Analysis Of The Moldau Essays - Symphonic Poems, M Vlast

Analysis Of The Moldau Composer: Bedrich Smetana Work Title: The Moldau Date: 1874-1879 Genre: Symphonic Poem For my first selection of music for this final project I chose ?The Moldau? by Bedrich Smetana. The reason I chose this piece was first, it is a symphonic poem and second, because it perfectly exemplified the use of nationalist style and word painting. The Moldau is a symphonic poem representing Nationalist pride for Smetana's country. It is the second of six symphonic poems from the orchestral piece ?My Country?. A symphonic poem is a one-movement orchestral form that, in this case, suggests a scene. It was written over a five-year span that covered the revolution against Austrian rule. The Moldau is a perfect example of a nationalist song, which is a song of folk pride for one's country. The piece ?The Moldau? represents scenes along the river Moldau in Bohemia. It is here that we see the use of word painting, music expressed as though it were a painting to be seen. It begins as a few streams in the forest flowing into the mighty river, painted with a flute and some clarinets and leading to violins. The journey takes us through a day in the forest where we see hunting, peasants dancing at a wedding, nymphs in the moonlight, the St. John's Rapids, the Ancient Castle and back to the River theme as the river dies away. It is truly an enchanting piece.

Wilsons Commitment to Peace essays

Wilson's Commitment to Peace essays War does not always have the simple goal of killing as many of the enemy as you can. The motives behind war are often complex and not always vicious attempts to gain power. Often times a nation must enter a war to secure peace in the future. This was the case when Woodrow Wilson asked Congress for a declaration of war. Since the early days of the war when Wilson asked the nation to be impartial in their thoughts about the war, he fought to maintain the United States neutrality. By sending his close friend, Colonel House and other envoys, Wilson diplomatically delayed war until the last possible moment. However, Wilson knew that war was inevitable. It was imperative for the United States to enter the war because it had become a threat to humanity and unless the United States intervened, Western civilization itself might be destroyed. (Garraty, pg. 665) Wilsons main reason for involving the United States in the war was to be included in peace talks following the end of the fighting. Had the United States not entered the war, neither the Allies nor the Central Powers would let the U.S. involve itself in the peace talks. Wilson knew that it was essential for the U.S. to be a part of these talks. The majority of statesmen thought that a victory on the battlefield was triumph enough but Wilson knew better than that. Wilson realized that the victory would be wasted if the winners permitted themselves the luxury of revenge. (Garraty, pg. 674) It was important for the victor to forgive and forget and begin to build a better society. Unfortunately for Wilson, a steadfast pacifist, he had to resort to war to secure peace for the future. By entering the war the United States was able to play a powerful role in peace talks after the fighting ended. Although the peace talks did not stop keep WWII from happening, that was Wilsons goal. He avoided war as much as he could but when he had could no longer ...

(Biochip Microfluidic Vortex Chamber) and (Biochip with Integrated Essay

(Biochip Microfluidic Vortex Chamber) and (Biochip with Integrated Vertical Emitting Light Source) - Essay Example The â€Å"optical imaging technology† (Bachman, 1986) was the best materials system of its time for fabricating â€Å"photodiode arrays† (Bachman, 1986) that were used in NASA’s satellite system. Bachman considered this to be just the beginning of experimentation with microgravity for the production of semiconductors. He articulated the need for further advances in physics to improve the photoconductive properties of the detectors in order to improve the quality of the satelites Twenty years later Bachman’s optical imaging device is being applied to identify diseases, as well as, analize the chemical and biological properties of different cystals and alloys in vortex chambers. The photoconductive device described in the study offers a cost effective method of fabricating biochips when coupled with simulation software known as Comsol software.Industries outside of quasi-government agencies such as NASA are utilizing microgravity technology. The budgets of these industries are not limitless, and therefore are in need of a feasible way of applying the quantum leap in semiconductor quality that is due to the microgravity science, without incurring the considerable costs that would keep them out of the field of biotechnology. The model described in this study offers theoretical outcomes when describing modified conditions calculated in simulation software as well as the actual observed events that occur within the various chambers of the photoconductive device. The properties that were observed utilizing simulated fluidic vortex chamber device are fluid flow, concentration and diffusion, and electrical conductivity. The conditions that were modified were velocity of fluid flow, locations of fluid concentration, and length of time the fluid would be concentrated at various locations. The results that the changing conditions as described in the â€Å"incompressible Navier-Stoke equation†.

