack, Mozart wrote opera in Italian but not German, hilarious part of Hasse, he never wrote German Opera at all. My thought thats was a major reason of local produce composer had neglected the very significant point which they could developed the opera of the country. Carl Maria Von Weber is a German composer and also the composer of Der Freischutz. He was a significant composer of the romantic school. Weber was influenced by Mozart in his early opera, but he had the sense of innovation and creating a new, distinctly German tradition. The German folk song melodies can be often attach in Webers music. Weber life was connected with his printed work, especially opera. Webers mastery of the orchestra was equaled in his time by Beethoven and Schubert. Weber composed for piano works, opera but he also wrote a quantity of religious music- Catholic Mass. Der Freischutzbecame one of the major influential development opera in Germany, not merely influence of the music but also later composer most likely to be German, for instance Wagner, Liszt, Mendelssohn and Chopin. He still remained a successful composer although he had arrested for debt and fraud and expelled from Wurttemberg. Barely touched by the wand of the magician Weber, the realistic and natural scene for the most German of melodramas assumes a grace and freshness a mystery even worthy of Shakespearian fantasy. CLAUDE DEBUSSY Der Freischutz was the creation of German life and wisdom, ancient but revives with new awareness and given new artistic growth. Der Freischutz translates as â€Å"the marksman† or â€Å"the free shooter†. This opera established a uniquely German form of opera under the influence of Romanticism. The opera contains three acts by Weber to a libretto by Friedrich kinds. The first sketch was on July 2nd 1817 and only complete until May 13th 1820. Instead of the original name Der Freischutz, the title Der Probeschuss ( The trial shot) was chosen, then Die Jagerbraut ( The Huntsmans Betrothed) but eventually the first title was restored by Bruhl ( Director of Berlin Theatre) who had accepted the opera production. For Weber, unparalleled triumph started on Der Freischutz. He breaks the 18th century overture style that consist suggestion of the motives that would follow. This innovation creating began his music career in the romanticism period of producing brilliant outputs. We ber assumed as a great master while his contemporaries have fallen into oblivion. Der Freischutz is still numerous in Germany and essential to the repertoire as Faust or Carmen. In our day now, Der Freischutz is rarely to be presented in other countries. In France and England, the demand works of Mozart and Wagner are more appreciate than Weber. The reason why Weber only alive in Germany because the national quality of Der Freischutz. The affection towards Germany was one irrational, mainly focus on childhood, children was taught to play the simpler tune of it, and was regarded as the most appropriate opera for children first time visit. It is the opera â€Å"for the people† and for the German people. This reason cause the non musician German felt Der Freischutz are simply insufferable if they are not enjoy the work thoroughly. In Weber Career, the important factor brought his music to another stage of written work because he was the modern equivalent of a court jester. He sa ng, played guitar and pianoforte, in this society, young noblemen should write lifeless poem about ladies, Weber put this into his music, the shape of lyric, the structure and musical style mixture of French and Italian Cadence. Weber always called upon to played, most often he did was improvise the popular opera of the day. On my opinion, extemporize could bring inspiration raise on music. We would not expect what will be creating later and this might surprised and became an innovation of a style. Weber became conductor in Dresden since 1817 and this changes make an emphasize focusing on development of German opera. The repertory that he conducted was only French and Italian opera was performed because there is no German opera worth to be performing beside Mozart and Beethoven outputs. For the last ten year operatic in Prague and Dresden, Weber repertories style was mainly influence by French work. (John.W 1991) The story is taken from German folklore and consists of supernatural elements. The opera begins with a shooting competition, Max; a forest ranger worried his poor for competition to marry his love Agathe, the daughter of the head ranger. Caspar tried tempting Max to sell his soul to Samiel, the â€Å"black hunter† to exchange for seven magic bullets which never fail to hit their mark. He now forfeit his soul and life to Samiel, to get free he has to find a victim to replace him. The bullets casting take place in the