Short Essay #2 – Rethinking ModernismAt a time when musicol.docx
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Short Essay #2 – Rethinking Modernism “At a time when musicology’s sights seem set ever more squarely on eradicating boundaries…the study of modernism can seem a rather antiquated concern. Modernism is arguably all about boundaries, in the heightened sense that it is itself a contested category, whose only red thread seems to have been an investment in distinction and hierarchy.” from Christopher Chowrimootoo, “Reviving the Middlebrow, or: Deconstructing Modernism from the Inside,” in Journal of the Royal Musical Association , vol. 139, no. 1 (2014), p. 188. What does it mean for music to be “modern”? And why should we care? For the last few decades, musicologists have thought about these questions, finding that modernist composers often defined themselves by differentiating their work both from traditional forms of expression and from mass popular culture. Although this so-called “great divide” between art and popular music, between traditional and progressive ideas is prevalent in many primary sources, it need not be the only way we think about the last 150 years of music history. Please read Christopher Chowrimootoo’s “Reviving the Middlebrow” (pp. 187-193 in the “Modernism and its Others” PDF. Chowrimootoo claims that we should begin to rethink this history of modern music by paying more attention to “middlebrow” music: repertories that fall somewhere in between modernism’s divides. Write a brief essay in which you try this approach: consider music that does not align neatly with clear categorizations and hierarchies, and reflect on how understanding this music might impact our understanding of music history. Your essay should address the following points: How do you understand the “great divide” discussed on p. 188? How has it affected our discussions of music history, and of music more generally? Please expand on Chowrimootoo’s short discussion by briefly citing examples of composers or pieces from different sides of the divide (at least one from each side). What does Chowrimootoo mean by “middlebrow” (introduced on p. 190)? What, specifically, does paying more attention to middlebrow music do to help our understanding of music history more generally? Select a piece (from the syllabus or elsewhere), and consider it from the “middlebrow” perspective. How does it fit between tradition and innovation? Between “high” art and popular culture? Be specific, and be sure to consider both its musical features and its historical context. Do you think music history ought to focus more on these “middlebrow” pieces? How should they be balanced with our understanding of a more divided view of modernism? .
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Music and the New CosmopolitanismProblems and Possibilities.docx
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American.
Music and the New CosmopolitanismProblems and Possibilities.docx
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American ...
Music Education Research. Vol. I, No. 1, I999 9Musicking‐t.docx
Music Education Research. Vol. I, No. 1, I999 9
Musicking‐the meanings of performing and
listening. A lecture
CHRISTOPHER SMALL, Calle Rafael Uopart 45. l" 2“, 08870 Sitges, Barcelona,
Spain
(e-mail: [[email protected])
ABSTRACT The essence of music lies not in musical works but in taking part in
performance. in social action. Music is thus not so much a noun as a verb, ‘to music'.
'l'o music is to take part in any capacity in a musicalperfiirmance. and the meaning of
musicking lies in the relationships that are established between the participants by the
performance. Music/ting is part of that iconic, gestural process of giving and receiving
information about relationships which unites the living world, and it is in fact a ritual
by means of which the participants not only learn about. but directly experience. their
concepts of how they relate. and how they ought to relate, to other human beings and
to the rest of the world. These ideal relationships are often extremely complex. too
complex to be articulated in words. but they are articulated effortlessly by the musical
performance, enabling the participants to explore. affirm andcelebrate them. Musicking
is thus as central in importance to our humanness as is taking part in speech acts, and
all normally endowed human beings are born capable of taking part in it, not just of
understanding the gestures but of making their own.
I offer here some thoughts on some abiding issues concerning the nature of the musical
act and its function in human life. I have been thinking about this for the last few
years as l have been writing my third book, which bears the same title as this
paper‐Musicking: The Meanings of Performing and Listening. In doing so I make no
claim to speak ex cathedra or to tell anyone what they ought or ought not to be doing;
rather I want to offer such philosophical support asI can in these confused and worrying
times to those who are actually out there doing the work. to clarify as best I can the
reasons why I am certain that music is of central importance in human life and to be
defended stoutly, not only in the education of the young but as a lifelong practice.
For more years than I care to think about I have been worrying away at the question.
or rather, a pair of questions: “What is the nature of music?" and “What is the function
of music in human life?"‐‐in the life. that is, of every single member of the human
species? I have reached some tentative conclusions. I make no apology for throwing my
l4(il-3808/99/0l(XX)9-l3 ©l999 Christopher Small
10 C. Small
two cents' wonh into a pair of questions that seem to have defeated some of the best
minds in Western thought, at least since the time of Plato, since I feel I do have
something to contribute to the formulation of the questions and possibly even to the
quest for an answer.
In the search of that answer I have. over the years, read as widely as I could in the
philosophy, the aesthetics and history. and the sociolo ...
Culture Jonathan R. Wynn, University of Massac
Culture
Jonathan R. Wynn, University of Massachusetts
Amherst
Culture
Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S
A M H E R S T
WHAT IS CULTURE?
M aterial cu ltu re v s. sy m b olic cu ltu re
H igh cu ltu re v s. p op u lar cu ltu re
C u ltu re as v alu es vs. cu ltu re as a way of life
CULTURE IS A CYCLE
The rom antic im a ge of an a rtist
H ow is cu ltu re p rod u ced ?
C on su m in g c u ltu re
Su b cu ltu res
HOW CULTURE WORKS
H ow cu ltu re creates in eq u alities
H ow cu ltu re creates g rou p s an d b ou n d aries
THE CULTURE JAM
C u ltu re jam as a m ix
C u ltu re jam as a problem
C u ltu re jam as a solu tion
Culture
Page 3
INTRODUCTION
£ How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the color of the lights
through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you hang back? Do
you feel a connection with the strangers around you? With the band? What kind of music is it? Do the lyrics
reflect your experiences or do they transport you into another perspective? Where are you? A packed
underground club? A stadium? Or a library cubicle, listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with organizational and
technological changes that shape how music is made and experienced. Music is just one kind of culture,
shaping our views of the world, connecting people near and far.
What kind of music is this crowd listening to? (Source)
We humans produce far more than what we need for mere survival. Our intellect allows for
expansive creativity, self-reflection, and communication. We transform our living environment. We share
Culture
Page 4
ideas and values. Culture, broadly, is everything we make and consume—including our ideas, attitudes,
traditions, and practices—beyond that bare necessity. Music may very well be one of the earliest forms of
culture humanity produced.
“Culture” is one of the most difficult words for a sociologist to use. Sociological research on culture
varies, but most work is committed to the idea that the symbolic and expressive aspects to social life—the
beliefs and values we hold, as well as the practices and activities we engage in—are worth examination.
Thinking in this way, burritos and Beyoncé, athleisure and college athletics, juggalos and graffiti all uncover
great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates how we can
begin to think about culture from a sociological perspective. Émile Durkheim allows us to think about how
much of social life works via culture: he notes that symbols (material or immaterial objects that groups affix
meaning to), deployed thr ...
MIDTERM LESSON 2 (POPULAR CULTURE AND CULTURE INDUSTRY).pptx
This document discusses definitions of popular culture and the culture industry. It provides six definitions of popular culture: 1) culture that is popular based on popularity metrics, 2) culture that is not considered "high culture", 3) culture that is mass-produced and consumed, 4) culture of the working class or "folk culture", 5) culture that involves struggles between social classes, and 6) postmodern culture that critiques distinctions between high and low art. The document examines how The Simpsons television show provides an example of a postmodern popular culture text that critiques everyday life.
