Higher education Essay Example for Free

Higher education Essay A Chronicle of Higher Education article states that only 34 percent of high-achieving high-school seniors in the bottom quarter of family income went to one of the 238 most selective colleges, compared with 78 percent of students from the top quarter (Markell). Certainly, these numbers show that students that come from low income families aren’t getting the opportunities that they deserve. With college costs going nowhere but up, students from low-income families face tough decisions. Some students choose to attend community college while some make the decision to take out additional loans. There are also those who choose to drop out because they can no longer sustain the cost of college. Those who don’t have the money to go to a selective college are often not reaching their full potential. Therefore, college cost should be lowered so that more people can have the opportunity to get higher education. Such a push is needed; firstly, due to the continuous rise in tuition, higher education is becoming less and less affordable for low-income students. According to the Journal of College Admission, from 1982 to 2007, college tuition and fees increased by 439 percent, while median family income increased by 147 percent. Last year, the net cost at four-year public universities amounted to 28 percent of median family income, while a four-year private college or university consumed 76 percent of median family income (Mahoney). These numbers show that college cost has risen at a rate that has consistently outpaced the median family income and also inflation. Patrick Callan, president of the National Center for Public Policy and Higher Education, states, â€Å"If we go on this way for another 25 years, we won’t have an affordable system of higher education†(Callan). Essentially, if college cost doesn’t stop increasing it will become unaffordable and many will choose not to get higher education. Furthermore, there are many students who aren’t getting the opportunity that they deserve because they are not able to afford it. At the most competitive colleges, only 14 percent of students come from the lower 50 percent of families by income (Perez-Pena). Some low-income students who study very hard cant reach the diploma or certificate. A New York Times article states, â€Å"While 2. 8 million students enroll in some form of higher education each year, most do not proceed straight through to graduation. Only one in five of those who enroll in two-year institutions earn an associate degree within three years, and only two in five of those who start four-year colleges complete their degrees within six years†(Lewin). College being outrageously expensive is one of the reasons students are not reaching their full potential. Access to higher education has become increasingly difficult for low income families, yet a college degree is more important than ever in today’s economy. Indeed, there’s no denying that college tuition and expenses aren’t cheap. In the 2011-12 academic year, the average net cost for a full-time student at an in-state public university was about $15,000 for tuition, fees, room, board, books and incidental expenses, according to the College Board (Clark). Four years of college costs about 60,000 dollars. Aside from tuition, college students also have to worry about the other expenses that come with being a college student. Those who don’t have enough to afford it are faced with tough decisions. According to a New York Times article, about 7 in 10 of the dropouts said they had no scholarship or loan aid. Among those who got degrees, only about four in 10 went without such aid (Perez-Pena). College students who come from low-income families are being forced to take out additional loans to afford college. Some students choose to attend community college while some make the decision to take out additional loans. There are also those who choose to drop out because they can no longer sustain the cost of college. Often times, students cannot afford the cost of living while completing a college education. Certainly, there are many reasons why students drop out of college, but the decision oftentimes has a lot to do with money. According to Public Agenda, a nonpartisan public policy research firm that conducted a telephone survey of more than 600 people ages 22 to 30 for the report, â€Å"Of students surveyed, 58 percent said they did not receive any financial help from their parents or relatives to pay tuition or fees, and 69 percent had no scholarships or financial aid† (Johnson). More than half of students are not being supported by their families or anyone else for that matter. Also, more than one-half of students are not receiving any type of scholarship or financial aid. The dropouts’ most popular solutions were allowing part-time students to qualify for financial aid, offering more courses on weekends and evenings, cutting costs and providing child care (Johnson). Most times, it’s just not attainable for a college student to afford college costs. Moreover, students who don’t have financial help from family or are not fortunate enough to get scholarships or grants are often forced work to pay for school. The New York Times states, â€Å"The top reason the dropouts gave for leaving college was that it was just too hard to support themselves and go to school at the same time. Balancing work and school was a bigger barrier than finding money for tuition, they said. In fact, more than a third of the dropouts said that even if they got a grant that covered their books and tuition, it would be hard to go back to school, given their work and family commitments† (Lewin). Essentially, low-income students are having to work while attending college. Many students find it difficult to find time to study, because they are too busy working part-time jobs in able to pay for their education and other necessities. Those students who are not able to balance school, work, and also other things often end up dropping out. A downturn in college tuition would definitely help those students who are in need of help financially. Ultimately, a decrease in college cost would greatly benefit the larger society. There will be more students who will be able to afford higher education. With this in mind, higher education will lead to better access to jobs with higher pay and the broadening of a college student’s social and mental horizons. College students will also no longer have to worry about being buried in debt after college. As Obama, the 44th president of the United States of America, states, â€Å"As a nation, our future ultimately depends on equipping students like you with the skills and education a 21st-century economy demands. If you have the opportunity to reach your potential and go as far as your talent and hard work will take you, that doesn’t just mean a higher-paying job or a shot at a middle-class life — it means a stronger economy for us all. Because if your generation prospers, we all prosper. And I’m counting on you to help us write the next great chapter in our