midnight in the Wolfs Glen. The following day, Max was asked to show his marksmans skills. He shoots a white dove which turns up to be Agathe, but because of the purity love of Agathe, the bullet wound Caspar instead of her which this action was diverted by Samiel. Casper life is to be claimed by Samiel. The miracle escape of Agathe and she was awarded to Maxs hand and bleesed by hermit after a year probation and being pardoned. Max live happily in the end of the s tory The story has a several moral theme, the symbol of love, innocent and kindness represent Agetha. The symbol of evil, battle for Max represents Casper and Samiel. The story takes place of everyday, supernatural and myth. The plot is not merely a history nor excellent story. Underlying the mighty and mysterious forces is at work. The character of story was interacted. The definition basic element in his story by key and exposition by instrumental color was convinced to Weber for this is sound as a framework and with his certify understanding of melody and of theatrical condition, his purposes was certainly right. By choosing the primary colors which to portraying his characters, he may also drain them from the delicacy, unpredicted and of the contradiction real human nature, but he was authorized to define them which a cheerful German nation found the thought of it own qualities. Maxs is a young and simple hunter, for all his weakness and his apt to pensiveness and fantasies, an open air figure, with loyalties; Agathe a mixture of Hausfrau, patient, contemplative, domestic, devout, faithful and a little insensitive; Aennchen the active, innocent, foolish but delightful and generous, all this to be decribe by the word Keck; Samiel and his agent Caspar the embodiment the dark and unfavorable in the origin German wood spirits; Huntsmen and Bridesmaid s, Killian and Cuno, villagers, the familiar natural life upon which the noblemen Ottokar imposes a human order and discipline that must in turn defer to spiritual order in the person of the Hermit, the Man of God. With Der Freischutz Weber succeeded the endeavor by bring the romantisicm into the theatre where failed by Tieck, Brentano, Schlegel, Arnim and Wener. (John D.D 1980) The development and conflict of the character surrounding his persons as actor-out of an ethical principle is not an interest of his. There full arrangement of leitmotiv, cooperation and developing the connection between idea and person was essentially a method to be represents Nature, pure heroine, lively character, well-meaning but misguided hero, hopeless villain, kindly prince, holy hermit were the characters themselves stay very close to long created Singspiel type. (John D.D 1980). The nature influence has no real origins in Singspiel, which by far the partially deal only with formal situation, but Rousseau-inspired sentiment of opera-comic and reaches Weber most presently by two major operas of the year 1816. Faust- The first real Romantic opera by Spohrs is a relatively undigested mixture of French influences; Weber admired even more on Hoffmanns Undine, input many idea of Romanticism into a pattern for opera- particularly, as was concerned as Der Freischutz was the affect of the spirit world on that of human. Undine was the first opera of its generation to set a text of real literate merit; Der Freischutz created inspiration and motivated for Hoffmanns famous attack on the closer combination of literary and musical quality. Weber idea of unity and his literary gifts was essentially a musician and libretto thought from the point of composer view as the combination elements should form. Ten years after without libretto, Weber attach the more enthusiastically on the subject that seemed ideal. Der Freischutz intended to bring out the natural outcome of the romantic rather than to revive the origin of music drama. For Weber music is used to present, reflect and express the mysterious action and magical in this opera. (John D.D 1980) Weber admitted the melodic of opera was arisen from folksong he studied. Der Freischutz wasnt the first opera to use folksong, but never before had folksong been so perfectly epitomized reflect German feeling. The Huntsmens chorus taken from German popular song books but its original derived from 18th century French street song â€Å"Malbrouk sen va ten guerre†. Its a resemblance of simple melodic. (Ex.1). It is not quotation or association which is the point, but the triumphant combination of dialect material into a work of art. Ex. 1 The Bridesmaids Chorus was derives from Volkstanz, Der Windmuller. (Ex.2). Tune from the village march is found on an actual primary still extant in country inns and fairs in Webers day Ex. 2 Weber create bright atmosphere and presence powerful French influence can be overlooked