Saturday, March 14, 2020
Outline and critically analyse a prominent contribution to the construction of modern childhood, illustrating your argument with contemporary examples The WritePass Journal
Outline and critically analyse a prominent contribution to the construction of modern childhood, illustrating your argument with contemporary examples Introduction Outline and critically analyse a prominent contribution to the construction of modern childhood, illustrating your argument with contemporary examples ). Education is conflicted since there is pressure to see it as a preparation for the real world of work and the child-centred pedagogy appears to be abandoned in both national and international policy (Moseley 2007). Locke made it clear that children were not to be indulged or spoilt by their parents and he preferred praise and encouragement to punishment. Locke believed children should not be spoken to harshly, lectured or chastised, but felt that children should be listened to and engaged with. Physical punishment was only a last resort and should never be carried out in anger, but measured and controlled, (Moseley, 2007). States schools in England abolished corporal punishment in 1987 responding to new constructions of childhood which saw corporal punishment as cruel and inhumane and children as vulnerable and in need of guidance and protection. Locke wanted children to become virtuous and to override their negative urges and internalise self-discipline, through the right amount of praise and example, especially public praise. However, there has been some criticism of Lockes highly conditioned child since Locke encouraged the love of reputation, for control purposes (Ryan, 2008, p. 569). Ryan argues that this love of reputation was also encouraged with a obedience to a politically correct world. Ryan (2008, p.569 cites Locke, 1963) and argues that there are many examples where Locke explains how to avoid the exercise of the masters brute force and make the desired habits â€Å"natural in them†without the child perceiving you have any hand in it. Lockes ideas on esteem and disgrace, public praise and private admonitions, were also seen by Ryan as another example of punishments and rewards. Ryan (2008, p. 569) acknowledges however, that Lockes conditioned child helped to encourage a new construction of a more authentic, political and developmental child, for the future. Locke promoted the idea of virtue in children meaning to have the powers of rational thought and to defer gratification. Locke also suggested that unruly children should be cultivated rather than curbed. The Department of Educations advice to modern day head teachers (2014) reminds us that discipline is still a priority in schools with head teachers responsible for promoting good behaviour, self-discipline and respect. Locke argued that learning should be appropriate to a childs stage of development and consideration had to be given for a childs immaturity when they behaved inappropriately. The work of Jean Piagets stage theory confirmed the idea of developmentally appropriate education for children in schools, with materials and instruction appropriate for pupils in terms of both their physical and cognitive skills (Eyesenk and Flanagan 2001). However, Lockes idea that learning should be tailored to each childs needs is virtually impossible in schools today with rising class sizes, increasing discipline problems, special needs requirements, language differences and mixed abilities. Locke preferred wherever possible for children to be home tutored. However, research shows that young people in Britain in the 21st Century are some of the least confident and unhappiest in the developed world (Blundell 2012). In 2008 the policy think tank Compass reported that childhood was being excessively commercialised and children were the target of aggressive marketing which included both gadgetry as well as brand names (Blundell 2012). Palmer (2006) argues that childhood is under pressure from the marketing and promotion of consumption as the root of happiness and opportunities for play are becoming increasingly limited. Recreation time has now been replaced with adult organised play and sport, homework and exams. The Childrens Society (2009) discovered that childrens lives were being negatively affected by fears for their safety. They were also given unrealisable materialistic desires and goals as a result of the pressures of the consumerist culture. This is contrary to what Locke believed about free play and learning without fe ar (Moseley, 2007, p. 36). The discourses on childhood reflect a deeply dualistic and contradictory way of thinking with childhood seen both as important in