Independent investigation

Independent investigation Independent Investigation The Fugue vs. Traditional Eastern European Music A fugue can be defined as a polyphonic form in the Baroque era in which one or more themes are developed by imitative counterpoint.Similarly, traditional Eastern European folk music is solidly based on rules of strict imitation between voices. In order to show the similarities between the imitative forces in a fugue and traditional eastern European music and how the imitation within eastern European vocal music can be defined as the foundation of fugal writing, Benjamin Brittens The Young Persons Guide to the Orchestra(Variations and Fugue on a Theme of Purcell)and Song of Schopsko(Erghen Diado) will be examined and analyzed for their musical content. Benjamin Britten lived from the years 1913 through 1976. In addition, Britten is considered to be apart of the British national school along with the composer Ralph Vaughan Williams. He is also said to be one of the foremost opera composers of his time. The Young Persons Guide to the Orchestra is a fugue based on a rondeau from 17th century composer Henry Purcells incidental music to the play Abdelezar. The Young Persons Guide to the Orchestra was composed in 1946. The purpose of this work is to introduce children to the orchestra by presenting each section and individual instrument of the orchestra. The orchestra is essentially taken apart in the variations and then reassembled during the fugue. The medium for this recording of the piece was the Los Angeles Baroque Orchestra. The piece begins with the statement of the theme presented by the entire orchestra creating a monophonic texture. This then transitions to strict imitation of the theme by the woodwinds, brass, strings percussi ons, and concludes with the full orchestra. The eight-measure theme is presented in D minor. Following the presentation of the theme, thirteen variations of the theme are heard starting with the woodwinds and then followed by the strings, brass, and percussion. Each instrument of the orchestra has its own solo; these solos begin with the highest pitched instrument of each family. Following the section of variations is the fugue. The subject is based on a fragment of the Purcell theme played in B minor. This is played in imitation by each instrument of the orchestra in same order as the variations. Dynamic contrast is heard throughout the piece through the use of crescendos and decrescendos. The overall tempo of the piece is allegro. However, the meter changes from triple-duple, to compound meter, and concludes in duple simple. Timbre shifts are also present as the different sections and different instruments are heard. In regards to style trills, glissandos, and pizzicato can be hea rd throughout the piece. The form of the piece is binary. Lastly the melody exhibits a wave-like contour and is mostly conjunct. Bulgarian Music is apart of the Balkan tradition, which stretches across southeastern Europe. Bulgarian vocals are said to be open-throated. Singers concentrate their voices in a way that gives the sound a distinctive edge, and allows theirs voices to travel over long distances.The distinctive sounds that are produced from women vocal choirs that sing Bulgarian folk music is based on their unique rhythms, harmony, and polyphony, for instance the use of close intervals like theminor second. These traits are especially common in music from the Shope region around the Bulgarian capital of Sofia and the Pirin region.Although it uses Western meters such as duple simple, triple simple, and quadruple simple, Balkan music also includes meters with five, seven, eleven and even fifteen beats per measure, sometimes referred to as asymmetric meters.These can often be understood as combinations of groups of quick and slow beats. For example, the dancelesnoto(the light/easy one) has a meter of sev en beats with emphasis on the first, fourth, and sixth beats.This can be divided into three groups, a slow unit of three beats and two quick units of two beats, often written 3-2-2.Song of Schopsko is a choral work that is performed by the Bulgarian State Radio Television Female Vocal Choir. This piece is a tradition Bulgarian folk song. The publishing of this piece along with the entire album, Le Mystà ¨re des Voix Bulgares, came from the support of Swiss ethnomusicologist Marcel Cellier. Song of Schopsko is largely based on strict imitation between the alto and soprano voices. The form of the piece is through composed. Within the piece tertial harmony can be heard between the two sets of voices. The melody is singable with a medium to wide range and also has a wave-like contour. There is dynamic contrast heard through the use of crescendos and decrescendos. The melody climaxes on high notes and is mostly conjunct with some disjunct leaps. The meter is triple simple with a