especially as this was an acceptable musical associate in the face of the Italian enemy. According to John Warrack, by realizing occurrence a few Mà ©hul extent of in the music exhibit Maxs melodic style. French style in his repertory work was carefully concentrated during his ten years operatic silence while conducting in Prague and Dresden. Through Mà ©hul to Dalayrac, appears the combination of music idea, perhaps even a single motion, with absolutely dramatic component in the opera. From French opera Weber also developed the Reminiscene Motive which, though by no means unfamiliar in German opera, had not reached the full dignity of Leitmotiv. Two structure devices were used in the opera key association and repetition melodic themes. Although singspiel structure was conventional used to separate speaking dialogue, the music is still underlying the whole meaning of the legend. Weber attached a diminished seventh chord, (Ex.3)a peculiar one when every time the evil spirit occurs. The shock of romantic horror destroyed the fresh and order global of the normal tonality. Weber emphasis its indefinable or ambiguous quality: the supernatural does not belong to a world of order and logical. The nicety of key association implied in these two themes. The C minor are consistently with such skilful modification as to be virtually a leitmotiv and there is of course the operas only true Leitmotiv, Samiel diminished seventh tonal pattern, with minor third interval leads to minor keys, in general connected with the power of supernatural evil. Ex.3 The external circle represents the positive and benevolent major key used in the opera. The inside circle is the used of minor key and be arranged each opposite was the relative major, Samiel diminished seventh was suggested to be a minor third relativity. (John D.D 1980) Maltese cross show the diminished seventh chord a – c – e flat – f flat. Weber did not use the key from b flat to c sharp when noted for the evil minor key. (Key in bracket): The segment show serious challenge to evil which most offer the major key. (Ex. 4) Ex. 4 . The battle take place mainly opposition between C minor and E flat major, A minor (the key of Maxs forebodings) and C major, F sharp minor (the framing key of the Wolfs Glen scene when the magic bullet are cast) and A major (the key in which Agathe and her companion Annchen sing of happy marriage at the beginning of Act Two. The most useful and main scene in Der Freischutz is wolfs glen scene and the overtune among the many musical number of qualities. The opera buffa and Singspiel occur as conventional the most tedious ensemble of plot and confusion at the end of second act of Wolfs Glen scene. Between eighteenth and nineteenth century romantic music drama, there is nothing could demonstrate the difference till Weber create a scene of supernatural horror, allocate at the rocky valley, surround with incantations and magic with supernatural phantom and sensational stage effects. All its materials have by now been interpreted; and indeed it is their close combination with the human character involved that raises the scene above the conventionally picturesque, the disturbed emotion has become the projection to the music, their most dismaying night dread. Webers genius mastery on instrumental sound empowers him to avoid the natural kind of simulated. The scheme melodrama of Wolfs Glen, Weber had himself stag e at Prague to be French despite this is a Czech melodrama, an unfamiliar characteristic in German opera; and there is generally the tendency, under the encouragement of the Dresden taste for description, towards impressive situation rather than development. Moreover, despite Webers unfavorably known aversion, in no way he was presented indifferent by what he called the â€Å"sweet poison from beyond the Alps†, most openly shown in the major solo and above all Agethes scene und Aria. The key analysis showed to hear and see the impressive scene and thrill. The strictly ordered of key structure exhibit the pictorial music on each supernatural. The experience and dynamic elements appear to decide the progress of the music. The domain key of the opera is F sharp minor. The main episode occurs in C minor: act of Samiel, the preparations, Maxs descent, the act of the last three bullets. Agathe appearance is the main point, resist to the episode of the scene and exhibit by Weber in C major. The entire of the scene is form in an arch-like way. Weber approaching the opera as an whole structured of music drama. (Ex.5) Ex.5 At the battle section, the strength of darkness fully developed into position. Astutely, Weber kept the appearance of Agathe redemptive until the menace has been decisively established; Act two goes up in Agathes house show a new world of feeling , nevertheless