American story† (Obama). In other words, Obama believes that higher education can lead people to success and that it is vital to the nation’s future. Lower college cost will lead to students reaching their potential. While it is true that a decrease in college tuition would just lead to students who are not meant for college wasting their time, there are many students who are actually academic material that cannot afford to get higher education. A study by the Hamilton Project at the Brookings Institution in Washington points out that half of Americans in the top fourth of the income distribution have a college degree. Among the poorest fourth of Americans, fewer than one in ten graduated from college (Porter). Higher education is turning into a privilege for the higher society. The rising cost of college is preventing low-income students from getting higher education. A decrease in college cost will give low-income students more options and it will benefit the larger society in the future. Ultimately, what is at stake here is that students who have the potential to succeed in college are not able to attend because they lack money. College has turned into a privilege for the higher society when it should be one’s right. Colleges need to be more accountable for making sure that their students graduate. Decreasing college cost will also decrease the number of students being in debt after finishing college. Higher education cost rising is causing low-income students to be locked out of higher education. Therefore, college cost should be lowered so that more students will have the opportunity to get higher education, especially those who lack money. Works Cited Clark, Kim. â€Å"How much does college actually cost? † cnn. com. CNN. Web. 24 November 2013. Johnson, Jenna. â€Å"Majority of college dropouts cite financial struggles as main cause. † The Washington Post. The Washington Post, 8 December 2009. Web. 24 November 2013. Lewin, Tamar. â€Å"College Dropouts Cite Low Money and High Stress. † New York Times. New York Times, 9 December 2009. Web. 24 November 2013. Mahoney, John L. Thoughts In Troubled Times. Journal Of College Admission 209 (2010): 4-6. Academic Search Complete. Web. 24 November 2013. Markell, Jack. How To Give Low-Income Students The Chance They Deserve. Chronicle Of Higher Education 60. 6 (2013): A27. Academic Search Complete. Web. 24 November 2013. Obama, Barack H. â€Å"President Obama on Early Childhood Education. † Remarks by the President on Early Childhood Education. Decatur Community Recreation Center, Decatur, Georgia. 14 February 2013. Perez-Pena, Richard. â€Å"Efforts to Recruit Poor Students Lag at Some Elite Colleges. † New York Times. New York Times, 30 July 2013. Web. 24 November 2013. Porter, Eduardo. â€Å"Dropping Out of College, and Paying the Price. † New York Times. New York Times, 25 June 2013. Web. 24 November 2013.

Reflect on the physical and social factors of vulnerability

Reflect on the physical and social factors of vulnerability I have recently undertaken a student nurse placement in a community hospital in North Wales. I was mainly employed on the care of the older person ward. This ward dealt with older people awaiting or recovering from surgery or awaiting re-housing into care facilities or their own modified house. Many of the patients could be considered vulnerable. Normal aging, illness and life experiences had increased the vulnerability of many of the patients and the coping skills of many had been severely diminished. In this essay, I will examine one of the patients I came into contact with regularly. In accordance with the Nursing and Midwifery Code of Conduct (NMC 2008) all names and placement details will be concealed, and I will refer to the patient as Mr. A at all times. I will discuss Mr. As medical conditions and how and why these medical conditions have led Mr. A to be regarded as vulnerable, covering physical, social, psychological and environmental factors. Mr. A was a 67 year old gentleman who was morbidly obese. He had a BMI of over 40  kg/m2 and was bed bound. He also suffered with Aspergers Syndrome which is a type of autism mainly affecting social and communication skills. Both of these in addition with being an older person would have led to him to be vulnerable in various aspects. Vulnerability  is the susceptibility to physical or emotional injury or attack. Vulnerability refers to a persons state of being liable to succumb to  manipulation,  persuasion  or  temptation. (Bankoff, et al. 2004). A vulnerable adult is one who due to Age, Physical injury, Disability, Disease or Emotional or Developmental disorders is unlikely to be able to provide for their own basic necessities of life; they may also have an increased risk of harm or injury. This would include, but is not necessarily limited to adults who reside in long-term care facilities such as nursing homes, adult family homes, boarding homes, assisted living facilities or those who receive health care or other assistance in providing for the basic necessities of life while residing in their own home. Roper, Logan and Tierney(1980) published a nursing model outlining 12 activities of daily living that are crucial to a person basic needs, some of which are essential such as breathing, eating and drinking and others which enhance the quality of life such as work and play and expressing sexuality. When an individual becomes old, frail, ill and immobile they may be dependent on others to help them with the 12 ADLs. This can result in people feeling vulnerable. Fernandez LS et al (2002) states that impaired physical mobility, diminished sensory awareness, chronic health conditions, and social and economic limitations can result in vulnerability of the elderly to disasters such as falls or accidents. Frail elderly with serious physical, cognitive, economic, and psycho-social problems are at especially high risk. Mr. A was 67 and according to the Geriatric Pharmacology Research Group in Newcastle upon Tyne, The frail elderly are individuals, over 65 years of age, dependent on others for activities of daily living, and often in institutional care. As with Mr. A, he was 67 years old and was reliant on carers for many if not all of the Activities of Daily Living. He was also in institutional care for pressure sores. Due to all of these points Mr. A would be classed as frail elderly. Mr As problem with weight was the main cause of his hospitalisation, he stated he had weight consistently put on more and more weight over the years. He felt very responsible for his weight gain but was reluctant to do anything about it even though he was classed as morbidly obese. Obesity  is a  medical condition  in which excess  body fat  has accumulated to the extent that it may have an adverse effect on health, leading to reduced  life expectancy  and/or increased health problems.  