itself and at the same time as a preparation for adulthood, (Jones, 2009). Children can be seen as both vulnerable and in need of protection, but also seen as capable and competent. Jones, (2009) writes it is these dualistic, ways of viewing children, that contribute to their silence and invisibility. Jenks (2005) adds to this discourse by describing this dualism in terms of both chaotic and disorderly (Dionysian) and sweetness and light, (Apollonian). Stainton-Rogers (2011) writes about an unequal relationship between the child and adult and argues that we treat children like they are another species as object to be studied rather than as people. At the heart of the UNCRC however, there is a rather different approach to childhood and one which now recognises childrens rights, (Gittins 2005). Children are seen as active agents and engaged participants in their lives. Children all over the world are now involved in the digital world of mobile phones, social media, interactive games, social networking and blogging and this has had significant influence on childhood, their play experience and their literacy. Waller (2012) argues that children are now actively involved in co-constructing their own lives, culture and activities, in their own time and space. Emerging is an acceptance that there are multiple and diverse childhoods in the globalist world we now live in (Waller 2012). The emphasis is on participatory rights for children which challenges the way we carry out child research and the ways we study children, as well as approaches to teaching. A modern view of children therefore acknowledges agency and childrens capa city to both understand and act upon their world (Waller, 2012 p.8). Although this may seem far removed from Lockes construction of childhood as a time for parental guidance, example, protection, supervision, discipline, control and virtuosity, many of his ideas have laid the foundation for children to be viewed in a more humane and enlightened way and has led to contemporary discourses on childhood. Bibliography Blundell, D. (2012) Education and Constructions of Childhood. London: Continuum International Publishing Group. Buckingham, D. (2000) After the death of childhood: growing up in the age of electronic media; Cambridge: Polity Press. Children’s Society (2009) A Good Childhood. London: Penguin. Compass (2008) The Commercialisation of Childhood, London: Compass. Dahlberg, G., Moss, P. and Pence, A.(2007) Beyond Quality in Early Childhood Education and        Care:  Postmodern Perspectives, 2nd ed. London and New York: Routledge Falmer. Department of Education (2014) Behaviour and Discipline in Schools: Advice for Headteachers and School Staff. Available at https://www.education.gov.uk. [Accessed 18/12/2014]. Eysenck, M. W. Flanagan, C. (2001) Psychology. Sussex, UK: Psychology Press Ltd. Gianoutsos, J. (2006) Locke and Rousseau: Early Childhood Education. The Pulse (Vol 4, p. 1-23).           Available at baylor.edu/content/services/document.php?id=37670. [Accessed           16.12.2014]. Gittins, D. (2009) The Historical Construction of Childhood in Kehily, M.J. (ed) An Introduction to Childhood Studies. Buckingham: Open University Press. James, A. and Prout, A. (1997) Constructing and Reconstructing Childhood: contemporary issues in the sociological study of childhood. London: Routledge. Jenks, C. (2005) Childhood. 2nd Ed. London: Routledge. Jones, P. (2009) Rethinking Childhood: Attitudes in Contemporary Society. London: Continuum      International Publishing Group. McDowall-Clark, R. (2010) Childhood in Society in Early Childhood Studies. Exeter: Learning        Matters Ltd. Moseley, A. (2007) John Locke. London: Bloomsbury Publishing. Palmer, S. (2006) Toxic Childhood: How the Modern World is Damaging Our Children. London:    Orion Books Ltd. Penn, H. (2008) Understanding Early Childhood: Issues and Controversies. 2nd ed. UK: Open       University Press. Ryan, P. J. (2008) How New Is the â€Å"New†Social Study of Childhood? The Myth of a Paradigm     Shift. Journal of Interdisciplinary History, xxxviii (4), p. 553–576. The Plowden Report (1967) A Report of the Central Advisory Council for England. Available @            educationengland.org.uk/documents/plowden/plowden1967-1.html. Accessed   18/12/2014. Waller, T. (2012) Modern Childhood: Contemporary Theories and Childrens Lives in C. Cable., L. Miller., and G. Goodliff, Working with Children in the Early Years. 2nd Ed. NY: Routledge. UNICEF (2012) A Summary of the United Nations Convention of the Rights of Children. Available at            https://www.unicef.org.uk/Documents/Publication-pdfs/betterlifeleaflet2012_press.pdf.      [Accessed            18/12/2014].