Global Trade Distribution Processes Dissertation

Global Trade Distribution Processes - Dissertation Example The company continues to enter new geographical markets is expanding its presence in already existing markets. The company use a distinct strategy concerning entry into a market for every new market and aims to promote the sale of its jewelry products and establish itself in a very short time with efficient brand positioning in the market. In markets that are well developed, PANDORA develops its market presence by using the current retail outlets that are available to it. However, in emerging markets, the company uses branded points of sale of the company, which are directly operated, and franchise in nature. For example, in 2009, PANDORA was able to gain access to a variety of markets and also prepared an entry into other markets. The markets included-Croatia, Indonesia, China, UAE, Turkey, Taiwan, Serbia, South Korea, Ukraine, Philippines, Japan, Malaysia, Italy, and Russia. A number of the markets were recorded to have high market potentials. In each of the potential markets in the different countries, PANDORA adopted different strategies to enter the market. In Russia for instance, PANDORA gained entry into the market by entering into a Master Distribution and Franchise Agreement with the country. It was programmed in such a way that the expansion of the retail market was based on a cluster strategy linked to geographical locations with an aim of optimizing the exposure of the brand. The focus was initially placed on St. Petersburg and Moscow and in 2010, 6 other concept stores were unveiled. PANDORA gained entry into the Italian market in July 2010.This was a big step because by doing so, it had gained entry into a market that is termed as Europe’s biggest market for fine jewelry. The company was based in Milan, their strategy involved visual merchandise and a team of sales representatives with an aim of covering the market through the use of points of sale that are a multi-brand. PANDORA was planning to sell products through 362 white stores, 70 silver stones, 7 gold stores, 1 concept store, and 12 shop-in-shops.

Environmental Science Essay Example | Topics and Well Written Essays - 500 words - 1

Environmental Science - Essay Example And even the general perception about them is that ‘they are less destructive than other storms’. For this very reason so little is known about nor’easters. Nor’easters are said to have caused heavy snow falls in New England and the Middle Atlantic states. In recent years, the US coastal areas have also been hit by a series of nor’easters. All this has led to more attention towards these storms. Researchers have found that apart from their origins in atmospheric disturbances and their cyclonic winds, hurricanes and nor’easters bear little resemblance to each other. Hurricanes are warm-core systems and thus limited in height by the colder upper air, while nor’easters are cold-core systems that do not lose intensity with height. Unlike hurricanes, nor’easters do not necessarily form over the open ocean. Nor’easters are supposed to require the support of the jet stream to form, so their prevalence is closely related to season al changes in the position and the strength of the jet. Correlation of data for the past 50 yrs suggest that the annual frequency of the strongest nor’easter is positively correlated with southerly jet-stream position over the eastern US. Wind’s speed, its duration and the distance are the three factors affecting the growth of waves. With an increase in any of these factors, the height of the storm surge increases. October to April is the primary nor’easter season with February being the most active month. Some of the features of nor’easters which can be summarized based on recent studies are; Because of their diffuse structure, they are difficult to characterize, categorize and predict. Having not able to establish a direct relationship between a nor’easter’s wind speed and its destructive power has made the task of classification and comparison of these storms more difficult. Researchers assert that one possible cause for the