Body mass index  (BMI), a measurement which compares  weight  and height, defines people as  overweight  when their BMI is between 25  kg/m2  and 30  kg/m2, and obese when it is greater than 30  kg/m2. Mr. As obesity led him to be largely bedbound and incapable of maintaining his health, his home or personal hygiene. When Mr A was living in his own home district nurses would regularly come in to tend to his pressure sores. Pressure sores are  lesions  to the skin caused by many factors such as unrelieved  pressure and friction. These pressure sores were the result of Mr A being unable to move so constantly having to stay in the same position and thus having unrelieved pressure on different parts of his body. As Mr. A was bedbound he could not tend to his own housekeeping and his house became so untidy the district nurses found it too hard care for him in the chaotic surroundings so referred him to a community hospital. While he was in a community hospital a council funded cleaning team organized his house in order for him to be discharged back to a manageable house. Another reason that district nurses were finding Mr. A hard to manage was that he suffered from Aspergers Syndrome and would often be aggressive with the district nurses. Aspergers syndrome  is a type of autism that is characterized by difficulties in social interaction, along with restricted and repetitive patterns of behaviour and interests. It differs from other autisms as sufferers linguistic  and  cognitive development are often fine and develop well. The exact  cause of Aspergers  is unknown.  There is no single treatment but interventions are used to improve sufferers symptoms and functions. The main treatment used is  behavioural therapy, focusing on the specific insufficiency of the patient. These tend to consist of poor communication skills, obsessive or repetitive routines, and physical clumsiness.  Most individuals improve over time, but difficulties with communication, social adjustment and  independent living  can exist and continue into adulthood.  Some people with Aspergers syndrome may become angry and aggressive, either to themselves or to other people. Sometimes when a person with Aspergers feels angry, they cannot easily pause and think of alternative strategies to resolve the situation. The rapidity and intensity of anger, often in response to a relatively trivial event, can be extreme and can get so intense, they may go into a blind rage and unable to see the signals indicating that it would be appropriate to stop. (Attwood, 2006). At the community hospital Mr. A would often get aggressive or rude when more than one nurse would be in the room. If he felt he wasnt being listened to not being involved enough he would become very agitated and start shouting. The nurses took this into account and made sure Mr. A was involved at all times with anything going on in his room. I feel this condition may have led Mr. A to inadvertently isolate himself from people and people to him. When people do not understand something they can take a negative approach to it. Mr. As outbursts would have offended some people and cause them to detach themselves. This would quite possibly be due to the fact they did not understand or know about the condition and fear of the unknown leads to negativity in some cases. (Campbell, 2006) A person who is vulnerable to isolation or social pressure may be considered as suffering from social vulnerability. When people become isolated due to illness or reduced mobility they may find it difficult to access essential services. Mr. A had a job translating books from various foreign languages into English. He did this from his laptop every day and when he was transferred to hospital he left his laptop at home. This made his feel low all the time as he said he had no purpose to his day. The nursing staff through Multi Disciplinary Team meetings reviewed his situation and decided to let him have his laptop delivered to the hospital along with internet connection and had his mail transferred, this all to allow him to continue to work which elevated his mood greatly for the remainder of his stay. He reported he was much happier at the community hospital now that he could continue with his day to day life. Mr. A also said he felt isolated due to his obesity. As people age, they often become more vulnerable, their social circumstances particularly impact their health. As with Mr A, due to his obesity he was confined to his bed and this impacted on his social circumstances. It limited anything he wanted to do socially, for example, he could not venture out of the house, and could only find small ways of interacting with society. One of these ways was through his online job; this allowed him to interact through the internet without having to leave his bed. This had both a positive and negative side. Although it allowed Mr. A to interact with people, all be it virtually, which was important in developing his social skills it did however mean he did not have to move and so made little effort in changing his lifestyle. Mr. As lifestyle choices were undoubtedly the main cause of his hospitalization. He refused to try to diet at the hospital and stated he had always been this way, never wanting to diet. Family members would bring in unhealthy food for him; they were advised against doing this but made no attempt to stop. A dietician came to evaluate Mr. A and a plan was made but not stuck to by Mr. A. He was also offered physiotherapy in the form of help to start doing small movements with his arms and legs daily but he declined. This weight problem made him vulnerable to all sorts of illnesses; one in particular that was being managed at the hospital was his pressure sores. In hospital a special bed was required to accommodate his weight and relieve his pressure sores, along with bariatric chairs, wheelchairs and hoists. Mr. As weight and inability to move made him physically vulnerable. Many of the elderly are admitted to hospital due to something caused by a physical vulnerability. A physical vulnerability is when a person has an increased risk of injury. E.g. easily brakes bones, has reduced strength, reduced movement or dexterity. Many of the patients in the community hospital were there as a result of such vulnerability and had suffered injuries resulting from falls. Some had reduced mobility which meant they needed assistance in performing one or more daily tasks such as getting in and out of bed, preparing meals and eating them, doing housework, dressing, and performing personal hygiene. According to Holden and Smeeding sixteen percent of the elderly need help with at least one of these conditions. Elderly persons subject to two or more of the five they deemed insecure; those facing three or more were considered extremely insecure. Those people who are totally dependent on social services for survival are already economically and socially marginalized and require additional support at all times. Mr. A needed help with all physical activities, he was washed, dressed, fed, and cared for all by nurses and carers. He stated that because he could not do anything for himself he had no quality of life in the community hospital and although he was bedbound at home as well, he did have home comforts and had developed methods of reaching things he needed and