MIDTERM LESSON 2 (POPULAR CULTURE AND CULTURE INDUSTRY).pptx
This document discusses definitions of popular culture and its relationship to culture and art. It provides six definitions of popular culture: (1) culture that is popular or liked by many, (2) culture that is not considered "high culture", (3) culture that is mass-produced and consumed, (4) culture of the common people, (5) culture that involves struggles between social classes, and (6) culture that is postmodern and critiques distinctions between high and low art. The document examines how popular culture can be analyzed and critiqued through the example of the TV show The Simpsons.
Features and Examples of Post Modernism
Post-modern society is characterized by:
1. The breakdown of distinctions between culture and society, high and low art, and media and reality. Popular culture now shapes society and there is no originality or authorship.
2. An emphasis on style over substance where visual impact is more important than meaning.
3. The decline of universal narratives like religion or science in favor of individual beliefs due to fragmented and confused notions of time and space in a globalized world where boundaries have broken down.
Adorno’s theory of pop culture
Theodor Adorno was a German sociologist and philosopher known for his critical theory of society, particularly the divide between popular culture and true art. Adorno proposed a triangle structure to illustrate how the music industry operates for different social classes. At the top are the bourgeoisie or ruling class who appreciate true art like classical music. The masses at the bottom consume popular culture as they are seen as unable to understand true art. Popular culture aims to manipulate the masses into passivity through standardized productions. Between the classes are pop stars who present "dumbed down" ideologies to the masses and maintain the status quo, acting as puppets for the bourgeoisie.
Recommended
Music and the New CosmopolitanismProblems and Possibilities.docx
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American.
Music and the New CosmopolitanismProblems and Possibilities.docx
Music and the New Cosmopolitanism:
Problems and Possibilities
Sarah Collins and Dana Gooley
“German composer.” “Russian composer.” “French composer.” “American
composer of Italian birth.” “Austrian composer, son of Leopold Mozart.”
These are the first sentences of the articles on Beethoven, Tchaikovsky,
Josquin Des Prez, Menotti, and W. A. Mozart from the New Grove
Dictionary, the central resource of music history research. Though the
sentences sound neutral and descriptive, they represent a particular way of
thinking about the identities of musicians, one we often take for granted:
that the nation to which a musician belongs is a “primary” fact, on par
with birth and death dates. Nations are part of the mental maps that ori-
ent us and help determine where a composer is “coming from” or where a
composer stands in the scheme of music history. Even before Mozart is the
son of Leopold, Grove tells us, he is the offspring of Austria. National tags
emplace musicians not only territorially, but also culturally. To call a mu-
sician “French” is not just to mark a place of birth but also to imply his or
her imbrication with the communal, institutional, and aesthetic affiliations
of the French nation. For reasons both pragmatic and ideological, the
communities of scholarship that shape, interrogate, and revise music–his-
torical narratives have found national frameworks difficult to avoid or
resist.
But national frames, however enabling for certain purposes, can also
be limiting, since the nation is only one among many possible entities or
communities to which music can establish a sense of belonging. Musicians
have often learned their art, acquired status, and reached audiences
through displacements and dislocations that take them beyond national
boundaries. An exceptionally strong talent or a hunger for education
might motivate them to undertake an international tour or seek out a par-
ticular music teacher in a faraway place. “In every time and place for
which a history can be written,” writes Celia Applegate, “one could
probably—in cases definitely—find musicians on the move.”1 Sometimes
these displacements are simply a matter of opportunity. In the fifteenth and
sixteenth centuries, patronage and diplomacy brought Franco-Flemish
doi:10.1093/musqtl/gdx006 99:139–165
The Musical Quarterly
VC The Author 2017. Published by Oxford University Press. All rights reserved. For Permissions,
please e-mail: [email protected]
Deleted Text: -
polyphonists to Italy. In the mid-eighteenth century, Italian troupes traveled
to Paris and had a major impact on the city’s theatrical and intellectual life.
In the first half of the nineteenth century Russia attracted composers and
virtuosos from England, France, Germany, and Italy, many of whom received
patronage allowing them to stay there long-term.
Beyond these territorial movements, music can also displace musi-
cians stylistically and aesthetically. Aaron Copland arrived at his distinc-
tively “American ...
Music Education Research. Vol. I, No. 1, I999 9Musicking‐t.docx
Music Education Research. Vol. I, No. 1, I999 9
Musicking‐the meanings of performing and
listening. A lecture
CHRISTOPHER SMALL, Calle Rafael Uopart 45. l" 2“, 08870 Sitges, Barcelona,
Spain
(e-mail: [[email protected])
ABSTRACT The essence of music lies not in musical works but in taking part in
performance. in social action. Music is thus not so much a noun as a verb, ‘to music'.
'l'o music is to take part in any capacity in a musicalperfiirmance. and the meaning of
musicking lies in the relationships that are established between the participants by the
performance. Music/ting is part of that iconic, gestural process of giving and receiving
information about relationships which unites the living world, and it is in fact a ritual
by means of which the participants not only learn about. but directly experience. their
concepts of how they relate. and how they ought to relate, to other human beings and
to the rest of the world. These ideal relationships are often extremely complex. too
complex to be articulated in words. but they are articulated effortlessly by the musical
performance, enabling the participants to explore. affirm andcelebrate them. Musicking
is thus as central in importance to our humanness as is taking part in speech acts, and
all normally endowed human beings are born capable of taking part in it, not just of
understanding the gestures but of making their own.
I offer here some thoughts on some abiding issues concerning the nature of the musical
act and its function in human life. I have been thinking about this for the last few
years as l have been writing my third book, which bears the same title as this
paper‐Musicking: The Meanings of Performing and Listening. In doing so I make no
claim to speak ex cathedra or to tell anyone what they ought or ought not to be doing;
rather I want to offer such philosophical support asI can in these confused and worrying
times to those who are actually out there doing the work. to clarify as best I can the
reasons why I am certain that music is of central importance in human life and to be
defended stoutly, not only in the education of the young but as a lifelong practice.
For more years than I care to think about I have been worrying away at the question.
or rather, a pair of questions: “What is the nature of music?" and “What is the function
of music in human life?"‐‐in the life. that is, of every single member of the human
species? I have reached some tentative conclusions. I make no apology for throwing my
l4(il-3808/99/0l(XX)9-l3 ©l999 Christopher Small
10 C. Small
two cents' wonh into a pair of questions that seem to have defeated some of the best
minds in Western thought, at least since the time of Plato, since I feel I do have
something to contribute to the formulation of the questions and possibly even to the
quest for an answer.
In the search of that answer I have. over the years, read as widely as I could in the
philosophy, the aesthetics and history. and the sociolo ...
Culture Jonathan R. Wynn, University of Massac
Culture
Jonathan R. Wynn, University of Massachusetts
Amherst
Culture
Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S
A M H E R S T
WHAT IS CULTURE?
M aterial cu ltu re v s. sy m b olic cu ltu re
H igh cu ltu re v s. p op u lar cu ltu re
C u ltu re as v alu es vs. cu ltu re as a way of life
CULTURE IS A CYCLE
The rom antic im a ge of an a rtist
H ow is cu ltu re p rod u ced ?
C on su m in g c u ltu re
Su b cu ltu res
HOW CULTURE WORKS
H ow cu ltu re creates in eq u alities
H ow cu ltu re creates g rou p s an d b ou n d aries
THE CULTURE JAM
C u ltu re jam as a m ix
C u ltu re jam as a problem
C u ltu re jam as a solu tion
Culture
Page 3
INTRODUCTION
£ How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the color of the lights
through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you hang back? Do
you feel a connection with the strangers around you? With the band? What kind of music is it? Do the lyrics
reflect your experiences or do they transport you into another perspective? Where are you? A packed
underground club? A stadium? Or a library cubicle, listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with organizational and
technological changes that shape how music is made and experienced. Music is just one kind of culture,
shaping our views of the world, connecting people near and far.