The Career Of Katherine Dunham Theatre Essay

The Career Of Katherine Dunham Theatre Essay Katherine Dunham modern dancer and choreographer, born in Glen Ellyn, Illinois United States of America, she were completed her study at the Chicago University and went on to earn a higher degree in anthropology. According to Darlene, (2006) turn to the side of dance she began her first school in Chicago in 1931, when she becoming dance director for the works progress administrations project of Chicago theatre. A flashy performer, she was best known for her choreography in such musicals as Cabin in the sky 1940, and for action pictures, notably Stormy Weather 1943. According to Barbara, (2000) Dunham studied abut the dance forms in the Caribbean, especially Haiti where she lived for many years, and is credited with bringing Caribbean and African determines to a European dominated dance world. Her company traveled globally in the 1940s-60s, and she consistently denied performing at segregated venues. According to Joyce, (2002) in 1967 she founded the Performing Arts Training Center fo r inter-city younger in East St Louis, IL, and in 1992 went on a 47-day appetite strike to protestation in resistance to the American banishment of Haitian refugees. Her honours incorporated the Presidential Medal of the Arts (1989) and the Albert Schweitzer Prize. Introduction Dunham is perhaps most well known, however, for her unique blending of anthropology and dance. According to Jessie, (2002) Dunham challenged mainstream academic circles by using her anthropology not only for articles and books, but also as a catalyst for her own artistic dance productions, which heavily drew on the dance forms and cultural rituals she witnessed and documented through total immersion in the cultures she observed. Dunham traveled the world with these productions, bringing African culture, through movements, rhythms and sounds, to the worlds consciousness. This hybrid of anthropology and dance later morphed into what is today known as the Dunham technique, a special type of dance training utilizing movements witnessed in her field work. According to Darlene, (2006) Dunham technique is today studied and practiced around the world. After Dunham retired from dancing, she moved to East St. Louis, a blighted, predominantly African-American city which she hoped to revitalize through establishing a vibrant cultural center. Dunham established there an interactive museum and a dance institute (which continues to teach her technique to students from around the world). Research objectives Dunham desired to experiences this academy the base of enough larger cultural institution that world bring the East St. Louis community with each other. Just as surely as Haiti is overcome through the character of vaudun the island possessed African American Katherine Dunham when she first went there in the year of 1936 for the purpose of study dance and ritual. According to Joyce, (2002) in her book, Dunham discloses how her anthropological research, her work in dance, and her fascination for the people and cults of Haiti worked their trance, catapulting her into experiences that she was often lucky to have had. According to Richard and Joe, (2008) Dunham explain how the island came to be possessed by the deities of voodoo and other African religions, as well as by the deep class distributions, particularly within mulattos and blacks, and the political strife remain enough in evidence at present. Full of flare and suspense, Island Possessed is also a pioneering work in the anthropol ogy of dance and a captivating document on Haitian beliefs and politics. Discussion The book Island Possessed,  details Ms. Dunhams experiences and sentiments of her adopted homeland, from the year 1936 to the late 1960s, and even describes her final initiation into the Vaudoun (Voodoo) religion of the half-island. According to Patrick, (2006) she speaks Haitian Creole fluently, she has owned a beautiful 18th century Haitian estate, Habitation LeClerc for decades, and, in the early 1990s, she put her life on the line and went on an extended hunger strike, when President Aristide was overthrown and forced to leave the country. According to Jane, (2007) Ms. Dunham also adopted a young girl from the French West Indies island of Martinique, back in the 1950s, as further demonstration of her love and commitment to the Diaspora. Introduced to Theater One of those baby-sitters, Clara Dunham, had come to Chicago with her daughter, Irene, hoping to break into show business. They and other amateur performers began rehearsing a musical/theatrical program in the basement of their apartment building, and Dunham would watch. Although the program wasnt a success, it provided Dunham with her first taste of show business. According to Darlene, (2006) Dunham and her brother were very fond of their Aunt Lulu. However, because she was experiencing financial difficulties, a judge granted temporary custody of the children to their half-sister Fanny June Weir, and ordered that the children be returned to their father as soon as he could prove that he could take care of them. Katherine Dunham Katherine Dunham was born June 22, 1909, in Glen Ellyn, Illinois, in DuPage County, and died May 21, 2006 in New York City. Although one of the most important artists (and scholars) of her time, she remains largely unknown outside Dance and African-American studies. According to Darlene, (2006) Sara E. Johnson supposed that the breadth of Dunhams accomplishments is perhaps one explanation for the underappreciation of her work. Dunham worked so hard on so many different things that she remains hard to classify. She almost single-handedly created a genuine artistic and cultural