wanted, such as a pik-stick. These new surroundings may have made Mr. A feel environmentally Vulnerable. Environmental vulnerability is when a person suffers reduced quality of life caused by external conditions and surroundings. The transfer to the community hospital was a major change of environment for Mr. A as he had to get used to new surroundings, new methods, and new people and as he has limited movement he stated he all the new goings on made him feel rather helpless as all he could do was press the bell and wait if he needed something. This was understandable and it was explained to Mr A in great detail the goings on, routines and layout of the hospital to try and overcome his worries. Brubaker (1987) tells of how having a major lifestyle change such as having to come to hospital for a long period of time can make the patient feel as though there dignity is being taken away from them. This was noticeable with Mr. A. When he was first admitted to hospital, he resisted being washed on many occasion. This may have been due to there being many new nurses and carers that he was not used to. He may have felt shy and undignified having to be washed in his hospital bed my many different workers. This was overcome by making sure his door was always closed, windows and curtains shut, nurses and carers would also introduce themselves, ask for consent and talk Mr. A through the procedure, all in order to make him feel more comfortable. This seemed to cease his worries and he started to allow the staff to wash him on a daily basis. One major concern of Mr. As was the time it took from when he pressed the bell in the hospital or the emergency bell in his house to the time a nurse or carer got to him. He would panic during this period and this impacted greatly on his psychological well being leaving him psychologically vulnerable. Psychological Vulnerability is when someone is vulnerable to emotional or behavioural harm. While Mr. A was in the community hospital calming and relaxation techniques were taught to him to try and overcome his anxiety. He was taught deep breathing techniques and stated he found this particularly beneficial. Every time he started to feel anxious and worried he could now use these new techniques which take his mind of the worry and keep him calm. While I was working at the hospital I saw a huge change in Mr. As behaviour in terms of anxiety. He became much less aggressive when having to wait for a nurse.   There were many elderly residents at the community hospital that suffered many different types of psychological vulnerability. Many of the frail elderly who had suffered falls lost their confidence completely. One female patient told me that she did not want to go home as she did not feel she could cope. She did not feel safe in her home but would not want to move to a residential home. This must be a very distressing time and it is hard to reassure patients in this mind set. Through the MDT meetings it was decided that Mr. A would have to go to a residential home as it would not be safe for him to go home. Mr. A felt he would not enjoy being in residential and was completely opposed to the idea. However, three workers from the residential home came to speak to Mr. A, he was taken to view the residential home and his room, the Doctors and Nurses at the community hospital spoke to Mr. A at length and gave him time to voice his questions and concerns. With time Mr. A seemed to come around to the idea and realise it was the best option for him and by the end of my student placement Mr. A told me he was looking forward to moving out of the community hospital and into the residential home. I have outlined Mr. As conditions and how he was affected by physical, psychological, sociological and environmental vulnerability. Over the seven weeks I was in the community hospital alot was done to conquer Mr As vulnerability and re-merge him into society. Community hospitals are designed to reduce the risks to people who are vulnerable to social, physical, environmental and psychological injury. Hospitals have special floors, showers, seats and beds. They have controlled heating, lighting, diets, they encourage interaction between patients and with visitors (at certain times during the day) thus reducing social isolation. Highly trained staff monitor and review patients regularly to ensure they are receiving the best care and the support needed to leave hospital and to prevent their return. This all minimises the risk of patients feeling vulnerable and helps them to have a fast recovery and rehabilitation.

Bartok And His Musical Language Film Studies Essay

Bartok And His Musical Language Film Studies Essay Bartoks music showed signs of a rejection of traditional tonality and growth in his individual harmonic language, giving a new rendition to tonal principles. This characteristic was very much due to the influence of Debussy, and also affected other composers such as Stravinsky. Additionally, after his several years of studying the German tradition at the conservatory in Budapest, he had picked up a manneristic sympathy towards this German late-Romantic style of composers like Wagner, Richard Strauss and Brahms. His earliest works show several stylistic influences present, for example his Piano Quintet (1904-5) which has a finale unquestionably modelled on that of Brahmss Second Piano Concerto. In time, Bartoks music was somewhat liberated from such influences due to his encounter with Magyar folk music in 1905. In spite of this, some influences remained, like the discovery of new harmonic possibilities in Debussys music which came about in 1907. Bartoks researches, which eventually encompassed the folk music not only of Hungary but the Slavic regions, Turkey, and North Africa, convinced him that the essential folk traditions were those having frequent contact with other cultures, allowing a mutually enriching exchange of ideas1. Bartoks compositional style reveals this outlook, which draws upon various, even seemingly contrasting, sources yet he manages to integrate them within a fully coherent frame while keeping in touch with his personal expression. 