Thursday, February 27, 2020
American and Chinese Retail Market Research Proposal
American and Chinese Retail Market - Research Proposal Example What are the differences in the consumers What are the hindrances What are the benefits attached What are the implications of Economic and financial policies The issue of understanding the differences in the economic policies and the consumer market between the established markets like U.S. and emerging markets like China is of immense importance. Many multinational enterprises view China as a vital market and one with tremendous potential for growth in the future. The successful expansion of most multinationals depends upon the strategies and policies designed by keeping in view these economic and social differences. After taking a review of the researches for the problem through different aspects I will try to find out and underline the differences in both the markets and Governmental policies of both countries. A primary component of extensive theories of consumer behaviour is product assessment where consumers evaluate the characteristics of numerous product offerings. Such assessment is undertaken for their own decision making and for finalising purchasing decisions. In this phase of consumer behaviour, products are assessed on numerous characteristics, in regard to what consumers consider as their priority - as an outcome, product attitudes determining purchase decisions are developed. A significant body of empirical research has determined the importance which Chinese consumers attach to various product characteristics. Results suggest that a wide array of intrinsic criteria including style, comfort, colour, workmanship, and either fabric, fabric content, and fibber comfort were considered as top factors (Forsythe et al., 1999; Zhang et al., 2002). While the extrinsic criteria of either price or brand were evaluated as somewhat less significant than either attribute in two of the studies (Zhang et al., 2002), Forsythe et al. (1999) purport that price, along with design and quality, strongly influenced the purchase intentions regarding a jacket. Since economic and cultural factors have been associated with consumers' distinct use of country of assembly information when assessing and buying products (Low & Corkindale, 1998; Zhang, 1996), and outsourcing production is prevalent, there are studies which have studied the influence of country of assembly in more depth. Several studies have asserted that Chinese consumers' buying choice, perceptions of
Tuesday, February 11, 2020
MOTOROLA MOBILITY Essay Example | Topics and Well Written Essays - 2000 words
MOTOROLA MOBILITY - Essay Example The decline at Motorola Mobility has been blamed in part to the many number of models that were produced to cater to particular geographical and demographic areas, which was met with limited appeal. In addition, Motorola Mobility shied away from investing in products that were riskier, but more innovative for the long term. According to Iqbal Arshad, who was head of the Droid and RAZR teams, the company saw an increase in commitments from stakeholders who ensured they released at least forty products every year (Gold, 2012: p51). This reduced their ability to focus and seek to make a more lasting innovative difference. Motorola Mobility should seek to cut back drastically on the models that they release, as well as seek to sell directly in only a limited number of countries. The company has to simplify its business in order to focus on specific innovative products. In addition, the company could bring in new engineers to supplement the current ones who know the culture of Motorola Mo bility (Goggin, 2012: p744). In order to reclaim Motorola’s market share, the organization could pitch Motorola Mobility as the underdog start-up of the industry and develop a model that is symbolic of the turnaround. The firm will only get one chance to re-define their product and, therefore, the themes they select must be innovative, viable, and iconic. The new flagship model should also be designed to appeal to a mass market, rather than the more limited target market of the Droid. The company should also improve on its personalization scheme that allows Motorola Mobility device users to customize their products (Goggin, 2012: p744). While it is still in its infancy, the innovative scheme portends one of the organization’s biggest opportunities. The customization process could be enabled as an app or on a website, allowing the customers to request their customized phone remotely from various colors and textures. The customization process should also last for a short er time in order to counter attempts by rivals to pick up on their innovation and differentiate it by making it faster (Goggin, 2012: p745). Finally, this customization scheme should also allow for customization of software, which will require the engineers at the firm to come up with innovative ways to enable this feature. Despite the takeover by Google Inc, it may be prudent to maintain Motorola Mobility as an independent firm that engineers products independently. This would be the best choice for Google Inc that supports other companies on its Android platform and for Motorola Mobility as it will give them the innovative freedom required (Ickin et al, 2012: p51). It is important that the Motorola Mobility brand remains live from the bottom to the top, including in its management. However, running the company as an independent entity may not portend any business advantage to Google Inc as the organization is losing money. Since Google cannot offer early access to Motorola Mobilit y of its Android platform due to its other smartphone partners, it should be left up to the firm to create their own signature product. Having lost money prior to its acquisition, Motorola Mobility should now focus on producing a flagship Motorola product without relying on Google’s Android platform. It is clear that innovation is not a problem for