influence of evil shown at the engagement of Aennchen, hurting Agathe forehead when Cuno portrayed on the wall was fallen. A clear conflict shown in between two relations of Agathes earliest restraint and flowing 6/8 melody for Aennchen chattered happily away. The midpoint of the opera is when Agathe step forward for her aria, a significant knowledge of her nature. Regardless of the Italian influences, the mastery connection of episode was maintain together is thoroughly Weber own; as a skillful economy he meant. The opening of recitative presented a more about Agathe, from the clarinet played of gentle pensive opening, Agathe special instrument, magical stoke as she open the door into balcony, a modulation from E major, a seventh on G to a 6/4 F sharp key, Weber expressing the beauties of the starlit night.( Ex. 6) Ex. 6 In the German nation, Webers characters been rooted in local life and the folksong was the inspiration for his tunes and offered a powerful stimulus in the next stage of establishing their musical independence. (Edward J.D 1976) His incentive of his virtuosity include technical innovation, on Chopin and Liszt, brought variety narrative and dramatic element for the new musical, Berlioz and Mahler were much admired Weber mastery on orchestra instruments of producing new effects. Hardly a single major composer in the tradition failed to pay tribute to Weber. During his time, vividly awareness in which it was utter joy to be alive, Vividly aware of his times as a new dawn in which it was bliss to be alive, Weber was conscious for achieving a new individuality German music in the future. Indeed, he successes and brought the Romanticism to theatre (John W 1976) The successed of Der Freischutz created a developed in German opera house, and come across in the whole Europe with all size and length, this was one agitation incident of the operatic history. The successes not only merely impetus a progress in opera house but also for composer to achieve the ambitious with serious way to approach the Romantic opera or simply tension about missing a convention.

Social Construction of Child and Childhood Essay examples -- Psycholog

Social construction of child and childhood To start with an overview of social constructionism in very general terms leads to build understandings of child and childhood in a social world more explicitly. Notion of social construction is defined in diverse disciplines and instead of generating a description there are a number of thoughts. â€Å"It is sometimes called a movement, at other times a position, a theory, a theoretical orientation, an approach; psychologists remain unsure of its status (Stam 2001, p. 294)†. Vivien (1995, p. 10) points the origin of social constructionism stems from two to three hundred years ago in the period of enlightenment, modernism and postmodernism. By all means, Berger and Luckmann’ (1966) book The Social Construction of Reality as a first book have a title of â€Å"social construction† has influential contributes in recent studies (Hacking, 1999). In this book, questioning everyday life realities and giving examples from it, shows the importance of social relations and l anguage that we used. Hacking’ The Social Construction of What? (1999) offers up-to-date and logical instances which supports to comprehend those aspects. He listed a number of things to be socially constructed and X as a generic label is used by him to work things as they are. First X does not exist or it is not generated by any natural thing then X existed by history, social interactions and with similar things. He discussed all too often after this process, using theory of social construction results in to change or destroy X render ‘normalisation’. Gender is one of the good examples that he gave which always come to mind whether it is constructed or not. Put it in a simple way, when X is gender; inequalities between men and women caus... ...ook the back of the book (Miller, 1995). Cognitive inability to realize other’ perspective and lack of social conversation are propounded by Piaget the reasons of the egocentrism. Children talk while they play with peers however; this communication does not necessarily related to each other that even in group self communication can exist. He suggests based on his own observations such this speech decrease with age. In other words, egocentric thinking transition from autistic to social thinking and when child start to think silently egocentrism disappear (Piaget,1950). Vygotsky’ view departs from this point; in contradiction age decline he claimed initial mission of egocentric speech is cognitive self- guidance rather than social communication (Rubin, 1973). In commonsense, egocentrism is shaped by development of thoughts but, Piaget attributed it genetic roots.