4.1.1 Tonal Language in his Piano Music 1 Morgan, Robert P. Twentieth-Century Music (W.W.Norton Company Inc., 1991). p.109Works like the Fourteen Bagatelles and Ten Easy Pieces were described by Bartok himself as experimental, reflecting this influence and revealing a certain affinity with Debussy like the use of parallel dissonant chords; except that the quality and colour of the dissonances in Bartoks music differs significantly from that of Debussy. Moreover, the Fourteen Bagatelles and the Ten Easy Pieces, small and early composed as they are, show stylistic homogeneity within each of the pieces and are more adventurous than, for example, the Debussy Preludes. The first composition which brings to light Bartoks research on folksong is shown in his series of piano pieces called For Children, based on Hungarian and Slovakian folksongs. Harmonies are usually simple but never predictable and conventional, making use of Aeolian, Dorian, Phrygian, Lydian and Mixolydian melodies, pentatonic and other modal tunes. Bartok comp osed three Burlesques, all of which were composed in different years, and these bring out the typical style of his development. They are slightly unpleasant in mood, with harsh clashes of dissonance and bizarre accents. In his Allegro Barbaro, he had established a complete assimilation of folk elements with authentic Magyar style, unrelated to the pianism of Hungarian characteristics found in Liszt and no signs of the impressionist keyboard music like Ravels. This work had brought out an immensely percussionistic sound through the martellato chords and the hammering rhythms. It marks Bartoks becoming of age, from whence his stylistic progress is outspoken, without trial and no going back to the earlier style in his music. He had recognized the piano as a percussion instrument, with works such as the Sonata, his Concertos, and the Sonata for Two Pianos and Percussion abiding by this idea. In his answer to a questionnaire about the Piano problem (1927), Bartok had stated the following : The neutral character of the piano tone has long been recognized. Yet it seems to me that its inherent nature becomes really expressive only by means of the present tendency to use the piano as a percussion instrument. Indeed, the piano always plays the part of universal instrument. It has not lost its importance for concert performances.2 4.2 Mikrokosmos Bartok was quite the innovator when it comes to writing what he wanted on the score, and in his Volumes of the Mikrokosmos, one might encounter special musical notation which indicate a specific sound that he had in mind such as newly devised key signatures (also including the use of two different key signatures at the same time), use of  ½ pedal, and the use of the  ¯ for the effect of harmonics, an effect generated by playing the selected keys without sounding them and producing harmonics as the other notes are played. Figure 4.1 First 10 Bars from No.102, Vol.4 2 Bartok, Bà ©la. Bà ©la Bartok Essays ed. Benjamin Suchoff. (University of Nebraska Press, 1976) p.288The first four books of the Mikrokosmos were specifically written for pedagogical reasons as they propose specific tasks which should prepare students as they take on new problems step by step in their first years of learning. Albeit this, Benjamin Suchoff had stated that: Evidence indicates that the Mikrokosmos was not conceived of as a piano method in 1926, the year of its origin, but as recital pieces to fill the need Bartok had of such material due to the increase in his concert bookings3. The exercises are supposedly put in progressive order according to technical and musical demands, although this order might be manipulated by the tutor with each individual student according to their abilities. Despite this, the value of these volumes lies not so much in the technical demands themselves, but it provides the opportunity for the player to encounter essential characteristics of twentieth-century music, for instance, harmonic practices like: bitonality, whole-tone scale, chords in fourths and major and minor seconds, or counterpoint methods such as: inversion, mirror and free canon, not to mention other devices like syncopation and irregular rhythms. 4.3 Six Dances in Bulgarian Rhythm Bartok ends his 153 pieces called Mikrokosmos with a set of six dances which he composed and dedicated to the British pianist Miss Harriet Cohen. As the title suggests, they are comprised of dances with folk flavour dominant throughout, containing a variety of rhythms commonly found in Bulgarian folk music. Bartok had already made use of the Bulgarian elements in No.113 and No.115 from the fourth Volume of Mikrokosmos, and he aptly named them Bulgarian rhythm I and Bulgarian rhythm II. This rhythm is frequently found in folk music from Bulgaria, and refers to a rhythm in which the beats within each bar are of dissimilar length, so that the subdivisions of each beat change in number. This set, all composed with quavers as the main beat, would therefore represent the Bulgarian rhythm grouped like this: qzzz qz qzz- corresponding to the time signature of 4+2+3/8, although the whole set of these last six dances exhibits a wide variety of possible groupings. The different rhythmic groupin gs give each of the dances a contrasting character, but still give a sense of a unified work, mostly due to a chromatic characteristic appearing in each piece and the fact that all six dances are full of energy. Figure 4.2 3 Suchoff, Benjamin. History of Bela Bartoks Mikrokosmos from the Journal of Research in Music Education, Vol. 7, No. 2 (Sage Publications Inc., 1959) p.196The first dance opens with a mildly temperate mood, but still full of life as it introduces the main theme. The dance is polymodal, based mainly on the E-Phrygian/Lydian scale, occurring in the two main elements present, which are the melody (Fig. 4.2) using notes of the E-pentatonic scale and the accompanying scalar ostinato passages based on the E major scale (Fig. 4.3). Figure 4.3 This first dance makes consistent use of the 4+2+3 Bulgarian rhythm throughout the piece, and is the only work from the set of six that has the most distinct tempo changes. A variation of the main folk motif (Fig. 4.2) occurs in the slower section marked Meno Vivo (Fig. 4.4), which builds up towards a transitional energetic area, leading to yet another calm variation of the main theme with a sense of direction leading towards the closing of the dance which is contrastingly loud and decisive in mood compared to the previous soothing variations, but it rounds off the dance bringing it well into balance and aims directly towards the complementing second dance. Figure 4.4 Variation of the main melodic motif is marked with the brackets The second dance is lively and bright in mood, introducing itself with the main rhythmic element appearing throughout the piece which is based on the 2+2+3 meter (Fig.4.5). Figure 4.5 Bb.1-3 The first three bars of ostinato-like chords are immediately followed by another motif (Fig. 4.6a) containing a syncopated melody on the C-pentatonic scale which repeats soon afterwards; this time it is transposed a 4th higher on F-pentatonic scale and it is half the length of the previous phrase, almost as if it is getting slightly impatient and increasing in tension (Fig. 4.6b). Figure 4.6a Figure 4.6b Figure 4.7Subsequently, running scales appear (Fig. 4.7), which give a reminiscing sense of some parts from the first dance. This is followed by developing material of both the initial melodic material and of the running scales once again. The scale passages keep occurring against a thick chordal bass until eventually coming to a halt and transitioning to the coda which concludes with the introductory dance rhythm, slowly drifting away to the last to chords. The third dance acts like an extension to the second dance, with a similar energetic drive but with more added force to it. Its meter is marked as 5/8 and the rhythm is subdivided into two groups: 2+3. The first rhythmic motif is divided as shown (Fig. 