steady andante tempo. In regards to harmony the key is major with no modulations. There are also even four-bar phrases. In Benjamin Brittens Young Persons Guide to the Orchestra the imitation begins with the presentation of the Purcell theme. Theme A is played by the orchestra in its entirety. Theme A is then presented in the woodwinds in imitation of the original melody. Theme B is given to Brass is differently harmonized than Theme A. However, Theme B is also presented in imitation among the various instruments of the brass section. Theme Cis played by the strings (including the harp), the Purcell melody moves down the instruments from the 1st violins and concludes with the double basses.Theme Dfeatures the percussion, with the timpani playing the pitched parts of the Purcell theme, while the rest of the percussions simultaneously present the rhythm of the melody. Finally, we come toTheme G, which is an exact repetition ofTheme A, using the full orchestra. The Purcell theme is played six times, with different instruments and varied keys to create variety and present different timbres. This use of di fferent timbres was one of Benjamin Brittens ideas. These shifts in timbre keep the listener engrossed in the music. Fugal parts include the subject, answer, countersubject, exposition, episodes, and are then followed by contrapuntal devices. Through strict rules of imitation all of this is made possible. In Benjamin Brittens The Young Persons Guide to the Orchestra the fugal subject, main theme of the fugue, is presented first by the piccolo. The subject is in an Allegro molto tempo, B minor, and is 8 bars long. Following the subject is the answer performed the remaining instruments of the orchestra in the same order as the variations- from highest ranging instruments to lowest from the woodwinds, strings, brass, and concludes with the percussion. The subject has a descending sequence similar to the original Purcell theme. In addition, Song of Schopsko follows fugal rules through the use of imitation. What could be said to be a subject is presented in the lead altos voice; which is then followed by answer to the subject in strict imitation by the remaining members of the Bulgarian State Radio Tel evision Female Vocal Choir. The piccolo part that is presented at the ninth bar of the fugue is presented enough to be considered the counter-subject. The playing of this original melody is the countersubject, which is played in response and at the same time as the imitation occurring in the answer. After this has been performed the exposition of the piece has come to a conclusion In Song of Schopsko, the countersubject is presented again by the lead tenor vocalist who sings the counter subject. The counter subject is presented while the remaining voices of the choir continue the strict imitation of the theme. The simultaneous presentation of the counter-subject and the answer produce a contrapuntal or polyphonic texture within the piece. After the subject is introduced by the tenor, answer presented by the remaining voices of the choir, and counter-subject by the lead tenor vocalist are presented the exposition of Song of Schopsko has concluded. After the exposition has come to a finish various episodes are presented in both pieces. In Benjamin Brittens Young Persons Guide to the Orchestra the full orchestra presents the fugue while the entire brass section re-introduces Purcells theme from the rondeau from Abdelezar. Again the simultaneous presentation of these two elements produces a polyphonic texture with serves as the contrapuntal device within this piece of composition. Within Song of Schopska, 4 different episodes can be heard. As the lead alto vocalist begins each phrase the rest of the choir joins in with the same melody in strict imitation. All of these episodes are presented in the same manor as the first and remain in a major key. This piece is very responsorial, but these responses are imitative of the subject produced by the lead singer. At the grand coda of Benjamin Brittens Young Persons Guide to the Orchestra, the Purcell theme and fugue are presented together. Also when the final cadence is reached at the t empo animato, the percussion section continues on for nine more measures and this continuation serves as a cadential extension. The variations within Benjamin Brittens Young Persons Guide to the Orchestra, not considered to be apart of the actual fugal element of the piece, present some of the contrapuntal devices that a fugue has. The flute variation is the Purcell theme presented in diminution and this variation is accompanied by the piccolo. Throughout the flute variation imitation occurs between the 1st and 2nd flute. In the bassoon variation presents the Purcell theme in a dotted rhythmic form. The violin variation is based on opening chords sweeping over a wide range of the violins, with the