Friday, January 31, 2020
All for Love Essay Example for Free
All for Love Essay A parent-child relationship involves a lot of complexities. Basically, parents are responsible to provide for their children’s needs, whether material or immaterial. They are expected to perform duties to their children in spite of personal issues they have to deal with. Conversely, for children, there is the constant struggle to win their parents’ approval. These complexities in the parent-child relationship are illustrated in Sherman Alexie‘s, â€Å"Because My Father Always Said He was the Only Indian who Saw Jimi Hendrix Played ‘The Star-Spangled Banner’ at Woodstock†and D. H. Lawrence’s â€Å"The Rocking Horse Winner. †Analyses of the characters’ traits and motives provide a better understanding of how these complexities affect the relationship between parents and children. In addition, plot analyses help draw out a possible solution to the conflict. Told in the first person, â€Å"Because My Father Always Said He was the Only Indian who Saw Jimi Hendrix Played ‘The Star-Spangled Banner’ at Woostock†is a short story that talks about a father-son relationship. The son named Victor, serves as the narrator, who gives a picture of his father’s relationship with him and his mother by revealing his father’s characterâ€â€his racial ideologies, hobbies, and behavior. In his revelation, the narrator gives a lighthearted view of the conflict zeroing on his father’s irresponsible behavior. Citing his father’s claim that he was the only Indian who watched Jimi Hendrix play the national anthem, the son establishes his father’s uniqueness and at the same time, his hippie attitude. Likewise, his father’s appearance to famous magazines as he knocks down an officer in defense of his political ideologies, illustrates the father’s aggressive and violent nature. Moreover, the accident the father suffers from while riding a motorcycle demonstrates his adventurousness. In sum, these descriptions show signs of the father’s irresponsible behavior, the wrong decisions he makes throughout his life. Particularly, the claim he makes regarding the concert of Jimi Hendrix demonstrates the tendency of the father to create and amuse himself with lies. Moreover, as Victor implies, his father is preoccupied with his own ambition and adventures, and he covers up his shortcomings by telling stories, and attributing his life-long search for meaning to his cultural origins. The father reasons out that his being an Indian affects him to behave the way he does. He uses his cultural origin to justify his weaknesses as a father, his obsession for music, and his erratic behavior. Parenting proves to be a difficult task for the father, mainly because of his confinement to his own affairs, his irresponsible nature. His attempt to establish individuality makes him unable to perform his obligations to his family. His acts of merrymaking with his friends and continuous search for adventures show his unpreparedness and incapability to fulfill his role as a husband and father. The difficulty of becoming a good parent is likewise tackled in D. H. Lawrence’s story. However, unlike the personal issues that the father deals with in Alexie’s story, the conflict is associated with the mother’s materialist disposition. Due to the extravagant life she is used to, the mother always feels the need of the family to produce more money. Even the house is personified as someone who whispers, â€Å"There should be more money. †Hence, the mother is always preoccupied with the thought of finding money, or as she tells her son, to being â€Å"lucky. †The excessive materialism of the mother causes her to feel indifferent towards her children. The narrator states that deep inside, â€Å"she knew that at the centre of her heart was a hard little place that could not feel love, no, not for anybody. †This indifference is what Marx (111) refers to as â€Å"alienation†in his â€Å"Economic and Philosophical Manuscripts of 1844. †In simple terms, Marx implies that as people’s material needs grow, the need to produce money and to work becomes greater. In this process, workers or proletarians such as the mother soon lose control of their lives and their selves, just as they lose control of their work. Although the mother in the story is not characterized as a usual worker, her materialist needs make her a victim of the materialistic society in which she belongs. Considering this, the alienation she experiences is one that dehumanizes her, and disables her to establish emotional connection with her children. Considering the mother’s attitude of living beyond their means, the story closely mirrors Veblen’s (â€Å"The Theory of the Leisure Class†) view of the consumerist world. As the author claims, the consumerist equate personal happiness with consumption and the purchase of material things. In his â€Å"Theory of the Leisure Class,†the author discusses that people waste money and resources in order to display a higher status than others. In the story, the family â€Å"lived in a pleasant house, with a garden, and they had discreet servants. †Although they cannot afford such luxury, the parents maintain a high standard of living in order to feel superior to their neighbors. Acknowledging the need to produce more money, the mother works â€Å"secretly†in town, designing dresses for women. Even this effort of the mother reflects her consumerist attitude. As Veblen views, for the consumerist, the woman’s role is limited to that of a housewife, as this would show off a mans