Masculinity in Oliver Stones Nixon :: Film Movie American History President Essays

Masculinity in Oliver Stone's Nixon I. Introduction When President Nixon was leaving the White House, Henry Kissinger comforted him by saying, "History will treat you kindly," to which Nixon replied, "That depends on who writes the history" (Hamburg xiv). [1] Watching Oliver Stone’s Nixon (1995) and the director’s earlier film JFK (1991), it is difficult to have kind thoughts about Richard Nixon. Stone’s investment in the figure of the president manifests itself in two ways: first, in the director’s fixation on Nixon as a symbol of the corrupt political landscape after President John Kennedy’s assassination, and, second, his fixation on Nixon as a symbol of a failed patriarch or an ineffective father figure who led the country into further turmoil. Stone has argued that he hoped to elicit sympathy for Nixon, but I will show that the director’s emphasis on Nixon as an epic tragedy, especially in conjunction with the Beast thesis, does not allow for sympathy or understanding of the man or his politics. [2] My analysis primarily focuses on Stone’s film Nixon, but it is noteworthy to mention JFK, since both films were embroiled in heated debates regarding historical authenticity and artistic license. In JFK, Stone pieces together several conspiracy theories as to who was responsible for President Kennedy’s assassination from â€Å"real† primary texts, news footage, ear and eye witnesses, and the Zapruder film, among others. In Nixon, Stone uses similar techniques to posit equally troubling theses: the first that Nixon, while Vice President, was involved in a plot to assassinate Fidel Castro, and, second, that Nixon was directly or inadvertently responsible for the deaths of John and Robert Kennedy. Stone elects to create scenes and embellish information but defends his mixing of fact and speculation: â€Å"Of course, there’s license and speculation, but they are based on reasonable assumptions which we’ve discussed with highly reliable techn ical advisers who lived through the history we’re recounting in the film† (Monsel 206). [3] Regardless of historical inaccuracies, it is valuable to analyze how Stone constructs Nixon’s personae, as well as the epic thesis of the â€Å"Beast† in American politics, because, through both, Stone deconstructs the American ideology of the ideal man, as well as the â€Å"American dream† of success. II. American Capitalist Ideology and Marketing of Nixon and JFK. [4] The marketable nature of Stone’s controversy is elaborated in the ideologies he chooses to emphasize and the â€Å"whitewashing† of particular historical facts that are shown in Nixon.

Utopia Vs. Dystopia Essay -- essays research papers

Utopia Vs. Dystopia Each person has their own vision of utopia. Utopia means an ideal state, a paradise, a land of enchantment. It has been a central part of the history of ideas in Western Civilization. Philosophers and writers continue to imagine and conceive plans for an ideal state even today. They use models of ideal government to express their ideas on contemporary issues and political conditions. Man has never of comparing the real and ideal, actuality and dream, and the stark facts of human condition and hypothetical versions of optimum life and government.   Ã‚  Ã‚  Ã‚  Ã‚   In the nineteenth century, man believed in the perfectibility of mankind and in the real possibility of an ultimate utopia, a time when man could all live together in peace. However, the events of the twentieth century have weakened that belief. Both cold and hot wars have followed each other in succession. Revolutions and civil wars have taken place and totalitarianism has become a fact that can hardly be ignored. Therefore, the modern age has become a time in which more anti-utopias have been envisioned than ever before.   Ã‚  Ã‚  Ã‚  Ã‚   A lot of authors have expressed their views on utopia in their novels. Some have done it by creating their own perfect world, while others have chosen a different path. They have selected to voice their opinions in anti-utopian novels, or dystopia. An anti-utopia is simply the reverse of a utopian novel. The aim of both novels is ba...