use off triple stopping. Imitation also occurs here, between the 1st and 2nd violins.Lastly within the section of brass variations is the tuba and trombone variation. The opening trombone parts are based on the Purcell theme, with the notes rearranged. Song of Schopskoand The Young Persons Guide to the Orchestra imitative compositional styles are strikingly similar. Despite Song of Schopskobeing a traditional Bulgarian choral work the imitation that occurs within the piece can be compared to the imitative features of the components of the fugue. As stated earlier, the concepts of a subject, answer, countersubject and an episode can be loosely found within Song of Schopsko even though it is not a fugue. The reason for these similarities is because of the imitation that occurs in traditional eastern European music. Their rich culture in regards music has not been super-imposed and can still be found and Song of Schopsko is a perfect example. Connections can be drawn between the similarities between the eastern European choral music and the fugue of the western European culture. With the rich tradition of eastern European music that developed throughout the centuries, it can be seen that their musical influences shaped how the fugue is presented. The continuous imitation that occurs is a major component of how the fugue is set up from the entry of the subject to the answer and the countless episodes that take place within each work of art. Song of Schopsko is just one piece of eastern European music that presents the imitation between voices. The fugue in the Middle Ages referred to any canon style music but by the Renaissance it was shifted to specifically denote imitative works. Johann Sebastian Bach is said to have taken the fugue to its pinnacle saying to have shaped his works after Johann Jakob Froberger,Johann Pachelbel, GirolamoFrescobaldi, and DieterichBuxtehude. Dietrich Buxtehude is said to have had lasting impa ct on the works of Bach. Buxtehude himself was born in Sweden so his musical works were influenced by his upbringing in Eastern Europe. Due to influences of Bach and his predecessors it can be easily seen how the fugue was drawn from eastern European music and was then developed into the way it is seen today.

Blue Sky

TEACHING NOTE Blue Sky Thinking Case Analysis 1. Company Profile First Choice Holidays This session's students should describe the company profile of First Choice Holidays (FCH) – a travel agent which has more than 14. 000 staff, operate in 16 different countries and have ? 2,6 billion turnover in 2005. The students should able to define that FCH is the major player in travel industry and what the business they are in. 2.Problem Formulation This session's students should formulate the problems of FCH that shown by Sales Conversion rate had been static for two years, and also should be able to mention the FCH efforts to solve the problems and why they choose to hire Blue Sky Consulting. The hidden problems of FCH are sales and management staffs on motivation, focus, and believe in themselves and their products. One of the methods could use the fish bone diagram to find the problems. . Problem Solving Methods The problem solving methods are tend to fulfill the objectives of FCH is to increase 10% revenue yoy and to merge brands between ‘First Choice Direct' (Direct) and ‘Eclipse Direct' (Eclipse). The case shows that FCH hire the Blue Sky Consulting, in these section students should place themselves as Blue Sky Consultant and be able to show what Blue Sky do to achieve the FCH objectives.The first steps, Blue Sky create secondary objectives of developing a broad strategy that supported Direct and Eclipse team objectives: o Unifying company culture and brand value o Establishing measurement to ensure the performance improvement was maintained The next steps, Blue Sky conduct a ‘holistic operational diagnostic' on purpose to show the FCH management to evaluate the effectiveness FCH processes, as opposed to just identifying the sales training gaps. Blue Sky conduct ‘current performance evaluation' with activities include: o Meeting with key management personnel o Informal interview with cross-section of advisers and team leaders o Focu s Groups o Listening into and observing assessment of calls o Mystery Shopping o Staff surveys o Reviewing current skill and trainings o Reviewing Business Process o Documentation and initiatives – Create recommendation 4. Design and Action Plan Program This session's students should be able to show the need of developing and communicate the vision for call center and each department. Blue Sky TEACHING NOTE Blue Sky Thinking Case Analysis 1. Company Profile First Choice Holidays This session's students should describe the company profile of First Choice Holidays (FCH) – a travel agent which has more than 14. 000 staff, operate in 16 different countries and have ? 