appreciation for the unique aspects of African dance, especially as manifested in African diaspora cultures. According to Joyce, (2002) Dunham was also a serious anthropologist that began her career with ground-breaking studies carried out in Jamaica and Haiti as a student at the University of Chicago. Finally, she was a tireless advocate, who led to a brief arrest during race riots in East St. Louis and a 47 da y hunger-strike carried out at the age of 82 against US discrimination against Haitian refugees. Dunhams Artistic Academic Background This process was, in fact, a remaking of memory through performance. As Hamera reinforces, the practice of he social work of aesthetics is especially communal and corporeal, and where corporeality and sociality are remade as surely as formal event is produced. According to Jessie, (2002) in this sense, Afro-Caribbean culture and sociality voyaged across the Atlantic to the rest of the Americas, Europe, and Asian-wherever the Katherine Dunham Dance Company performed. According to Ruth, (2009) Dunhams Research-to-Performance Method Armed with these researched dances of the black Atlantic and an understanding of their Functional social contexts, Dunhams dance theater became a prime laboratory where Afro- Caribbean cultures could migrate through the performance of her choreography and through the personalities of her individual dancers in the act of performing the Dunham oeuvre. Uncovering Danced Memory Katherine Dunhams earliest written ethnography provides ample proof of her prescience as a fieldworker and scholar in uncovering an ancient African dance surviving in the Caribbean on the island of Jamaica. According to Joyce, (2002) in her fieldwork represented in Journey to Accompong, she utilized a functionalist theoretical frame by recording the various social institutions in relationship to each other in the village of Accompong. Kinship, ownership patterns, religion, work group organizations, clothing and material culture, age, gender (unusual for her time), and social interaction were the sequential subject matters of her chapters. Yet, as she reveals, she had come there to study and take part in the dances. According to Naima, (2001) Accompong was and is one of the maroon villages in the Blue Mountains of Jamaica, having been established by run-a-away slaves from the Spanish as early as 1650 and later the English rulers in the 1690s of these maroons the Coromantees, an Akan g roup from the West African Gold Coast made up the largest ethnic group. They fought many battles with the British and were finally given their independence by England in a treaty signed in 1738. Thus, as a nation within a nation, the maroons of the cockpit region of the Blue Mountains had sufficiently maintained their ways of life for two centuries by the time that Katherine Dunham had arrived to study their dances and ways of life. Enslavement and colonialism had taken its toll even among those so long separated from European influence. But Dunham was determined to unearth a vital expressive part of their successful victory and independence against the British. She would soon discover this same phenomenon among the petwo dances among the Vodou practitioners in Haiti against their French captors. Through her intense engagement of the participatory insider role with the dancing maroons, she gained historical insights that were embedded within the dancing act itself: According to Richard and Joe, (2008) The war dances are danced by men and women. Their songs are in lusty Koromantee, and from somewhere a woman has procured a rattle and shakes this in accompaniment to Ba Weeyums. Some of the men wave sticks in the air, and the women tear off their handkerchiefs and wave them on high as they dance. According to Patrick, (2006) few of these turns, and we are separated in a melee of leaping, shouting warriors; a moment later we are bush fighting, crouching down and advancing in line to attack an imaginary enemy with many feints, swerves and much pantomime. At one stage of the dance Miss May and I are face to face, she no longer is a duppy, but a maroon woman of old days, working the men up to a pitch where they will descend into the cockpit and exterminate one of his majestys red-coated platoons. Afro -Jamaican dances, such as the Coromantee war dance, represent in a direct way the concept of dance itself as having rhetorical voice. As Judith Hamera explains, performance, including dance, is enmeshed in language, in reading, writing, rhetoric, and in voice. Dunham implicitly understood the movement rhetoric of the Coromantee dance and the relationship between its performance and the writing of her ethnographic experience in Jamaica. According to Richard and Joe, (2008) Dunhams willingness to engage the maroon dances on the cultures own terms, treating dance as another social system, allowed her a unique view into the role of the nearly forgotten Koromantee dance as a part of the maroons hard won battle for independence from the British. According to Joyce, (2002) this is a prime example of dances unique rhetorical voice-what dance anthropologist Yvonne Daniel calls embodied knowledge: Community members are in an open classroom with dance and music behavior. These sorts of knowledges are on display as community instruction for social cohesion and cosmic balance, Participants learn from observation, witnessing, modeling and active participation. According to Ira and Faye, (2009) Dunhams implicit understanding of this embodied knowledge established her philosophical foundation that would serve her use of dance and the body, according to Clark, as a repository of memory. Moreover, she trusted her choreographic acumen to represent her understanding