4.8), using notes from the E-Lydian pentachord with a minor and major seventh degree4. Figure 4.8 The second thematic material that follows is based on a symmetrical 3-bar phrase:  Ã‚ ±Ã‚ Ã‚ ±. |  Ã‚ ±Ã‚ Ã‚ ¥Ã‚ Ã‚ ± |  Ã‚ ±Ã‚ Ã‚ ±. lasting until Bar 19, leading to four bars of ostinato rhythm using chords a 5th apart, based on the dominant (V) of the A-major pentachord5, employed in the second thematic material. Variations with development on both first and second motifs appear following each other with chromatic elements throughout, leading to the close which starts off with the same introduction as the beginning, followed by a short closure using the main dance rhythmic theme, rounded off by the concluding chord (Fig. 4.9). Figure 4.9 The next dance is more upbeat and cheery in mood compared to the previous dances. It has the form of a rondo-variation with the parts generally subdivided into four-bar sections. According to Bartok, this piece is Very much in the style of Gershwins tonality, rhythm, and colour. The American folk song feeling.5 The additive 3+2+3/8 meter grouped as such (Fig. 4.10), occurs in the first movement, second theme, of Gershwins Concerto in F for Piano and Orchestra as 4/4  Ã‚ ¥ q  Ã‚ ±  Ã‚ ±  Ã‚ ¥.6 The first theme (Fig. 4.10), consists of harmonies from the C-Lydian/Phrygian polymode, and the motif is soon repeated an octave higher. The same ideas soon answer in different registers transposed into the left hand almost upside down. Figure 4.10 In discussion to the Gershwin-related tonality as described by Bartok himself, there is a section in this dance where the same melodic motif appears in a slower area (as indicated by the composer; Meno mosso) with a jazzy colour added to it, accompanied by triads ascending in stepwise motion (Fig. 4.11). This area is followed by a brief recapitulation of the melodic introductory motif played in octaves with a small ritardando at the end of the phrase which jumps to a short but very energetic Coda that concludes the dance. 6 ibid. 5 ibid. p.158 4 ibid. 3 Suchoff, Benjamin. Bartoks Mikrokosmos: Genesis, Pedagogy, and Style (Rowman Littlefield, 2004) p.157 Figure 4.11 The fifth Bulgarian dance has a more varied rhythmic schemata, in the sense that it has at least three different sections which consist of diverse rhythmic groupings (Fig. 4.12a; 4.12b; 4.12c), but all under the same meter i.e. 2+2+2+3/8. Figure 4.12a i.e. qz  Ã‚ ±z  Ã‚ ±z  Ã‚ ±zz Figure 4.12b i.e.  Ã‚ ±  Ã‚ ±  Ã‚ ±  Ã‚ ±  Ã‚ ¥ Figure 4.12c i.e.  Ã‚ ±zzz  Ã‚ ±  Ã‚ ±zz Like the second dance, it has brisk, light steps, but is more playful, slightly more colourful in tonality but less ostentatious in character. The introductory material starts with a short passage of alternating chords between the two hands, eventually leading to a clearer melodic line in bar 7 which serves as the basic material for the entire piece. The middle section consists of brief dense phrases occurring in between short staccato areas, with the thick areas having a fundamental chromatic melodic line which corresponds to the whole element of the six dances. The sixth and final dance of the whole Mikrokosmos automatically shoots off with a jump start as a kind of reaction to the strong intervallic ending of the previous dance. The chordal motifs reflect a Debussy-like influence, with the striking rhythmic elements proving the underlying thoughts of having the piano regarded as a percussive instrument. The chords against a repeated 3+3+2 quaver movement grouped as such: qZZ qZZ qZ switch hands, increasing in thickness of sound the third time it appears, due to the lower register of the keyboard. The chords are the holders of the main melodic line in this dance. Repeated eighth notes occur throughout most of the dance with abrupt accentuated phrasings. Corresponding to the chromatic element of the whole set which links them together is an area full of melodic motifs displaying chromatic movement in both hands, with the phrases running on top of each other constantly, keeping a rhythmic flow (Fig. 4.13). Figure 4.13 The only section in this piece where there are not any running rhythms is in the extremely aggressive chordal area marked fortissimo (Fig. 4.14), halting abruptly on a dissonant chord which is followed by several bars of repeated notes, soon to have the other voice join in once again, both charging towards the flamboyant ending of the piece. Figure 4.14

Supernatural in Shakespeare’s The Tempest And Marlowe’s The Tragical Hi

The Supernatural in Shakespeare’s The Tempest And Marlowe’s The Tragical History of D. Faustus The supernatural forces are at once alike and distinct in Shakespeare’s The Tempest and in Marlowe’s The Tragical History of D. Faustus. The supernatural is kind to Prospero and his daughter Miranda in The Tempest, while the devils in Dr Faustus eagerly wait for the day that Faustus would join them in Hell. In both plays, the supernatural provides recurrent waves of sounds and feelings, lending special atmospheric qualities to The Tempest and Dr Faustus. The supernatural serves as a reminder of the hierarchies that exist in both plays, and it also illuminates the human heart, revealing the characters’ thoughts and wishes. Often appearing visible to all, the supernatural forces in The Tempest and Dr Faustus sustain the plays by providing a distinct atmospheric backbone, by reminding the characters of the existing hierarchies, and by revealing the characters’ inner hearts. Soaked in the supernatural, Shakespeare’s The Tempest possesses an impenetrable veil of eeriness. It opens with the tempestuous roaring of thunder and lightning, setting the stage for panic and confusion amongst the mariners. The mariners scatter and hide, while Ferdinand’s hair stands on end. This wild and surreal atmosphere prepares the characters and the audience for future encounters with supernatural beings. When the spirit Ariel wakes Gonzalo and the others, Gonzalo says, â€Å"’Tis best we stand upon our guard, or that we quit this place. Let’s draw our weapons† (II.i.317-318). The mortals are on guard against the supernatural, and this suspenseful atmosphere often returns when Ariel and the other spirits approach these unknowing men. When Prospero remembers ... ...ory of D. Faustus are about the relationship of the two worlds. By creating an eerie and sometimes humourous atmosphere, the supernatural gives the plays points of interest. The existing hierarchies between mortal and immortal are not to be destroyed, and the supernatural beings in these two plays reinforce the rules. By revealing the characters’ hearts and minds, the supernatural drive the plot as well as the actions of the individual characters, so that without these beings, these two plays would grind to a standstill. WORKS CITED Marlowe, Christopher. The Tragical History of D. Faustus. In Renaissance Drama: An Anthology of Plays and Entertainments. Edited by A.F. Kinney. Massachusetts: Blackwell Publishers Ltd., 2002. Shakespeare, William. The Tempest. The Norton Shakespeare. Ed. Greenblatt, Stephen. New York: W.W. Norton & Co. Inc., 1997. 3055-3107.