Music Composition Sheet Essay

At the turn of the century, music was characteristically late Romantic in style. Composers such as Gustav Mahler, Richard Strauss and Jean Sibelius were pushing the bounds of Post-Romantic Symphonic writing. At the same time, the Impressionist movement, led by Claude Debussy, was being developed in France. The term was actually disliked by Debussy: â€Å"I am trying to do ‘something different—in a way realities—what the imbeciles call ‘impressionism’ is a term which is as poorly used as possible, particularly by art critics† —and Maurice Ravel’s music, also often labelled with this term. Many composers reacted to the Post-Romantic and Impressionist styles and moved in quite different directions. The single most important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. From this sprang an unprecedented â€Å"linguistic plurality† of styles, techniques, and expression. In Vienna, Arnold Schoenberg developed atonality, out of the expressionism that arose in the early part of the 20th century. He later developed the twelve-tone technique which was developed further by his disciples Alban Berg and Anton Webern; later composers (including Pierre Boulez) developed it further still. Stravinsky (in his last works) explored twelve-tone technique, too, as did many other composers; indeed, even Scott Bradley used the technique in his scores for the Tom and Jerry cartoons. After the First World War, many composers started returning to the past for inspiration and wrote works that draw elements (form, harmony, melody, structure) from it. This type of music thus became labelled neoclassicism. Igor Stravinsky (Pulcinella and Symphony of Psalms), Sergei Prokofiev (Classical Symphony), Ravel (Le tombeau de Couperin) and Paul Hindemith (Symphony: Mathis der Maler) all produced neoclassical works. After World War 2, composers sought to achieve greater levels of control in music in their pieces (e. g. 12 tone technique and later serialism). The twelve tone technique is a technique ensuring the use of all 12 notes in the chromatic scale, this prevented the unbalanced emphasis on individual notes. In the 1940s and 50s composers, notably Pierre Schaeffer, started to explore the application of technology to music in musique concrete (Dack 2002). The term Electroacoustic music was later coined to include all forms of music involving magnetic tape, computers, synthesizers, multimedia, and other electronic devices and techniques. From the early 1950s onwards, Cage introduced elements of chance into his music. This has resulted in various musical techniques such as indeterminacy, aleatoric music, music, intuitive, and free improvisation. In the 1970s and onwards, new technology was available and used in classical music. This new technology was experimented with and improvised that same key qualities of basic classical music, but had newer and broader styles and techniques (e. g. 12 tone technique). This component in section A of the piece conveys a short list of variety in the musical concepts (bars 6-7). The vivid sway motion throughout this section is due to its branch of late Romanticism (early 1900s). Romanticism was an emotional and expressive period of time where many different cultures, art, architecture and music was impacted by the social status of this time. Music in general was driven by this emotion and hardship that underwent at the time i. e the French revolution. This emotion gave the composers much more expression and diversity, with less formality and structure (a characteristic of music of the classical period). With this new contemporary classical style of music, the ideas and implementations of previous styles and periods had an effect on the way this music was played, i. e. the sway motion and range of mixed dynamics. In this section is phrasing slurs are used to join the notes together to build its melody into being more ‘sway like’ giving it a legato motion. In the harmony a short part of an arpeggio is played and graduated into a whole chord finishing the scale. This repetitive motion of the harmony in the left hand has created a slight question and answer between the melody and harmony in this section. This component from section B of the piece is a variation of the first part, with added techniques, dynamics, notes, and variety to build more expression into the piece (bars 14-15). The expression of the composers of this time period in post-1945 was shown through the sorrow and despair of World War II. Through the devastation and war experienced by the composers at this time, the change in variety and diversity of pitch was minimal, but the feeling experienced were immense. These immense feelings portrayed in the massive output of dynamics and expressive techniques used in these contemporary classical styles, and further developed this category of music. This section uses broken chords in the harmony to build the tempo and texture from the section A. whilst the melody is still similarly structured but further developed in the use of notes values. This component shows the transition of section B into the new section C. In this transition the dynamic change gradually to fit the expression and use of whole (triad) chords in section C. The use of the Crescendo into forte, portrays a wide variety in dynamics throughout the piece (the previous sections were