What kind of music is this crowd listening to? (Source)
We humans produce far more than what we need for mere survival. Our intellect allows for
expansive creativity, self-reflection, and communication. We transform our living environment. We share
Culture
Page 4
ideas and values. Culture, broadly, is everything we make and consume—including our ideas, attitudes,
traditions, and practices—beyond that bare necessity. Music may very well be one of the earliest forms of
culture humanity produced.
“Culture” is one of the most difficult words for a sociologist to use. Sociological research on culture
varies, but most work is committed to the idea that the symbolic and expressive aspects to social life—the
beliefs and values we hold, as well as the practices and activities we engage in—are worth examination.
Thinking in this way, burritos and Beyoncé, athleisure and college athletics, juggalos and graffiti all uncover
great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates how we can
begin to think about culture from a sociological perspective. Émile Durkheim allows us to think about how
much of social life works via culture: he notes that symbols (material or immaterial objects that groups affix
meaning to), deployed thr ...
MIDTERM LESSON 2 (POPULAR CULTURE AND CULTURE INDUSTRY).pptx
This document discusses definitions of popular culture and the culture industry. It provides six definitions of popular culture: 1) culture that is popular based on popularity metrics, 2) culture that is not considered "high culture", 3) culture that is mass-produced and consumed, 4) culture of the working class or "folk culture", 5) culture that involves struggles between social classes, and 6) postmodern culture that critiques distinctions between high and low art. The document examines how The Simpsons television show provides an example of a postmodern popular culture text that critiques everyday life.
MIDTERM LESSON 2 (POPULAR CULTURE AND CULTURE INDUSTRY).pptx
This document discusses definitions of popular culture and its relationship to culture and art. It provides six definitions of popular culture: (1) culture that is popular or liked by many, (2) culture that is not considered "high culture", (3) culture that is mass-produced and consumed, (4) culture of the common people, (5) culture that involves struggles between social classes, and (6) culture that is postmodern and critiques distinctions between high and low art. The document examines how popular culture can be analyzed and critiqued through the example of the TV show The Simpsons.
Features and Examples of Post Modernism
Post-modern society is characterized by:
1. The breakdown of distinctions between culture and society, high and low art, and media and reality. Popular culture now shapes society and there is no originality or authorship.
2. An emphasis on style over substance where visual impact is more important than meaning.
3. The decline of universal narratives like religion or science in favor of individual beliefs due to fragmented and confused notions of time and space in a globalized world where boundaries have broken down.
Adorno’s theory of pop culture
Theodor Adorno was a German sociologist and philosopher known for his critical theory of society, particularly the divide between popular culture and true art. Adorno proposed a triangle structure to illustrate how the music industry operates for different social classes. At the top are the bourgeoisie or ruling class who appreciate true art like classical music. The masses at the bottom consume popular culture as they are seen as unable to understand true art. Popular culture aims to manipulate the masses into passivity through standardized productions. Between the classes are pop stars who present "dumbed down" ideologies to the masses and maintain the status quo, acting as puppets for the bourgeoisie.
Music Censorship Essays. Reedley College
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folk music essay
This document discusses the challenges of managing folk music in an increasingly globalized context. It addresses issues like defining folk music, reconciling folk music traditions with modern intellectual property laws, and managing folk music institutions in England under pressures of commercialism and cultural diversity. The document examines scholarly definitions of folk music, how global copyright standards are inappropriate for folk traditions that rely on communal ownership and public domains of material, and the difficulties institutions face in England in preserving traditions no longer supported in their natural environments.
Department of History, National University of SingaporeCon
This document summarizes Pamela Moro's article comparing how elite music was classicized or canonized as part of constructing national culture in India, Indonesia, and Thailand. Some key points of classicization included the rise of mass education and new forms of musical transmission, institutionalizing music theory and scholarship, influences from Western concepts of "classical" music, and transformations in the roles of musicians, patrons, and audiences. A growing middle class played a significant role in mediating classical music's place within the nation in all three countries.
Postmodernism in english_literature
This document provides an overview of postmodernism in English literature. It begins by discussing how postmodernism emerged in the mid-1980s as an area of academic study and is difficult to define as it appears across many disciplines. It then compares postmodernism to modernism, noting they both reject boundaries between high and low art forms and emphasize fragmentation. However, postmodernism differs in that it celebrates rather than laments fragmentation. The document also discusses key characteristics of postmodern literature and how it represents a break from 19th century realism similar to modernism but with a greater emphasis on parody and questioning distinctions between genres.
CULT3120 Presentation - Online Group A
The document discusses various theories about the meaning and definition of popular music. It addresses views from scholars like Andy Bennet, Simon Frith, Tia DeNora, and George Lewis. Bennet proposes that meaning in music comes from melodies and rhythms as well as how audiences receive and interpret it. Frith analyzed the music industry and authenticity. DeNora saw music as a tool people use to regulate emotions. Lewis believed cultural and environmental influences shape musical tastes. The document also discusses how cultural influences, emotions, class, and festivals relate to popular music.
find an online recording of three primary forms of modern music fol.docx
find an online recording of three primary forms of modern music: folk music, popular music and art music (which represents "high culture" in this course). While each of these differs in terms of form, audience, and technology used for recording and transmission, all three have a fundamental role in modern American culture.
Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
required to accomplish the following
:
Go on the Web and
find examples
of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
three 75-word explanations as to why you feel they fit the forms mentioned
. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the
CSU-Chico library’s Databases A-Z
).
Art Music
“The story of American art music chronicles the rise of the composer in the United States. At no time have such composers controlled or dominated American concert life, however. Their historical role has been to take Old World practices as a starting point and to complement repertories that are chiefly European with works of their own. Although some 20th-century American composers have opened up fresh artistic territory, art music in America, even into the later years of the 20th century, has continued to revolve around the performance of European classics.”
Folk Music
“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
Popular Music
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular mus.
Post modern popular culture.
This document contains information about an individual named Gohil Binkalba including their name, semester, roll number, email, and year. It then discusses several topics relating to culture and postmodernism including definitions of culture, postmodern theory, postmodern literature, postmodern art, and different approaches to analyzing popular culture through production analysis, textual analysis, historian analysis, and audience analysis. It also includes a link to a website about an introduction to postmodernism.
The Impact Of Postmodernism
This document discusses postmodernism and how it reacted against modernism. Postmodernism questions scientific theories and allows for more subjectivity compared to modernism. It emphasizes inclusion, freedom, and cooperation in society. Postmodernism lacks a clear doctrine but is evident in the distinction between eras from the 1860s to 1950s and from the 1950s to present day. It advocates for inclusivity and democracy by recognizing unjust perspectives.
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The Complete Definition of the Music
The document discusses the definition and history of music. It provides a broad definition of music as organized sound and discusses how music involves elements such as pitch, rhythm, and timbre. It also briefly outlines the history of music and how it has evolved across different cultures over time.
Music ♪
Music is an art form that uses sound as its medium. Common elements of music include pitch, rhythm, dynamics, timbre, and texture. The definition and significance of music varies by culture and context, ranging from organized compositions to improvisational forms that can be classified as genres. While music involves order and harmony, some philosophers believe any sound could be considered music.
Culture Jonathan R. Wynn, University of Ma
Culture
Jonathan R. Wynn, University of
Massachusetts Amherst
Culture (Fall 2021)
Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S A M H E R S T
WHAT IS CULTURE?
Material culture vs. symbolic culture
High culture vs. popular culture
Culture as values vs. culture as a way of life
CULTURE IS A CYCLE
The romantic image of an artist
How is culture produced?