Appearance: What You See Is Not Always What You Get Essay -- Literary

Thomas Pain once said â€Å"[a] long habit of not thinking a thing wrong gives it a superficial appearance of being right.† Appearances are the first thing to catch one’s attention. Whether it be a supermodel, a famous photograph, or the unmistakable golden arches: we take notice. The essays written by Judith Ortiz Cofer, Eric Schlosser, and Nora Ephron demonstrate the effect appearances have on individuals and our society undividedly. In Judith Ortiz Cofer's essay "The Story of My Body," she shares her struggle with appearance and self-esteem. Ms. Cofer admits her definitions of appearance changed when she relocated to the United States at age eight. She states "I was born a white girl in Puerto Rico, but became a brown girl when I came to live in the United States" (Cofer 323). For instance, Cofer is identified as a palm blanca in Puerto Rico and as a colored girl during her first encounter of color prejudice. In addition to her cultural dispute with appearance, Ms. Cofer displays an internal dispute with her appearance in size. At age twelve standing five-feet tall, Ms. Cofer was viewed by her family as a tall young woman in comparison to her mother who was no taller than four-foot-eleven. Her mother exemplified this by saying â€Å"†[s]ince you are so tall, this dress will look good on you†" (Cofer 326). Her classmates at her New Jersey public school viewed her appearance very differently. Ms. Co fer was perceived as the "4F, skinny, short, bespectacled" (Cofer 326) kid on the playground impervious to competition; whereas her true competition lay in the classroom. Appearance is what creates an initial attraction to one’s significant other; for example, Cofer describes her first crush, Ted, whom she describes as "pretty with yellow ... ... photographic coverage of events must be published regardless of the subject, simply because the events took place. The author states " That's why photojournalism is often more powerful than written journalism" (Ephron 438), emphasizing that censorship harms the purity of death and that interpretation and judgment must be left to the reader. Ms. Ephron establishes, appearances are memorable and powerful. Society’s views always fluctuate, as they are allowed, and censorship is a major threat the right to form our own opinions. An initial reaction can be everlasting. This is why it is believed that appearance and first impressions are most important. Although, understanding what we see versus what we get is vital. It is imperative to venture past first appearances and impressions; sometimes there lies honesty or deceit. Appearances are not always what they seem.

Communication in care settings

This piece of work is about two main theories and they are Tuckman's theory and Egan's theory (SOLER). Also the effects of communication on care workers and service users. This will be explained in more detail. Communication cycle- is very important in our lives, there are lots of ways to communicate nowadays and the list becomes bigger each day. There are lots of ways to communicate but the main structure of the cycle is still the same as it was. First it's you express yourself then you listen and hear, then they express ones feelings then they listen and hear. And then it goes round like a cycle. http://www.surrey.ac.uk/Skills/pack/enc.html Tuckman's theory- This stage was developed in 1965's and the last stage was added in the 1970's. There are 5 stages and they are forming, storming, norming, and performing. Forming is when the individual themselves is very nervous, scared to show their real feelings so they may just agree with someone to kind of ‘make them happy'. In this stage the individual doesn't show their personality as they may not feel comfortable round others in their group. http://www.businessballs.com/tuckmanformingstormingnormingperforming.htm The second stage is storming at this stage the individual start to show their real feelings and their personality starts to show. This is because they start to relax and be comfortable around others in their group. Also others in the group may start to have conflict were they have different opinions about ideas, and they don't agree on others about their ideas. The third stage is norming at this stage individuals start to relax and become more comfortable around others in their group. Also it's when they get ideas to together and agrees on one, and individuals then start to know what is accepted from them and start to get on with what they have to do within the group. The fourth stage is when all individuals in the group know what their role is in the group and start to work towards their own goals. Then they work together to get the task finish that was set.Sentence and Verbal Communication The fifth stage and the last stage was added after in 1977 and that was called adjourning is when the tasks is finished with a positive outcome, and then the group breaks up and everything has been fulfilled, and they all move on with a happy attitude with what has been achieved. http://www.businessballs.com/tuckmanformingstormingnormingperforming.htm Scenario: To make the individual benefit from this theory would be by making sure the individual is introduced in the group session that he goes to and that he feels comfortable in the environment. This theory may not be beneficial for all individuals it depends on the situation and if it suits them for example some that has learning difficulties as they may not be able to handle being in a group of people at one time, also people that have mental health problems. Open posture is when you body shows that you are listening to the service user. Showing that you are interested in the conversation, also it can show that you care about them. Also things like putting your arm around the service user by showing that you care and that you are there to listen and comfort them. This can put a bond between you and your social worker. Tone- the tone of your voice is very important as it affects the way the service user responds to you. Your voice should sound something like: – Clear (able to hear) – Upbeat – Welcoming – Under control – Warm feeling to the voice. http://www.impactcommunicationsinc.com/pdf/nwsltr_2001/ICINwsltrph0106.pdf for example if the care worker's tone is loud and moody and sounds like they're not bothered then the service user will want to get out of the room as they feel that the care worker doesn't care and has no respect. This also can make them feel scared and humiliated as the care worker isn't showing that they care and are bothered about them. But on the other hand it can be that the care worker is talking nicely with a tone that as a warm feeling to it, and that is upbeat and is clear. The service user feels that they are cared for respected for, this makes them want to say and makes them comfortable in the situation so will open up and tell you what's wrong with them also they feel more relaxed and calm. http://psychology.about.com/od/nonverbalcommunication/a/nonverbaltypes.htm Body language/posture- this is important in communication because it can show lots of information through it, as it can show your feelings and your attitude through it. For example: – Arms/legs crossed- this can come across as doesn't want to know, doesn't care, but in different circumstances it can mean that they are scared to open up and can show as an barrier meaning ;don't come to close to me'. – Head down- this can come across as shy, doesn't want to know about the problems issues you have. Also showing no eye contact can be real rod if the service user is talking to the care worker and there's no eye contact can show that you aren't listening to them. And may feel uncomfortable – Nodding- this show that you are listening to the service user and that you understand what they are saying to you. This can make the service user feel reassured that somebody understands them and that they aren't alone.