2,6 billion turnover in 2005. The students should able to define that FCH is the major player in travel industry and what the business they are in. 2.Problem Formulation This session's students should formulate the problems of FCH that shown by Sales Conversion rate had been static for two years, and also should be able to mention the FCH efforts to solve the problems and why they choose to hire Blue Sky Consulting. The hidden problems of FCH are sales and management staffs on motivation, focus, and believe in themselves and their products. One of the methods could use the fish bone diagram to find the problems. . Problem Solving Methods The problem solving methods are tend to fulfill the objectives of FCH is to increase 10% revenue yoy and to merge brands between ‘First Choice Direct' (Direct) and ‘Eclipse Direct' (Eclipse). The case shows that FCH hire the Blue Sky Consulting, in these section students should place themselves as Blue Sky Consultant and be able to show what Blue Sky do to achieve the FCH objectives.The first steps, Blue Sky create secondary objectives of developing a broad strategy that supported Direct and Eclipse team objectives: o Unifying company culture and brand value o Establishing measurement to ensure the performance improvement was maintained The next steps, Blue Sky conduct a ‘holistic operational diagnostic' on purpose to show the FCH management to evaluate the effectiveness FCH processes, as opposed to just identifying the sales training gaps. Blue Sky conduct ‘current performance evaluation' with activities include: o Meeting with key management personnel o Informal interview with cross-section of advisers and team leaders o Focu s Groups o Listening into and observing assessment of calls o Mystery Shopping o Staff surveys o Reviewing current skill and trainings o Reviewing Business Process o Documentation and initiatives – Create recommendation 4. Design and Action Plan Program This session's students should be able to show the need of developing and communicate the vision for call center and each department.

Extended Definition Essay: Professional Dog Breeder

Student Instructor ENG 101 9 November 2011 Professional Dog Breeder A definition for the title â€Å"professional dog breeder† is not found in any dictionary nor are there any established laws that regulate the breeding of dogs, only the housing and feeding of them. Dog breeder most commonly calls up all manner of horrific images mass-produced by broadcast news and talk show commentators to depict starving, filthy, dying dogs and puppies caged in tiny wire pens. People do not realize the negative mental outlook this misconception attaches to all breeders nor do they realize that these dog breeders are not only cruel but breaking the only basic laws that regulate the business. It is evident there is a cavernous gap between a good professional breeder and a backyard breeder concerning the quality of dogs bred and the care provided for them. In fact, a good professional dog breeder will do everything in his or her power to insure the prospective owner receives a genetically healthy puppy with the highest quality bloodlines. Being a dog breeder does not automatically make a person a cruel or inhumane pet owner. The definition of a good â€Å"professional dog breeder† is an individual that will have every dog genetically tested to insure only the best are used for breeding, will be meticulously dedicated to improving bloodlines, and will strive to match each puppy to the lifestyle of the prospective owner. One of the first definitions for the title â€Å"professional dog breeder† will be someone aware of the genetic issues prominent for his or her specific breed and will have certified genetic testing completed to prevent these faults from being passed to future generations. Genetic testing is vital to the professional breeder that prefers to sell based on his or her good reputation. In addition, genetic testing on adult dogs will greatly increase the percentage of high quality, genetically sound puppies being produced. Genetic testing on the ears, eyes, and teeth can be certified by any veterinary during a well-puppy visit done between five and seven weeks of age. Therefore, professional breeders have testing performed on the eyes and ears as a courtesy more than a genetic concern. Testing preformed on teeth will be slightly more involved and presents a larger concern because the occasional baby tooth has to be surgically removed to insure the bite pattern is smooth and even. More advanced genetic testing, such as for luxating patella (congenital structural deformity of the knee) and testing on cardiac function, are serious and more involved. Results have to be mailed to the Orthopedic Foundation for Animals, where test results are recorded to their database. Prospective owners have the ability to view certification