piano and mezzo-piano, from above). Forte in the next section conveys the composers’ anxiety and anger in this time of war, and conveys to the responder through this wide range of dynamics the emotions and distress people went through during this time. This component conveys the transition between section C and section D. Through this transition the dynamics change from a forte (loud) to a pianissimo (very soft), these dynamics give the piece a wider range in terms of dynamics and convey a lot more expression to the responder. The melody however is similar but in a higher octave, this give the piece a sequence and conveys the idea of repetition throughout the piece. The density of section D get thinner, as the harmony is reduced to one note played with longer note values, i. e. semibreves. Composers during this period of post-1945 used a wide range and variety of dynamics to expressive themselves with the troubles and hardships they went through after the war. This variety is vivid in this piece as this section contains that branch from forte to pianissimo. Throughout this composition the ideas, implementations and characteristics of contemporary classical music have been vivid throughout this composition. I believe the use of the six concepts have been diverse through this piece and have truly illustrated the sound and tone of contemporary classical music. Throughout the piece, the dynamics have changed rapidly and shown a large variety of expression and emotion in the composition. The use of one instrument in the composition has shown the audience that the composers for Contemporary Classical music have independence on lots of instruments and thick density, as this does not convey emotion as easy of thin density pieces. The structure of theme and variation, a common structure used in contemporary classical, often used to build and gradually strengthen the motif or chord progression of the piece, this creates suspense and other emotions to the listeners. The techniques used were quite minimal but, strong i. e. the legato, slurs, broken chords. The duration of the notes and piece were quite wide in range, and diverse in created a multiple of different variations of the melody. The tone colour of the piece was very emotional in the way of being sad, spooky, and dark but happy in the sense that the sound was evolving into something brighter with a hint of darkness. Overall this composition created for the ‘annual Young Composers Symposium’ has conveyed the aspects and characteristic of Contemporary Classical music to the audience, and has successfully illustrated the musicological context of the style in developing the use of the 6 concepts in the composition.

A critical analysis of Fahrenheit 451 by Ray Bradbury Essay

Ray Bradbury’s novel, Fahrenheit 451, published in 1953, depicts a grim and also quite feasible prediction of a futuristic world. In Bradbury’s technology-obsessed society, a clear view of the horrific effects that a fixation for mindlessness would have on a civilization shows through his writing. Being carefree is encouraged while people who think â€Å"outside the box† are swiftly and effectively removed. The technology Bradbury’s society is designed to keep the people uninformed, which the vast majority of are happily and voluntarily in their ignorant state. There are many details in this novel that suggest that the future of a society obsessed with advanced technology is not only bleak but also dangerous. Bradbury’s use of certain machines shows the emphasis his society has on thoughtlessness. For example, a commonly referenced appliance is the parlor wall. The parlor walls keep people thoughtless by blasting noise and colors at its audience, which is evident in the passage: â€Å"A great thunderstorm of sound gushed from the walls. Music bombarded him at such an immense volume that his bones were almost shaken from their tendons; he felt his jaw vibrate, his eyes wobble in his head. He was a victim of concussion†(45). The speed of which the shows hit their viewers is so intense that one cannot think or grasp on to any sort of thought. Another key example of technology promoting a thoughtless society is the earpieces. Earpieces are small enough to place inside your ear, where, when in place, broadcast the noise from the parlor walls. Mildred, throughout the entire novel, wears her earpieces, â€Å"She had both ears plugged with electronic bees that were humming the hour away†(18). The technology in school also illustrates how thinking for oneself and being an individual is considered both appalling and strange. Clarisse describes her school’s schedule, ‘†An hour of TV class, and hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know that we never ask questions, or at least most don’t; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film teacher†Ã¢â‚¬Ëœ(29). After analyzing the evidence presented, it is clear that the society in Fahrenheit 451 does not value thoughtful consideration and does not have to  worry about being inconvenienced by such concerns with the use of their advanced technology. Read Also:  Critical Review Essay Topic Examples Numerous examples of technology also suggest the threatening aspect of a society based upon advancements. The Mechanical Hound, for instance, directly shows the potential for danger. This contraption’s main purpose is essentially