of her research, which in the Jamaican case, had been unearthed and cajoled from the continuing, yet reluctant, milieux de mà ©moire lingering in Accompong. According to Richard and Joe, (2008) in her active participation, Dunham was, thus, one of the first to demonstrate the continuity of specific West African dances that served enslaved Africans with similar purposes in the colonial New World. It is significant that this discovery was cognized in the act of dancing, through corporeal immersion in the communal dances of the people. We realize from todays contemporary scholarship the importance of Dunhams early trans-Atlantic performance connections. According to Joyce, (2002) Africanist anthropologist Margaret Drewal revealed in the 1990s that African-based performance. Primary site for the production of knowledge, where philosophy is enacted, and where multiple and often simultaneous discourses are employed. As I have said elsewhere, dance, for African peoples, whether on the continent or in the diaspora, is a means of enacting immediate social context, history, and indeed philosophical worldview. Dunham understood these multiple strat egies embedded within Africanist performance, such as in her treasured Koromantee war dance. Honouring Katherine Dunham as the progenitor of African American dance would be misleading and disrespect the legacy of other African Americans who contributed their own particular ways of knowing movement. According to Jane, (2007) it introduced Bannerman to Pearl Primus. Both Dunham and Primus were pioneering giants in the American dance pantheon with different ways of making dance. Since the programme was ultimately going to comment on the dance practices of African Americans, these two pioneers had to be discussed. According to Ruth, (2009) collecting life stories and reflections on movement and descriptions of individual interactions with works of Dunham and Primus would speak of the diversity that is American dance making than the celebration of any one artist. Dunhams Staged Caribbean Dances of the Black Atlantic Dunham perceived her form of dance-theater as intercultural communication. For example, when international audiences viewed her 1948 ballet Naningo, she was allowing non-Cubans to interact with one of the ritualized ways in which male Afro-Cubans had retained their cosmological secret rituals perpetuated from the Ejagham people of todays Cross-River area of Nigeria. According to Jessie, (2002) Naningo, as an all-male ballet was a fusion of balletic athleticism, Dunham technique (particularly rhythmic torso isolations and the use of the pelvis as the source for extending the legs), and a recontextualization of the movements of the Cuban male secret society called Abakua. Through program notes, the exuberant virtuosity of the dance, and the cryptic Abakua symbolic movements, she transported European audiences to secret enclaves in Cuba that only initiated Abakua members could have previously viewed. She also cast one of her Cuban dancers in the role of a traditional Abakua figure that drums upstage center throughout the entire ballet, as an authentic gaze watching over her appropriated fusion style. According to Barbara, (2000) as the curtain closes, after all the Dunham technique dancers have left, the ballet ends with that figure moving across the stage in enigmatic movement phrases representative of the symbolic language of the Abakua Cuban male society. Secret society rituals, restaged in a secular theatrical setting is not a substitute for being there, but it does transmit an underlying social strategy of male survivors of the Atlantic slave trade, as well as a vision of sacred danced symbolism in that survival strategy. According to Ruth, (2009) Dunham company performed Naningo for people internationally who had no idea that the Abakua society even existed. In the adept hands of knowledgeable researchers like Katherine Dunham, performance becomes another mode of bridging t he cultural gaps that make cross-cultural understanding such a difficult goal to reach. Conclusion In conclusion, life of the Dunham and career are miraculous, and although she was not alone, Dunham is perhaps the best known and most influential pioneer of black dance. She wanted to make a point that African-American and African-Caribbean styles are related and powerful components of dance in America. Performed imagined migration is underpinned by her specific artistic intent and projected audience reception. There are many ways to present dance on radio but a visual image is preferable if the discussion concerns elements of a form. The programme makers can then include descriptions of how the shaping of arms and legs display rhythm or portray expression and how contours of the torso fulfill the dancers intended personification. Radio though is an excellent tool to stir the minds eye especially if the words relate life stories and movement experiences in a descriptive way. Bannerman contacted me to research and be the presenter for the 45-minute programme You Dance Because You Hav e To aired on 21 September 2003. Interested in emerging American dance forms producer, Richard Bannerman submitted a proposal to BBC Radio 3 to make a documentary on Katherine Dunham. Bannerman knew Radio 3 wanted to explore new territories in dance and Katherine Dunhams story was relatively unknown in Britain. Bannerman also found the repertory of The Alvin Ailey Dance Company inspiring and speculated that Katherine Dunhams life would be a good starting point to discuss in a general way, the dance practices of African Americans. In our preliminary meeting it became clear to me that our programme had to respect the diversity of African American practices.