success. In the story, the wife works secretly in order to pretend that the family has enough means support their needs. As Veblen proposes, by not allowing the wives to take outside professions, a man could show off his economic status, although in the story, these are all a facade invented by the mother. Like the father in Alexie’s story, whose individuality seems to come first before all aspects in the world, the mother possesses a selfish attitude, which considers everything alright as long as her material needs are met. This submission to material things illustrates nothing but her selfishness. According to Stebbins (82-83) â€Å"the person who has the least interest in continuing the relationship normally possesses the greater power and is most liable to resort to exploitative behavior. †In the two stories, we see the parents as those who are less interested to continue their relationship with their children. In â€Å"The Rocking-Horse Winner,†the selfishness of the mother is best reflected in her request to withdraw the full amount that Paul secretly endows her. Although the mother uses the money to provide better education to her children, these are all due to her pride, her ambition to be regarded as superior to their neighbors. Moreover, her disinterest to find out whoever bequeaths her the big sum proves her ingratitude and materialist disposition. Furthermore, her insensitivity to her son’s condition, the fact that the three collaborators, the son, the uncle, and the servant are able to continue their deals without the knowledge of the family, provides a more lucid proof of the selfish nature of the mother. As the story relates, the selfish behavior of the mother drives the son to eagerly and desperately please her. Snodgrass (191) offers Freudian analyses of Paul’s character, claiming that the son’s effort to win his mother’s affection is Oedipal in nature. However, one may note that there is no established feud between Paul and his father. In fact, not much is said about the father; therefore, this claim cannot be fully established. Nevertheless, through the selfishness of the mother, one may see why the son becomes obsessed in the betting game. Ultimately, it is the mother’s materialistic ambition that drives the son to engage in the betting habit. It is also that, which leads him later to lose his senses. It can be noted that during their conversation, when Paul inquires about luck, the mother points out, Its what causes you to have money. If youre lucky you have money. Thats why its better to be born lucky than rich. If youre rich, you may lose your money. But if youre lucky, you will always get more money. This statement makes the son realize the importance of money and luck. As the mother equates luck with having money, the son struggles to find luck in order to please his mother. As the narrator reveals, the children in the house feel the indifference in the look of their mother. Thus, Paul, imbued by a son’s inherent desire to gain approval and be loved, forces himself to be lucky. More than the competition that some critics establish between the father and the son, it is the son’s emotional needs that move him to create something to please the mother. The same need for affection and approval motivates Victor. As he illustrates the sacrifices he and his mother bear just to please his father, one gets the notion of a one-way relationship where the father is at most on the advantage. The attention Victor gives his father justifies this notion. Specifically, his effort to listen and learn his father’s music, the acquired love for Jimi Hendrix, and the mere belief that his father was the only Indian who watched Hendrix’s performance of the â€Å"Star-Spangled Banner†attest to the son’s struggle to win his father’s affection, and to keep the bond between them. The problem of winning their parents’ affection is very visible in the two stories. Although this issue may look petty for some, it is revealed to be a serious issue in the two stories, especially â€Å"The Rocking-Horse Winner. †As the story shows, this conflict is what makes Paul go insane, rocking his toy horse unceasingly until it gives him the idea of who will win the race. At first, one can imagine that the habit of the son may just be a simple game he plays, but at the end, as the mother witnesses his son rocks his toy horse like a madman in the middle of the night, one can sense the psychological damage that results from the child’s longing for his mother’s love. The behavior and illness that the son shows at the end demonstrate the psychological damage he undergoes. Particularly, as the races draw near, the child develops some anxiety to come up with a forecast of who will win the race. As he already loses in the first two races, his anxiety grows worse, realizing that he has only one chance left to win during the season. As such, the simple anxiety then grows worse into a General Anxiety Disorder (GAD), affecting his whole system, making him unable to sleep and eat, gain consciousness, or in other words, continue with his normal life. In addition to GAD, psychologists may also agree that Paul develops psychological gambling. According to Franklin (Psychology Information Online), psychological gambling is an â€Å"impulse control problem which consists in persistent maladaptive gambling that creates serious life problems for the individual. †It is different from recreational gambling in that it affects seriously the way one lives, suggesting failure to function normally as an individual. As the story portrays, Paul seemingly lose his senses as he rocks his toy horse in the middle of the night. He also shows abnormal behavior as he repeats, â€Å"Malabar,†the name of the horse that will win the final race.