that of a killing machine; if someone is a menace to society, it is only a matter of time before they are exterminated. The Mechanical Hound is introduced in the novel by Montag, â€Å"It was like a great bee come home from some field where the honey is full of poison wildness, of insanity and nightmare, its body crammed with that overrich nectar, and now it was sleeping the evil out of itself†(24). Montag’s description of the Hound introduces his concept to the readers that although a robot is not human and, therefore, cannot be evil; there is still an ominous characteristic looming about the Hound. However, Bradbury’s society is also a great danger to itself. An example of this would be people driving in their jet cars. Members of this society do not understand the meaning of caution, which clearly shines through when they get behind the wheel, â€Å"The beetle was rearing. The beetle raised its speed. The beetle was whining. The beetle was in high thunder. The beetle came skimming. The beetle came in a single whistling trajectory, fired from an invisible rifle. It was up to 120 mph. It was up to 130 at least†(127). The use of this machine shows that society is more concerned with speed and pleasure seeking than the well-being of others, which is an exceptionally dangerous priority to have. The frightening side of technology is apparent, also, when the advanced bombs of this world are mentioned. The setting of Bradbury’s novel is at a time of war; bombs are dropped onto the society that once was home to Montag, â€Å"Perhaps the bombs were there, and the jets, ten miles, five miles, one mile up, for the merest instance, like a grain thrown over the heavens by a great sowing hand, and the bombs drifting with dreadful swiftness, yet sudden slowness, down upon the morning city they had left behind†(158). Undoubtedly, these bombs are a sinister and dangerous progression for technology. Bradbury’s society has many reasons to feel threatened by the advancements of its world. However, feeling threatened is impossible for a society that is founded on the principals of apathy. The people are carefree, which is encouraged by the government. How can a society with no worries rise up and rebel? The government obviously has the advantage of manipulation, which is carried out by their technology. Clarisse has an appropriate way of describing the bleakness of a society that doesn’t care, ‘†I sometimes think drivers don’t know what grass is, or flowers, because they never see them slowly,† she said. â€Å"If you showed a driver a green blur, Oh yes! He’d say, that’s grass! A pink blur! That’s a rose garden!†Ã¢â‚¬Ëœ(9). The uneasiness Clarisse feels for the way people behave in her time depicts how people do not take the time to enjoy the smaller parts of life because nobody in this society cares. Another machine that proves the threat of a technology-obsessed society is the need for the stomach pump. Brad bury mentions early on in the novel that people often overdose on sleeping pills, not purposefully, but because they pay so little attention to the amount of pills ingested, overdosing is extremely commonplace. Mildred, at one point, swallows too many pills, Montag describes the machine used to pump her stomach, â€Å"They had two machines, really. One of them slid down your stomach like a black cobra down an echoing well looking for all the old water and the old time gathered there†(14). The need for a piece of technology like the stomach pump in this novel, only further supports the evidence of technology showing the threatening effects of a carefree society. Another advancement designed to accommodate the need to have no worries all the time would be the incinerator Beatty speaks about to Montag, ‘†Funerals are unhappy and pagan? Eliminate them, too. Five minutes after a person is dead he’s on his way to the Big Flue, the Incinerators serviced by helicopters all over the country. Ten minutes after death a man’s a speck of dust†Ã¢â‚¬Ëœ(60). Beatty confirms the severity of the level of apathy in the fact that his society is so concerned about being unconcerned that technology must do all of the dirty work. A society, which has all the technology to take care of such inconveniences, would and, by using Bradbury’s novel for verification, does make a society carefree, which has been proven time and time again to be an incredibly threatening outcome. Several fine points of the novel portray Bradbury’s implication that a  society founded on the need for advanced technology is doomed to lead a bleak and dangerous existence. Examples of technology promoting a brainless society are abundant throughout the entire book. Even more technology illustrates the hazards and harmful aspects of these technological advancements. When both the developed machines that encourage thoughtlessness along with the destructive technology of the future are considered, one can plainly see that the worst advancements of all of those of which show the grim and threatening effects of a carefree society. Possibly the most uncanny feature of reading Bradbury’s novel is the fact that, realistically, our society has been working up to a technology-obsessed way of life for quite some time, and our impending future could very well be a mirrored image of Fahrenheit 451. Works Cited Bradbury, Ray. Fahrenheit 451. New York: Ballantine, 1991.