and testing results at their convenience. Likewise, a professional breeder will have genetic DNA test results registered with the American Kennel Club for any male old enough to sire a litter. Indeed, the genetic results from the DNA can be invaluable if there is an issue involving proof of parentage. A professional breeder will be very diligent about keeping all test results up to date and posted on the proper canine data research boards. The professional breeder will strive to produce genetically sound puppies that new owners will be proud to own. No professional breeder would ever breed two dogs of questionable genetics because the puppies would be the ones to suffer. Another definition for the title â€Å"professional dog breeder† is an individual meticulously dedicated to improving the bloodlines for any future puppies they hope to produce. The AKC has very distinct guidelines for the ideal representative of each breed. The AKC is the established authority on all things dog related, the AKC rules and regulations are the basis and final word for all breeding, testing and showing. To produce the best quality, needs the true and proven bloodlines of the older Champion dogs. Many of the great old name bloodline sires passed without any offspring to carry their grandeur into future generations. A professional breeder will research and locate these wonderful old bloodlines that may still be available. The professional breeder has a relentless desire to find the perfect male to mate with his or her female to produce puppies with the greatest bloodlines possible. This process involves many hours of research comparing pedigrees to find the ideal bloodlines. As a result, professional breeders will prefer breeding privileges to the older Champion males for the simple fact they may be the only remaining prodigy from a highly desired bloodline. Consequently, the breeding between the prized male and prospective female may require months of planning. The breeder spends hours trying to determine the advantages based on each dog according to size, body shape, and coat length. Professional breeders will wait months and drive ours to procure the breeding rights to a perfect male for their female. The dreams of a lifetime may be the result of crossing two exceptional bloodlines. Lastly, a definition for the title â€Å"professional dog breeder† will be an individual that strives to match the personalities of the puppies to the personalities and lifestyles of the prospective owners. This may sound like a very easy thing to accomplish, when in fact it requires a great deal of effort. A professional breeder will desire for his or her puppy to become part of a wonderful home. It is the responsibility of the professional breeder to ensure his or her puppy is matched with the best human family. For example, a large puppy will be a match made in heaven for a family with several rowdy children. A professional breeder will allow the robust, out-going, much larger puppy to play with the children. In turn, this will allow the parents to see how well the larger puppy responds to children. This puppy will be very comfortable with the noise and activity; his or her larger size will allow slightly more energetic play. In comparison, a smaller, shy puppy may be placed in the room for a second to allow the parents to see how totally unacceptable a tiny, shy puppy would be for their large, noisy family. This puppy will be too scared to move and will cower in the corner. Similar to this, for the young, athletic couple the professional breeder will introduce a very energetic, bouncy puppy that will run laps around the room. It would not be a suitable match to offer this couple a calm, relaxed, or timid puppy because it would never match their life style, both parties would be miserable. On the other hand, when the shy, tiny puppy is placed in the arms of an elderly gentleman, it is love at first touch. Without any fear, the timid puppy gives kisses, plays and snuggles in the gentleman’s lap and goes fast asleep. When the puppy and the prospective owner are matched properly, they form a trusting and loving bond that will transcend time. As one can see, the title â€Å"professional dog breeder† has a depth of meaning often overlooked by the public. Mating a male and a female dog does not make a good professional breeder. With so many things to consider, a good professional breeder will only breed dogs that are tested and cleared genetically. They wish to produce puppies utilizing the best Champion bloodlines available. They strive to match the personality of the puppy to the prospective owner. Competent breeding is a full-time commitment that requires many hours of research. When good genetics, personalities, and bloodlines are combined the professional breeder has the perfect recipe for a lifetime of companionship and happiness between puppy and owner.