Consuming culture
Subcultures
HOW CULTURE WORKS
How culture creates inequalities
How culture creates groups and boundaries
THE CULTURE JAM
Culture jam as a mix
Culture jam as a problem
Culture jam as a solution
Culture (Fall 2021)
Page 3
INTRODUCTION
How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the
color of the lights through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you
hang back? Do you feel a connection with the surrounding strangers? With the band? What
kind of music is it? Do the lyrics reflect your experiences or do they transport you into another
perspective? Where are you? A packed underground club? A stadium? Or a library cubicle,
listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with
organizational and technological changes that shape how music is made and experienced.
Music is just one kind of culture, shaping our views of the world, connecting people near and
far.
What kind of music is this crowd listening to? (Source)
https://pixabay.com/en/audience-band-celebration-concert-1867754
Culture (Fall 2021)
Page 4
We humans produce far more than what we need for mere survival. Our intellect allows
for expansive creativity, self-reflection, and communication. We transform our living
environment. We share ideas and values. Culture, broadly, is everything we make and
consume—including our ideas, attitudes, traditions, and practices—beyond that bare
necessity. Music may very well be one of the earliest forms of culture humanity produced.
“Culture” is one of the most difficult words for a sociologist to use. Sociological research
on culture varies, but most sociologists are committed to the idea that the symbolic and
expressive aspects to social life—the beliefs and values we hold, as well as the practices and
activities we engage in—are worth examination. Thinking in this way, burritos and Beyoncé,
athleisure and college athletics, juggalos (fans of the band Insane Clown Posse) and graffiti all
uncover great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates
how we can think about culture from a sociological perspective. Émile Durkheim allows us to
think about how much of social life works via culture: he notes that symbols (material or
...
Essay About Music. Hondros College of Nursing
Writing an essay about music poses unique challenges due to the vastness and diversity of the topic. The essay must balance breadth with depth by selecting a specific focus within music's expansive landscape of genres, histories, cultures, and interpretations. It also requires acknowledging both the universality and deeply personal nature of musical experiences. Additionally, the essay must thoughtfully explore musical elements within their complex historical and cultural contexts. However, despite these difficulties, writing about music provides an opportunity to connect with readers through evoking emotion and stimulating intellectual curiosity about the art form.
A Nonrepresentationalist Argument For Music
This document summarizes and critiques a paper arguing that music exemplifies nonrepresentational experience without objective meaning. It makes the following key points:
1) The paper rejects the notion that music has an exclusively musical meaning, instead arguing that music's lack of objective meaning is simply a lack of objective meaning.
2) It proposes that music is a self-directed practice contingent on engaging with sound for its own sake, subverting objective significance. This allows for consciousness of sound itself.
3) Research in music psychology provides empirical support, accounting for music experience with nonrepresentational psychological structures lacking extrinsic content.
4) In conclusion, music can exemplify nonrepresentational experience without a representational
Final Senior Project
This document is a research proposal for a senior project that will examine the concepts of authenticity and hybridity in world music. The author proposes to write a 25+ page research paper utilizing peer-reviewed sources to cover background information on the origins of world music as a genre and perspectives from scholars, industry personnel, and musicians. The author hypothesizes that some degree of hybridity is always present in world music and that perceptions of authenticity influence how different levels of hybridity are received. The proposal provides an annotated bibliography summarizing several academic sources that will inform the author's analysis of these key concepts in world music.
Answer the following essay What most people consider.docx
Politics played a significant role in the development of music during the Renaissance, Baroque, Classical, and Romantic periods. Religious influences from the Catholic church dominated Renaissance music, while Baroque music saw the rise of absolute monarchs who used music to demonstrate their power. During the Classical era, music became more secular as philosophers championed reason and individualism. Romantic music reflected the rise of nationalism and focus on emotion during a period of revolution and war.
Expository Essay About Music.pdf
The document discusses the challenges of writing an expository essay about music. It notes that music is a vast topic that encompasses many genres, eras, cultures, and emotions. This requires carefully selecting a specific aspect of music to focus on within the constraints of an essay. Researching musical theory, histories, and influential musicians is also integral but must be woven seamlessly into the narrative. Additionally, articulating profound emotional connections to music poses complexity, requiring balance between description and analysis. Proper structure and smooth transitions between ideas are crucial to ensure coherence. Despite the challenges, exploring music through essay writing can offer profound insights and be an opportunity for personal expression.
Explanation of postmodernism updated 1 3
This explanation has been prepared for OCR's A2 Media course. It will be used as part of the critical perspectives unit.
Jane knight test
This document discusses the terms modernism and postmodernism. It begins by noting that postmodernism is a difficult term to define as it appears across many disciplines and time periods. It then explains that postmodernism emerged from modernism. Modernism rejected Victorian artistic standards and emphasized subjectivity, fragmented forms, and self-consciousness. Postmodernism similarly rejects boundaries and embraces fragmentation, but does not see fragmentation as tragic like modernism. It also celebrates nonsense rather than trying to find meaning through art. The document later discusses how modernism and postmodernism relate to different phases of capitalism.
1 study of popular music 2014(2)
Popular music can be studied academically by defining it, examining why it should be studied as part of higher education, and analyzing its history, production, consumption, and social impact. Key areas of focus include the development of the popular music industry; critiques of mass culture theory which viewed audiences as passive; and sociological analyses of genres like rock music and how they relate to youth culture. Academic study has grown since the 1970s and now includes departments, centers, and methods for analyzing popular music's musical and extramusical elements.
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About Music Censorship - Free Essay Example - 482 Words | StudyDriver.com. Essays about music censorship essays. Cause effect essay music censorship. Music Censorship by diane kampf | Teachers Pay Teachers. Censorship of rap music essays. Fight For Your Right: The Battle Over Music Censorship. Essay Discussing About Music Censorship | LN2242 - Morals and Ethics in .... Music Censorship Research Proposal Example | Topics and Well Written .... Censoring music essays influence. 004 Music Essays Narrative Essay Writing Thesis Word College Musical .... The Impact of Censorship on Popular Music | Censorship | Mass Media .... 002 Essay On Music Example College Describe Your Favorite Place Get .... 025 Essay Writing Music Img 1529 Jpg ~ Thatsnotus. Music Censorship Essay. Cause And Effect: Music Censorship Essay Example - PHDessay.com. Censorship rap music essays. Persuasive essay about music censorship - proofreadingxml.web.fc2.com. Music Censorship Research Paper Example | Topics and Well Written .... ⇉Music Censorship in America Essay Example | GraduateWay. Censorship essay
folk music essay
This document discusses the challenges of managing folk music in an increasingly globalized context. It addresses issues like defining folk music, reconciling folk music traditions with modern intellectual property laws, and managing folk music institutions in England under pressures of commercialism and cultural diversity. The document examines scholarly definitions of folk music, how global copyright standards are inappropriate for folk traditions that rely on communal ownership and public domains of material, and the difficulties institutions face in England in preserving traditions no longer supported in their natural environments.
Department of History, National University of SingaporeCon
This document summarizes Pamela Moro's article comparing how elite music was classicized or canonized as part of constructing national culture in India, Indonesia, and Thailand. Some key points of classicization included the rise of mass education and new forms of musical transmission, institutionalizing music theory and scholarship, influences from Western concepts of "classical" music, and transformations in the roles of musicians, patrons, and audiences. A growing middle class played a significant role in mediating classical music's place within the nation in all three countries.
Postmodernism in english_literature
This document provides an overview of postmodernism in English literature. It begins by discussing how postmodernism emerged in the mid-1980s as an area of academic study and is difficult to define as it appears across many disciplines. It then compares postmodernism to modernism, noting they both reject boundaries between high and low art forms and emphasize fragmentation. However, postmodernism differs in that it celebrates rather than laments fragmentation. The document also discusses key characteristics of postmodern literature and how it represents a break from 19th century realism similar to modernism but with a greater emphasis on parody and questioning distinctions between genres.