Love You Forever Analysis

Love You Forever Book Analysis By: Matthew Strong Love You Forever is a classic heart-warming story by Robert Munsch built around a simple, but eternally meaningful commitment from a mother to a child to love him forever. Robert Munsch has become a world-renowned author of children’s books for his unique use of exaggerated expressions that produce sounds that are very appealing and fun for children. In Love You Forever Munsch uses words like â€Å"crazy† and â€Å"zoo† to add the effect of comedy but the overall theme of the story strikes chords that are much deeper than exaggerated expressions (Munsch np).Robert Munsch started Love you Forever as a song: â€Å"I’ll love you forever, I’ll like you for always, as long as I’m living my baby you’ll be† after he and his wife had two stillborn babies (Munsch, â€Å"The Books: Love You Forever†). However, the story surrounding the song was not developed until sometime later. Un derstanding where Munsch is coming from while writing Love You Forever really emphasizes the meaning of unconditional love that is so prevalent within the story, as well as, highlights the underling theme of gender stereotypes. The love that a parent has for their child is an unrestricted love that never wavers.Love You Forever presents the unconditional love that parents are expected to have for their children, despite all the mistakes they may make. In the story, when the boy pulled all the food out of the refrigerator and flushed his mothers watch down the toilet Munsch displays the mothers frustration with â€Å"this kid is driving me crazy† (Munsch np). Yet, despite the mothers obvious irritation she continually crawls into the boys room every night to pick him up and rock him back and forth while she sings â€Å" I’ll love you forever, I’ll like you for always, as long as I’m living my baby you’ll be† (Munsch np).In many cases this unc onditional parental love is the first and most important love a person will ever receive in their lifetime. In the future when developing relationships a person is able to recognize and respond to the love shown by others because of the understanding of love that was first introduced by their parents. As a person progresses from a child into an adult the understanding of the meaning of love helps them comprehend the importance of reciprocating love and compassion towards others.Munsch does a wonderful job of displaying the young boys progression through the different stages in life. And even though there is no initial indication that the boy reciprocates the love given to him by his mother when he was young. It becomes very clear that as an adult he understands the importance of reciprocating love when his mother becomes elderly and sick, and he returns the love she has unconditionally shown him by picking her up and rocking her back and forth while singing their song (Munsch np).Mu nsch shows how the reciprocation of love is crucial in allowing love to continue to exist when the man returns home to his newborn daughter and sings the same song that his mother sang to him (Munsch np). The original relationship developed by Munsch in Love You Forever is between the mother and son. Coincidently this relationship closely follows the stereotype predominately set in place by society. Society often sees women as more affectionate and nurturing than their counterpart gender, which widely leads to the assumption that women are naturally better suited for the process of raising a child.This stereotype is made obvious essentially through the entire story as neither Munsch nor the illustrator, Sheila McGraw; make any indication that the father of the boy is playing a substantial role with the mother in his upbringing. However, at the end of the story this stereotype is completely contrasted following the passing of the mother. When the boy, who is now a grown man and fathe r, returns home to his newborn daughter it is he who displays a nurturing and affectionate relationship between a father and his daughter.This role reversal developed by Munsch effectively casts aside the stereotype that women are better suited to raise a child, and demonstrates that affection and the ability to nurture are not qualities that are able to be defined by a persons gender. Munsch instead shows how these qualities are learned by a person and are displayed as they mature with age. Munsch effectively represents this progression though maturity when showing, the love the boy has for his mother is not absent during his childhood, but simply something he does not display as well as he does when he becomes an adult.Love You Forever is a wonderfully constructed story that can be enjoyed by adults and children of all ages. Although the comprehension of all the concepts within the story may not be extracted by the majority of the children, the tuneless song of â€Å" I’ll love you forever, I’ll like you for always, as long as I’m living my baby you’ll be† is fun for young children to sing along to (Munsch, â€Å"The Books: Love You Forever†). Munsch uses Love You Forever to address some very basic yet very powerful concepts.Love You Forever shows the existence of unconditional love and how important of a role the reciprocation of love plays in the development of future relationships. Furthermore, Munsch addresses the underling theme of stereotypes towards gender roles in the upbringing of a child by completely contrasting the stereotype, effectively displaying how irrelevant of a role gender plays in the ability to show affection and nurture a child. Instead it is shown that these qualities are learned by a person and are displayed as they mature with age.Love You Forever is known to raise a lot of emotion in its readers, but it is Love You Forever’s ability to connect readers to powerful heartfelt concepts t hat has ultimately made it a children’s book classic. Works Cited Munsch, Robert. Illus. Sheila McGraw. Love You Forever. Willowdale. Firefly Books Ltd. 1986. Print Munsch, Robert. The Books: Love You Forever. Official Robert Munsch Website. Barking Dogs Studios. n. d. n. d. 2012. Web. 12 October 2012