Wednesday, January 22, 2020
Intellectual Property and the Future of the Music Industry Essay
Corruption, Conscience, and Copyright: The Current State of Intellectual Property and the Future of the Music Industry â€Å"Today’s pirates operate not on the high seas but on the Internet, in illegal CD factories, distribution centers, and on the street. The pirate’s credo is still the same--why pay for it when it’s so easy to steal? The credo is as wrong as it ever was. Stealing is still illegal, unethical, and all too frequent in today’s digital age. That is why RIAA [Recording Industry Association of America] continues to fight music piracy.†– RIAA.com The human conscience is a powerful tool. And if you are like most Americans, you probably consider yourself to be a rather moral person, at least based upon your own morality, your own conscience. Chances are, however, that you have engaged in some form of illegal activity during your life: speeding down a familiar road, jaywalking across an empty street, driving with a broken blinker. Assuming you consider yourself to be of high moral stature, how does your conscience reconcile this? The answer: the unlawful does not always imply the unethical, and that which is illegal is not necessarily immoral. Since the digital revolution in the 1990’s, the downloading of copyrighted music has skyrocketed. The Recording Industry Association of America, RIAA, has denounced music piracy, claiming that it is both illegal and immoral. And they drive a hard bargain, arguing the following: 1. Downloading music is against the law. 2. Downloading music betrays the songwriters and recording artists who create it. 3. Downloading music stifles the careers of new artists and up-and-coming bands. 4. Downloading music threatens the livelihood of the thousands of working people who are em... ...ec_39_00000201----000-.html Blackburn, David. On-line Piracy and Recorded Music Sales. Dec. 2004. http://www.katallaxi.se/grejer/blackburn/blackburn_fs.pdf CD Baby. Who/What are we? http://cdbaby.com/about Holahan, Catherine. Downloading Music’s New Deal. Business Week Online. Oct. 31, 2006. p8-8, 1p. Leach, Eric and Henslee, Bill. Follow the Money: Who's Really Making the Dough? Nov. 1, 2001. http://emusician.com/mag/emusic_follow_money_whos/index.html Lessig, Lawrence. The Limits of Copyright. June 19, 2000. http://www.lessig.org/content/standard/0,1902,16071,00.html McCourt, Tom, and Burkart, Patrick. When Creators, Corporations and Consumers Collide: Napster and the Development of On-line Music Distribution. 2003. Sage Publications. Music United. Why You Shouldn't Do It. http://www.musicunited.org/4_shouldntdoit.html
Tuesday, January 14, 2020
Performance Style of Dave Brubeck
The performance style of Dave Brubeck Dave Brubeck’s unique performance style is characterized primarily by his use of polytonality, polyrhythm, and immense amounts of improvisation. His style grew from his upbringing and as he put it, â€Å"different approach to all of the normal things†. By no means did Dave take the normal approach; he made it all the way threw the conservatory with out being able to read the piano music he was playing. His ability to think on the spot and his amazing ear took jazz to the next level.He took jazz to a world of difficult technicality and created sounds with depth that amazed all who had the opportunity to listen to him. Brubeck once stated, â€Å"And there is a time where you can be beyond yourself. You can be better than your technique. You can be better than most of your usual ideas. And this is a whole other category that you can get into†-Dave Brubeck. Brubeck always went above and beyond, breaking convention. It is this unc onventional approach that defined Dave Brubeck’s Style. Polytonality as Dave described it, â€Å"(is) using multiple key centers at the same time. He was known for incorporating this technique in to many of his performances, although he admits to not knowing that he is doing it at the time. He naturally did things that were way ahead of his time. His compositions were known to use polytonality although Dave probably would not play them as he had notated them on the page. In the Dave Brubeck Oral History Project he describes a polytonal piece; â€Å"One of the early pieces I wrote in 1946 as a student with Darius Milhaud, had three different clefs instead of two clefs treble, treble, bass rather then treble clef, bass clef.And, I'd be playing a swing bass in this hand in one key, and then adding on these other things in other keys. †The use of this technique is very aptly described by Mark McFarland who wrote; â€Å"Brubeck's use of polytonality helps to project a ge neral decrease or increase in relative dissonance, thereby clarifying the formal structure on both the small- and large-scale. The comparison with tonal theory extends to include pivot chords; with Brubeck, such chords simultaneously serve as the final