CULT3120 Presentation - Online Group A
The document discusses various theories about the meaning and definition of popular music. It addresses views from scholars like Andy Bennet, Simon Frith, Tia DeNora, and George Lewis. Bennet proposes that meaning in music comes from melodies and rhythms as well as how audiences receive and interpret it. Frith analyzed the music industry and authenticity. DeNora saw music as a tool people use to regulate emotions. Lewis believed cultural and environmental influences shape musical tastes. The document also discusses how cultural influences, emotions, class, and festivals relate to popular music.
find an online recording of three primary forms of modern music fol.docx
find an online recording of three primary forms of modern music: folk music, popular music and art music (which represents "high culture" in this course). While each of these differs in terms of form, audience, and technology used for recording and transmission, all three have a fundamental role in modern American culture.
Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are
required to accomplish the following
:
Go on the Web and
find examples
of folk music, art (classical) music and popular music.
Your post should contain hyperlinks to your examples and
three 75-word explanations as to why you feel they fit the forms mentioned
. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the
CSU-Chico library’s Databases A-Z
).
Art Music
“The story of American art music chronicles the rise of the composer in the United States. At no time have such composers controlled or dominated American concert life, however. Their historical role has been to take Old World practices as a starting point and to complement repertories that are chiefly European with works of their own. Although some 20th-century American composers have opened up fresh artistic territory, art music in America, even into the later years of the 20th century, has continued to revolve around the performance of European classics.”
Folk Music
“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
Popular Music
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular mus.
Post modern popular culture.
This document contains information about an individual named Gohil Binkalba including their name, semester, roll number, email, and year. It then discusses several topics relating to culture and postmodernism including definitions of culture, postmodern theory, postmodern literature, postmodern art, and different approaches to analyzing popular culture through production analysis, textual analysis, historian analysis, and audience analysis. It also includes a link to a website about an introduction to postmodernism.
The Impact Of Postmodernism
This document discusses postmodernism and how it reacted against modernism. Postmodernism questions scientific theories and allows for more subjectivity compared to modernism. It emphasizes inclusion, freedom, and cooperation in society. Postmodernism lacks a clear doctrine but is evident in the distinction between eras from the 1860s to 1950s and from the 1950s to present day. It advocates for inclusivity and democracy by recognizing unjust perspectives.
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The Complete Definition of the Music
The document discusses the definition and history of music. It provides a broad definition of music as organized sound and discusses how music involves elements such as pitch, rhythm, and timbre. It also briefly outlines the history of music and how it has evolved across different cultures over time.
Music ♪
Music is an art form that uses sound as its medium. Common elements of music include pitch, rhythm, dynamics, timbre, and texture. The definition and significance of music varies by culture and context, ranging from organized compositions to improvisational forms that can be classified as genres. While music involves order and harmony, some philosophers believe any sound could be considered music.
Culture Jonathan R. Wynn, University of Ma
Culture
Jonathan R. Wynn, University of
Massachusetts Amherst
Culture (Fall 2021)
Page 2
Culture
J O N A T H A N R . W Y N N , U N I V E R S I T Y O F M A S S A C H U S E T T S A M H E R S T
WHAT IS CULTURE?
Material culture vs. symbolic culture
High culture vs. popular culture
Culture as values vs. culture as a way of life
CULTURE IS A CYCLE
The romantic image of an artist
How is culture produced?
Consuming culture
Subcultures
HOW CULTURE WORKS
How culture creates inequalities
How culture creates groups and boundaries
THE CULTURE JAM
Culture jam as a mix
Culture jam as a problem
Culture jam as a solution
Culture (Fall 2021)
Page 3
INTRODUCTION
How does music help us understand the complexity of culture?
You close your eyes and feel the music. Your head bobs up and down. You see the
color of the lights through your eyelids.
Are you close to the stage, with bodies and sweat pressed to your shoulders, or do you
hang back? Do you feel a connection with the surrounding strangers? With the band? What
kind of music is it? Do the lyrics reflect your experiences or do they transport you into another
perspective? Where are you? A packed underground club? A stadium? Or a library cubicle,
listening on Beats headphones?
Music is a powerful force in our lives. It is also a multibillion-dollar industry, with
organizational and technological changes that shape how music is made and experienced.
Music is just one kind of culture, shaping our views of the world, connecting people near and
far.
What kind of music is this crowd listening to? (Source)
https://pixabay.com/en/audience-band-celebration-concert-1867754
Culture (Fall 2021)
Page 4
We humans produce far more than what we need for mere survival. Our intellect allows
for expansive creativity, self-reflection, and communication. We transform our living
environment. We share ideas and values. Culture, broadly, is everything we make and
consume—including our ideas, attitudes, traditions, and practices—beyond that bare
necessity. Music may very well be one of the earliest forms of culture humanity produced.
“Culture” is one of the most difficult words for a sociologist to use. Sociological research
on culture varies, but most sociologists are committed to the idea that the symbolic and
expressive aspects to social life—the beliefs and values we hold, as well as the practices and
activities we engage in—are worth examination. Thinking in this way, burritos and Beyoncé,
athleisure and college athletics, juggalos (fans of the band Insane Clown Posse) and graffiti all
uncover great sociological questions.
Opening this chapter with a few questions about how you experience music illustrates
how we can think about culture from a sociological perspective. Émile Durkheim allows us to
think about how much of social life works via culture: he notes that symbols (material or
...
Essay About Music. Hondros College of Nursing
Writing an essay about music poses unique challenges due to the vastness and diversity of the topic. The essay must balance breadth with depth by selecting a specific focus within music's expansive landscape of genres, histories, cultures, and interpretations. It also requires acknowledging both the universality and deeply personal nature of musical experiences. Additionally, the essay must thoughtfully explore musical elements within their complex historical and cultural contexts. However, despite these difficulties, writing about music provides an opportunity to connect with readers through evoking emotion and stimulating intellectual curiosity about the art form.
A Nonrepresentationalist Argument For Music
This document summarizes and critiques a paper arguing that music exemplifies nonrepresentational experience without objective meaning. It makes the following key points:
1) The paper rejects the notion that music has an exclusively musical meaning, instead arguing that music's lack of objective meaning is simply a lack of objective meaning.
2) It proposes that music is a self-directed practice contingent on engaging with sound for its own sake, subverting objective significance. This allows for consciousness of sound itself.
3) Research in music psychology provides empirical support, accounting for music experience with nonrepresentational psychological structures lacking extrinsic content.
4) In conclusion, music can exemplify nonrepresentational experience without a representational
Final Senior Project
This document is a research proposal for a senior project that will examine the concepts of authenticity and hybridity in world music. The author proposes to write a 25+ page research paper utilizing peer-reviewed sources to cover background information on the origins of world music as a genre and perspectives from scholars, industry personnel, and musicians. The author hypothesizes that some degree of hybridity is always present in world music and that perceptions of authenticity influence how different levels of hybridity are received. The proposal provides an annotated bibliography summarizing several academic sources that will inform the author's analysis of these key concepts in world music.
Answer the following essay What most people consider.docx
Politics played a significant role in the development of music during the Renaissance, Baroque, Classical, and Romantic periods. Religious influences from the Catholic church dominated Renaissance music, while Baroque music saw the rise of absolute monarchs who used music to demonstrate their power. During the Classical era, music became more secular as philosophers championed reason and individualism. Romantic music reflected the rise of nationalism and focus on emotion during a period of revolution and war.
Expository Essay About Music.pdf
The document discusses the challenges of writing an expository essay about music. It notes that music is a vast topic that encompasses many genres, eras, cultures, and emotions. This requires carefully selecting a specific aspect of music to focus on within the constraints of an essay. Researching musical theory, histories, and influential musicians is also integral but must be woven seamlessly into the narrative. Additionally, articulating profound emotional connections to music poses complexity, requiring balance between description and analysis. Proper structure and smooth transitions between ideas are crucial to ensure coherence. Despite the challenges, exploring music through essay writing can offer profound insights and be an opportunity for personal expression.