Comparing A London fete and Composed Upon Westminster Bridge Essay

Comparing A London fete and Composed Upon Westminster Bridge A London fete and composed upon Westminster Bridge. I am going to be comparing two poems in this essay the first poem is London fete which was written by a man called Coventry Patmore this poem is about a hanging that took place and about the effect it had on other people who watched. The second poem is composed upon Westminster bridge by William words worth which is about a man who is standing on a bridge describing the view he sees and how he feels looking at this view. The theme to composed upon Westminster Bridge is firstly about nature and beauty and peace. It describes his view of London to be beautiful and how he feels so calm and relaxed from looking at the view. It’s not an angry poem it’s sensuous. A London fete is about violence and death. It has an unhappy theme as it is about a man getting hanged and how viewers are enjoying and getting adrenalin from watching this .the theme is really death and the poem is full of violence. It isn’t relaxing at all as it is a negative mood. The mood in this poem is negative and dull; it shows sad and violent images which puts the mood in this poem bad. For example the poem says â€Å"thousands of eyeballs, lit with hell† which creates a bad mood as it saying people are watching and waiting with evil eyes which isn’t a calm atmosphere. In Westminster Bridge the poem creates a happy positive mood as it contains relaxing words such as â€Å"all bright and glittering in the smoke less air† which creates calm and reflects his love for nature. The mood f these two poems contrast as a London fete is a negative mood and composed upon Westminster Bridge is a positive mood. The setting to these two poets ... ...gings. He objects to the event and the effect on those who watch. It seems to be that he’s trying to show the cruelty to hangings but not just to the person who was killed. For example â€Å"two children caught and hanged a cat† which shows that he’s watching someone being killed has made animals victims too. This is a good technique because it makes people emphasise the animal cruelty and disagree with hangings. In composed upon Westminster Bridge, by the way the poet uses calm and peaceful words it makes you feel relaxed and in a cheerful mood. The poet seems to want us to be more grateful to god as the poem says â€Å"dear god the very houses seem asleep† and it seems he’s being thankful and wants readers to be too. Both these poems are good poems because they involve feelings and thoughts and I think that the poets put a lot of thought into writing them.