chord in a polychordal passage and as the first and most exotic chord in a tonal passage. †Dave Brubeck’s use of polytonality in his performance of jazz standards had a permanent affect on the history of jazz. He brought old tunes to new levels of technicality and virtuosity and in a greater sense, defined a new era in which new ideology and contemporary progression came to light. In 1961 Dave Said â€Å"I wanted to do things poly-rhythmically because I thought that jazz was much too tame. The way I wanted to set up the group was that the drummer would be playing one rhythm, the bass player another rhythm, and Paul [Desmond] and I could play in either of those rhythms or a new rhythm . . it’s time that jazz musici ans take up their original role of leading the public into more adventurous rhythms. †Polyrhythm is defined by the Grove Music Dictionary as; the superposition of different rhythms or meters. Meaning that you have two or more conflicting pulses in piece. Dave believes his best example of polyrhythm can be found in his solo on Raggedy Waltz at carnage hall. He describes that â€Å"one two, one two†is on the left hand against the waltz in 3 in his right hand. This is only one of many examples of Dave’s use of â€Å"poly-rhythmical play†.He is also known for writing pieces in what are generally considered to be strange meters for jazz. For example Take 5, Unsquare dance or Blue Rondo A La Turk. These pieces feature drastically different rhythmic structures then what was normal were a driving force in what made Dave Brubeck’s music popular. His unique way of interpreting standards using polyrhythms and giving them an entirely new feel and inspiring a generation of musicians to go further outside the box in jazz performances. Brubeck’s polyrhythmic ideas challenged the minds of both performers and listeners.Improvisation has been an essential part of jazz sense its origin, however Dave Brubeck took it to a whole new level. During his time at College Of The Pacific he managed to get all the way to his last year before any one knew that he couldn’t read music. This was all because of his remarkable improvisation skill and excellent ear. He tells a story of a recital he played at Mills College under Darius Milhaud, where he draws a blank in the middle of the first of two pieces but instead of stopping he simply begins to improvise freely and does the same for the second piece.At the end of the concert the audience applauded being none the wiser, this is because of his ability to so improvise with such complexity so freely. The only person who knew what happened Darius Milhaud who told him â€Å"Boo-Boo [nick name for Brubeck] , very good, but not what you wrote! †Brubeck credits much of his inspiration for such improvisation to the great Johan Sebastian Bach, because of the similarity between the figured base that Bach would play over with the choir and the chord changes that he and other jazz musician play over today.With the inspiration of Bach and his own remarkable natural abilities, Brubeck challenged conventional improvisation and built a complex foundation for a new form of improvisational jazz. Dave Brubeck’s performance style can be described using many musical terms such as polytonal or polyrhythmic, but the truly defining factor of his performance style is that it is unique. He himself admits to having each solo being a different from the next often not grasping the true complexity of what he had just played. Ever performance is different from the next. Dave Brubeck is great because he is unique.
Monday, January 6, 2020
How Do You Remove Salt From Water
Ive been asked How do you remove salt from water? enough times that I suspect finding the answer to the question is a common science assignment. So... how do you do it? You can boil or evaporate the water and the salt will be left behind as a solid. If you want to collect the water, you can use distillation. One way to do this at home would be to boil the saltwater in a pot with a lid. Offset the lid slightly so that the water that condenses on the inside of the lid will run down the side to be collected in a separate container. Congratulations! Youve just made distilled water. When all of the water has boiled off, the salt will remain in the pot. Evaporation works the same way, just at a slower rate. To evaporate water to obtain salt, place the salt water in a wide, shallow dish. This shape offers maximum exposed surface area, which aids evaporation. You can speed up the process by placing the dish in a warm, sunny window or by blowing a fan over it. If you place it outdoors, evaporation is quick on a warm, sunny, breezy day. It will be slower on a cloudy, cold, or humid day. Crystallizing salt from salt water doesnt leave behind pure water, although it does remove a lot of the salt. The remaining liquid will be a less-than-saturated solution.
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