Explanation of postmodernism updated 1 3
This explanation has been prepared for OCR's A2 Media course. It will be used as part of the critical perspectives unit.
Jane knight test
This document discusses the terms modernism and postmodernism. It begins by noting that postmodernism is a difficult term to define as it appears across many disciplines and time periods. It then explains that postmodernism emerged from modernism. Modernism rejected Victorian artistic standards and emphasized subjectivity, fragmented forms, and self-consciousness. Postmodernism similarly rejects boundaries and embraces fragmentation, but does not see fragmentation as tragic like modernism. It also celebrates nonsense rather than trying to find meaning through art. The document later discusses how modernism and postmodernism relate to different phases of capitalism.
1 study of popular music 2014(2)
Popular music can be studied academically by defining it, examining why it should be studied as part of higher education, and analyzing its history, production, consumption, and social impact. Key areas of focus include the development of the popular music industry; critiques of mass culture theory which viewed audiences as passive; and sociological analyses of genres like rock music and how they relate to youth culture. Academic study has grown since the 1970s and now includes departments, centers, and methods for analyzing popular music's musical and extramusical elements.
Similar to Short Essay #2 – Rethinking ModernismAt a time when musicol.docx (20)
Department of History, National University of SingaporeCon
Department of History, National University of SingaporeCon
find an online recording of three primary forms of modern music fol.docx
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Answer the following essay What most people consider.docx
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Sheet1Rate your skills using the following scaleChapter 1 You Ma.docx
Sheet1Rate your skills using the following scale:Chapter 1: You Make A DifferenceChapter 2: Credibility is the Foundation of Leadership1= Strongly Disagree4= AgreeQuestionScoreQuestionScore2= Disagree5= Strongly Agree20403= Partly Agree20090230140Total0Total01. Balance focusing on the future with an understanding of the present and events from the past.Chapter 3: Values Drive CommitmentChapter 4: Focusing on the Future Sets Leaders Apart2. Maintain self-awareness in external challenges or unexpected events.QuestionScoreQuestionScore70103. Support others in achieving their objectives through regular one-on-one meetings.1101502601604. Take time regularly to get updated on current events.Total0Total05. In conversation, provide undivided attention, show interest, and suspend judgment.Chapter 5: You Can’t Do It AloneChapter 6: Trust RulesQuestionScore6. Forthright and candid in all situations with all people.30QuestionScore170607. Show respect when questioning the ideas and opinions of others.250210Total02708. Take actions that create forward momentum.Total09. Attend industry functions and trade shows on a regular basis.Chapter 7: Challenge is the Crucible for GreatnessChapter 8: You Either Lead by Example or Don’t Lead At AllQuestionScoreQuestionScore10. Explore, identify, and define the nature, cause, and implications of problems.8013010018011. Demonstrate consistency between expressed beliefs, values, and actions.280240Total0Total012. Continuously give and receive feedback on results of learning efforts.13. Assess which role is most appropriate for the person and situation.Chapter 9: The Best Leaders Are The Best LearnersChapter 10: Leadership is an Affair of the HeartQuestionScoreQuestionScore14. Possess an understanding of business operations (budgeting, marketing, sales, etc.).1205019022030029015. Manage time in a way that balances personal and professional objectives.Total0Total016. Focus on actual results of a process or plan.17. Build relationships and ask questions to support a variety of initiatives.The totals from each chapter will show you your score.Refer to the range of scores to identify what type of further action you should take.18. Demonstrate an understanding of living and leading by example.3-6: Taking immediate action to improve your results is suggested.7-12: Develop action plans to be implemented over the next month.19. Identify and develop skills and effective behavior in others.13-15: You are performing well as a leader. Pinpoint areas to optimize your performance.20. Possess technical competencies to achieve relevant goals and objectives.21. Consistently and clearly communicates the desired results of a process or plan.22. Align people’s visions, values, goals, and action plans with bigger picture.23. Possess an understanding of industry trends.24. Identify and change self-defeating behaviors.25. Explore readiness to change and move ahead by knowing the stages of group development.26. Know what I value an.
Sheet1Quarter Sales PersonRegionQuarterly Sales31-MarSmithEast$750.docx
The document contains quarterly sales data for various salespeople organized by region, quarter, and amount of quarterly sales. It lists the name of each salesperson, their region, and their quarterly sales amount for three different quarters (March 31, June 30, and September 30). There are a total of 15 salespeople listed with their sales data.
Sheet1project codeproject nameEmployeesQB280001Account Management .docx
This document provides a summary of a chapter that discusses how organizations can adapt to continuous change by emphasizing innovation, creativity, agility, and learning. It uses Hyundai as a case study example of a company that has successfully transformed itself from a low-quality, "me-too" automaker to a major global competitor through leadership focus, a dynamic culture, competitive strategies, high-quality products, innovative design, and an empowered workforce. The chapter introduction examines the need for organizations to sustain not only strategic and structural changes but also cultural changes to motivate employees. It also briefly discusses Motorola's successful restructuring as an example of continuous innovation and creativity.
Sheet1Quantity (miles of pipeline)Total CostTotal Fixed CostTotal .docx
Sheet1Quantity (miles of pipeline)Total CostTotal Fixed CostTotal Variable CostAverage Fixed CostAverage Variable CostMarginal Cost0$ 5,000$ 5,0001,000$ 11,5732,000$ 18,2083,000$ 29,2674,000$ 44,7505,000$ 64,6576,000$ 88,9877,000$ 117,7408,000$ 150,9189,000$ 188,51810,000$ 230,54311,000$ 276,99112,000$ 327,86313,000$ 383,15914,000$ 442,87815,000$ 507,02116,000$ 575,58717,000$ 648,57718,000$ 725,99119,000$ 807,82820,000$ 894,08921,000$ 984,77422,000$ 1,079,88223,000$ 1,179,41424,000$ 1,283,37025,000$ 1,391,74926,000$ 1,504,55227,000$ 1,621,77828,000$ 1,743,42929,000$ 1,869,50230,000$ 2,000,000
Week 4
Will Fence owns a 70-acre large timber and Christmas tree farm. The Christmas farm gets busy in August and September when Will identifies and flags the trees suitable for Christmas season. Starting in October, the flagged trees will be cut, baled, and trucked to the storage yard where they will stay until shipped. The storage yard is situated in an area that offers shade and protection from the wind to maintain the freshness of the tree. The trees are stacked with the tops locked together to keep the sun and wind away from them.
Will has just purchased an additional 40 acres and will need to expand his storage yard by 40,000 square feet. The budget for this expansion is $55,000. Will has hired your team to design a process to contract resources to expand the storage yard.
Cover the following as requested by Will:
· Description of the contract resource procurement process (from start to closure).
· Explanation of how the contract resources procurement process that was described will assist Will in negotiating the best purchase.
· Explanation to Will why the team believes the process is efficient and achieves the results desired.
· Identification of any risks associated with procuring these resources and explanation of the role of risk management in this process.
· Explanation of how the process may be improved upon.
· Other recommendations the team may have for Will to consider.
Graphing Supply and Demand
Supply and demand are so important for both consumers and producers
because both of these concepts work together to determine the overall price
of an item, as well as the total quantity sold in a market. To see how this
works, we can show both on a graph such as you see in the header image
above.
Remember that demand is a relationship between price and the quantity that
consumers are willing and able to pay. This is an inverse, or negative,
relationship, in which the variable's price and quantity move in opposite
directions. This would be depicted as a downward sloping curve on a graph.