Molecular Geometry Definition in Chemistry

In chemistry, molecular geometry describes the three-dimensional shape of a molecule and the relative position of the atomic nuclei of a molecule. Understanding the molecular geometry of a molecule is important because the spatial relationship between atom determines its reactivity, color, biological activity, state of matter, polarity, and other properties. Key Takeaways: Molecular Geometry Molecular geometry is the three-dimensional arrangement of the atoms and chemical bonds in a molecule.The shape of a molecule affects its chemical and physical properties, including its color, reactivity, and biological activity.The bond angles between adjacent bonds may be used to describe a molecules overall shape. Molecule Shapes Molecular geometry may be described according to the bond angles formed between two adjacent bonds. Common shapes of simple molecules include: Linear: Linear molecules have the shape of a straight line. The bond angles in the molecule are 180Â °. Carbon dioxide (CO2) and nitric oxide (NO) are linear. Angular: Angular, bent, or v-shaped molecules contain bond angles less than 180Â °. A good example is water (H2O). Trigonal Planar: Trigonal planar molecules form a roughly triangular shape in one plane. The bond angles are 120Â °. An example is boron trifluoride (BF3). Tetrahedral: A tetrahedral shape is a four-faced solid shape. This shape occurs when one central atoms has four bonds. The bond angles are 109.47Â °. An example of a molecule with a tetrahedral shape is methane (CH4). Octahedral: An octahedral shape has eight faces and bond angles of 90Â °. An example of an octahedral molecule is sulfur hexafluoride (SF6). Trigonal Pyramidal: This molecule shape resembles a pyramid with a triangular base. While linear and trigonal shapes are planar, the trigonal pyramidal shape is three-dimensional. An example molecule is ammonia (NH3). Methods of Representing Molecular Geometry Its usually not practical to form three-dimensional models of molecules, particularly if they are large and complex. Most of the time, the geometry of molecules is represented in two dimensions, as on a drawing on a sheet of paper or a rotating model on a computer screen. Some common representations include: Line or stick model: In this type of model, only sticks or lines to represent chemical bonds are depicted. The colors of the ends of the sticks indicate the identity of the atoms, but individual atomic nuclei are not shown. Ball and stick model: This is common type of model in which atoms are shown as balls or spheres and chemical bonds are sticks or lines that connect the atoms. Often, the atoms are colored to indicate their identity. Electron density plot: Here, neither the atoms nor the bonds are indicated directly. The plot is a map of the probability of finding an electron. This type of representation outlines the shape of a molecule. Cartoon: Cartoons are used for large, complex molecules that may have multiple subunits, like proteins. These drawings show the location of alpha helices, beta sheets, and loops. Individual atoms and chemical bonds are not indicated. The backbone of the molecule is depicted as a ribbon. Isomers Two molecules may have the same chemical formula, but display different geometries. These molecules are isomers. Isomers may share common properties, but its common for them to have different melting and boiling points, different biological activities, and even different colors or odors. How Is Molecular Geometry Determined? The three-dimensional shape of a molecule may be predicted based on the types of chemical bonds it forms with neighboring atoms. Predictions are largely based on electronegativity differences between atoms and their oxidation states. Empirical verification of predictions comes from diffraction and spectroscopy. X-ray crystallography, electron diffraction, and neutron diffraction may be used to assess the electron density within a molecule and the distances between atomic nuclei. Raman, IR, and microwave spectroscopy offer data about the vibrational and rotational absorbance of chemical bonds. The molecular geometry of a molecule may change depending on its phase of matter because this affects the relationship between atoms in molecules and their relationship to other molecules. Similarly, the molecular geometry of a molecule in solution may be different from its shape as a gas or solid. Ideally, molecular geometry is assessed when a molecule is at a low temperature. Sources Chremos, Alexandros; Douglas, Jack F. (2015). When does a branched polymer become a particle?. J. Chem. Phys. 143: 111104. doi:10.1063/1.4931483Cotton, F. Albert; Wilkinson, Geoffrey; Murillo, Carlos A.; Bochmann, Manfred (1999). Advanced Inorganic Chemistry (6th ed.). New York: Wiley-Interscience. ISBN 0-471-19957-5.McMurry, John E. (1992). Organic Chemistry (3rd ed.). Belmont: Wadsworth. ISBN 0-534-16218-5.