Similarly, supply is a relationship between the price of an item and the
quantity that producers are willing to supply. This is a direct, or positive,
relationship, in which the variable's price and quantity move in the same
direction. This would be depicted as an u.
Sheet1Pro Forma Income StatementYear 1Year 2Year 3Year 4Year 5Visi.docx
Sheet1Pro Forma Income StatementYear 1Year 2Year 3Year 4Year 5Visits4,8825,1265,3825,6525,934Revenue Per Visit$450$450$450$450$450Gross RevenuePatient Reveue Gross Patient RevenueDeductions from Patient RevenueContractual Total Deductions from Revenue Net Patient Revenue$0$0$0$0$0Operating ExpensesSalaries and WagesEmployee BenefitsUtilitiesRepair/MaintenanceHousekeepingTelephone Service Depreciation MalpracticeMiscellaneous/OtherVariable Medical Supply CostsOther Non-Personnel Costs Total Operating ExpensesExcess of Rev over Exp. From Operations$0$0$0$0$0Cummulative Income$0$0$0$0$0Net Cash from Excess Rev (excl Depreciation)$0$0$0$0$0Cummulative Income Net Cash$0$0$0$0$0
Sheet2
Sheet3
Write an essay of about 750 to 1000 words, or 3 to 4 pages (double-
spaced), in response to the ALL the prompts below (4 Paragraphs) .
The relevant texts for Essay are the assigned:
* Sorensen, A Brief History of the Paradox, pp. 184- 185 on McTaggart
and pp. 173-176 on Augustine’s theory of time as subjective.
* David Lewis, “The Paradoxes of Time Travel”.
— Do not use any other outside sources! This is not a report on what
others have written about McTaggart or Lewis or time travel. This is
an exercise in thinking-by-writing!
Consider our discussions of, on one hand, McTaggart’s seemingly
paradoxical argument that time is “unreal” and, on the other hand,
Lewis’ account of the seemingly paradoxical possibility of time travel.
Write an essay in which you explore the potential “paradoxes” of time
we considered in McTaggart’s argument that “time is unreal” and in
Lewis’ account of time travel as “possible” in a “strange” possible world
(unlike our own).
Specifically, structure your narrative in response to the following
themes.
Paragraph 1: Explain the distinction between the “A series” and the “B
series” of time, as McTaggart introduced these terms. Why did
McTaggart think A time is more fundamental than B time? Why did he
think A time is impossible?
Paragraph 2: Explain Lewis’ distinction between “external time” and
“personal time”. How does Lewis’ distinction compare with
McTaggart’s distinction above?
Paragraph 3: Explain how, for Lewis, time travel is possible, even if
strange. What is a “person”, for Lewis? What then is “personal
identity”? How would the structure of a person over time, as Lewis
characterizes this form of personal identity, entail that a person could
travel either forward into the future or back into the past and encounter
“himself”/”herself”/”theirself” in a past or a future time?
Paragraph 4: Briefly: Do you find time travel, per Lewis, intuitively
possible? You may, if you like, consider the popular film “Back to the
Future” (1986), or you may consider how our imagination in science
fiction scenarios may address the possibility of time travel.
A U G U S T I N E ’S P R A G M A T I C P A R A D OX E S 173
became more alarming as philosophers became increasingly
persua.
Sheet1PMGT 576 Assignment Rubric – Unit 8 Assignment20Is the Lean .docx
Sheet1PMGT 576 Assignment Rubric – Unit 8 Assignment20Is the Lean Canvas complete? Do each of the canvas sections demonstrate a clear understanding of the question or item posed? 20Do each of the canvas sections provide a clear, concise, and reasonable approach or description in addressing each one?20Does the canvas demonstrate creativity and innovation in addressing each of the sections?25The text is grammatically correct and there are no spelling or punctuation errors. 15Total100
CBIO Lab: Mitosis and Meiosis p. 1/10
Name:_________________________
Instructor: ___________ Section: ___
MITOSIS AND MEIOSIS
One of the tenets of cell theory is that all cells come from pre-existing cells. All individual
organisms begins with one cell, and yet in multicellular organisms the number of cells in the
adult may be in the trillions. This requires cells to repeatedly divide during the life of an
organism.
The average adult human body is made up of about 37 trillion cells. Of these, approximately 50
billion are fat cells and 2 billion are heart muscle cells. By the time you finish reading this
sentence, 50 million of your cells will have died and been replaced by others. Human cells are
estimated to divide nearly 2 trillion times every day. Amazingly, humans contain at least 10
times as many bacteria cells as human cells. The 100 trillion bacterial cells are much smaller
than human cells and have a faster generation time.
Mitosis and meiosis are two processes that produce new cells through cell division, which occurs
as a part of the cell cycle. The new “daughter” cells produced by these processes are quite
different because they have different purposes. These differences occur because the processes
have several key differences as outlined in the video lecture. You will be doing several lab
activities examining mitosis and meiosis and what can happen if problems occur during these
cell division processes.
Why are we doing this lab?
1. To gain a better understanding of the mitotic and meiotic processes of cell division that
occur in humans and all other animals.
2. To examine how issues in mitosis and meiosis can lead to diseases and disorders in
humans.
CBIO Lab: Mitosis and Meiosis p. 2/10
Background: Phases of mitosis
For each phase, draw and label:
a. Chromatin or chromosomes
b. Centrosomes
c. Microtubules/spindle
d. Cell membrane
CBIO Lab: Mitosis and Meiosis p. 3/10
Activity 1: Mitosis under the microscope
1. Use Google images of mitosis (Google “mitosis of onion root tip”) to identify cells in
interphase and all phases of mitosis.
Cells in…Interphase will have chromatin, not distinct chromosomes
Prophase will have distinctly visible chromosomes
Metaphase will have chromosomes lined up along the equator of the cell
Anaphase will have chromosomes separating at the centromeres
Telophase will have chromosomes decondensing into chromatin and a .
Sheet1Presentation by Tony StudentSlide NumberSlide TitleSlide Tex.docx
Sheet1Presentation by Tony StudentSlide NumberSlide TitleSlide TextNarrativeComments1Social Media in the WorkplaceTitle Slide2Introduction“Twitter is not a technology, it’s a conversation – and it’s happening with or without you.” – Charlene Li, author
Over 306 million active Twitter users send 500 million Tweets daily *Hello, my name it Tony Student, I currently work as an Information Security Manager at a financial services firm in the Washington DC Metro area and am responsible for securing a multi-trillion dollar financial platform. Part of my responsibilities is to provide training and awareness on topics that deal with Information Security including the use of Social Media in the Workplace.
Social media is a powerful platform which helps connect people. According to Charlene Li, author of Groundswell, “Twitter is not a technology, it’s a conversation – and it’s happening with or without you.”
Consider the fact that every minute of every day roughly 5,800 tweets are posted to the Twitterverse. This amounts to over 500 million tweets daily! That statistic definitely echoes the sentiment of Charlene Li and is an important thing to consider when it comes to business. Social media can become a positive part of promoting a company's brand and allows a business to provide supreme customer service.3AgendaSocial Media Primer
Five Leading Practices on Social Media
Best Buy Case Study
Closing Remarks
Questions and AnswersFor today's agenda we are going to cover the following topics:
Social Media Primer - Which will provide insight into what social media is and its purpose
Five Leading Practices on Social Media - Tips on the appropriate use of Social Media
Best Buy Case Study - An example of how one big box retailer sets the tone and expectation on social media for business use
Closing Remarks - Final thoughts one how transformative social media can be for business
Questions and Answers - To be able to provide some time to answer those burning questions that you didn't realize you had until you saw this material.4Social Media PrimerAn online medium for social collaboration *
It’s all about the content
Pictures
Videos
Music
Social Media can enable business
Platforms include LinkedIN, Twitter, Facebook, etc.
According to the English Oxford Living Dictionary, Social Media are "Websites and applications that enable users to create and share content or to participate in social networking."
In other words, social media in an online medium for social collaboration. All said and done, it's all about the content that people and companies produce and publish to the masses. The platform is an enabler for businesses to create accessibility for consumers to producers of a product or idea.
Examples of social media platforms that you may already be familiar with include, LinkedIN, a professional social networking site; Twitter, a microblogging site, and Facebook which originally started out as a place for college folks to collaborate and quickly turned .
Sheet1Pretax IncomeYang, Ziyun make sure to add back income t.docx
Sheet1Pretax Income
Yang, Ziyun: make sure to add back income tax paid through Nov. See account 999 Nov balance.
Subject to State Taxes- 0State Tax- 0Subject to Fed Taxes
Yang, Ziyun: State Taxes can be deducted from Fed taxable income
- 0Progressive ratefirst 50,000 @15%7,500next 25,000 @ 25%6,250remainder @ 34%(25,500)Fed Tax(11,750)Federal Surtax
Yang, Ziyun: 5% on income over $100,000, surtax not to exceed $11,750
- 0
Yang, Ziyun: Updated in V2
Total Fed Tax(11,750)Total Income Tax(11,750)Less: Income Taxes Paid
Yang, Ziyun: Paid taxes through Nov. See account 999 Nov balance.
72,000Tax accrual
Yang, Ziyun: debit exp, credit payable
(83,750)
Sheet2
Sheet3
Research question
Human factors for changes in natural geology
Ivan Tai
Humans as major geological and geomorphological agents in the Anthropocene: the significance of artificial ground in Great Britain
Since the first prehistoric people started to dig for stone to make implements, rather than pick up loose material, humans have modified the landscape through excavation of rock and soil, generation of waste and creation of artificial ground. In Great Britain over the past 200 years, people have excavated, moved and built up the equivalent of at least six times the volume of Ben Nevis.
Simon J. Price
, Jonathan R. Ford
, Anthony H. Cooper
and Catherine Neal
Published:13 March 2011
2
Why I choose this research question?
Because human The natural changes are very large, from climate change to changes in topographical attitudes.
InstructionNarrative and InstructionsRockford Corporation is a wholesale plumbing supply distributor. The corporation was organized in 1981, under the laws of the State of Illinois, with an authorized capitalization of 100,000 sharesof no-par common stock with a stated value of $16 per share. The common stock is sold over thethe counter in the local area. You have been hired as of Thursday, December 25, 2018, to replace thecontroller, who has resigned. As controller, you are responsible for the corporation's accountingrecrods, preparation of the financial statements, safeguarding the corporate assets, and providingmanagement with financial information to set prices and to monitor and control operations. Rockford Corporation closes its books annually on December 31 but prepares financial statementsquarterly. Adjusting entries are posted to the general ledger only at year-end; at the end of the first, second, and third quarter the adjustments are entered only on a work sheet, not in the generalledger. Therefore, the adjusting entries to be recorded on December 31 are annual adjustments that you must journalize and the post to the general ledger accounts before preparing the financial statements.Rockford Corporation maintains a perpetual inventory system and takes a physical count each yearto adjust the inventory carrying amount. Purchases are recorded at the gross amount (discountstaken are recognized at the date of payment) of.
Sheet1PMGT 576 Assignment Rubric – Unit 7 Assignment20Are all of t.docx
This document outlines an assignment for a team to develop a presentation using Kotter's 8-step change management model to help a company called Harrisburg Textile transform into a more agile and lean organization. The document provides background information on Harrisburg Textile, including details on its history, current issues it faces, and the rationale for choosing Kotter's model over other change frameworks. It also includes templates for the team to fill in for each step of Kotter's model in their presentation, describing the key elements, how it would be implemented at Harrisburg Textile, and why it is important.
Sheet1Plan APlan BPro Forma Income Statement AccountsEBIT700100013.docx
Sheet1Plan APlan BPro Forma Income Statement AccountsEBIT7001000130070010001300InterestEBT (EBIT - Interest)Tax Net IncomeTotal Shares OutstandingEPS
.
Sheet1Phase of Business Financal Management needsDebt FinancingEq.docx
Sheet1Phase of Business/ Financal Management needsDebt FinancingEquity FinancingGift FinancingFinancing for StartupsConsumer Banks, Commercial Banks, SBA insured loans, Economic development agencies, Incubators, Accelerators, Leasing companies, Personal credit cardsFriends, family, Angels, Venture capital, direct public offering, CrowdfundingPersonal: Cash, pick up the tab, free use, free work, unpaid labor, overpayment, favored status/sweetheart deal forgiveness, deferralFinancing for GrowthCommercial banks, SBA, Private placement loans, Economic development agency, supplliers, leasing company, personal credit cardself generated funds, venture capital, direct public offering, merger, acquisitionInstitutional: SBIR, STTR grant, state grant, incubator, accelerator, dontated capital, tax abatement
Personal: Cash, pick up the tab, free use, free work, unpaid labor, overpayment, favored status/sweetheart deal forgiveness, deferralFinancing for Operationsfactor receivables, business cc, commercial bank, sba, private placement loans, suppliers, leasing companiesself generated funds, venture capital, direct public offeringInstitutional: SBIR, STTR grant, state grant, incubator, accelerator, dontated capital, tax abatement
Personal: Cash, pick up the tab, free use, free work, unpaid labor, overpayment, favored status/sweetheart deal forgiveness, deferralFinancing for Exitconsumer banks, Commercial Banks, SBA, private placement loans, economic development agencies, sba investment companies, suppliers, leasing companies, lines of creditself generate funds, venture capital, direct public offeringInstitutional: SBIR, STTR grant, state grant, incubator, accelerator, dontated capital, tax abatement
Personal: Cash, pick up the tab, free use, free work, unpaid labor, overpayment, favored status/sweetheart deal forgiveness, deferral
1
Email Communication Responses – No. 1 Employment Law Compliance Plan
Email Communication Responses – No. 1 Employment Law Compliance Plan
From:
To: “CEO Smith” [email protected][email protected]
Date: November 28, 2016
Re: Employment Law Compliance Plan
Mr. Smith:
With reference to the email sent to Nov.1, these are and will be the measures to take regarding your request
With the purpose of improving the operation of the company, it is necessary to review and update the policies of the company, as well as everything related to labor laws. This will provide the necessary means to comply with what is established by law and in turn with the company staff. If everything related to these issues is kept up to date, errors are less likely to be made when corrective measures are taken, just as it is of the utmost importance that all the members of the directive know in depth the laws that protect the workforce in all aspects. It is necessary to carry out the appropriate training as soon as possible. Remember that as a team, meeting these requirements is completely necessary.
Every decision taken, entails a res.
Sheet1PeriodEngine Failures(a) 4-period moving average(b) weighted.docx
This reflection document discusses the use of portfolio assessment rubrics to evaluate students. The teacher notes that students were previously assessed only on theoretical knowledge, not practical skills. To address this, the teacher plans to modify the portfolio to include practical skills assessment. Research on portfolio assessment highlighted its benefits over traditional testing. Classroom observations of other teachers provided ideas on instructional strategies to incorporate. The portfolio modification and use of rubrics improved student assessment scores, showing the effectiveness of this approach.
Sheet1Participant#Verbal Label Condition (Smashed or Hit)Age Condi.docx
Sheet1Participant#Verbal Label Condition (Smashed or Hit)Age Condition (Under 60 years or Over 60 years)Speed (mph)Broken Glass? (Y or N)GenderAgeRaceEthnicityEV2HitOver 6040YMale74WhiteCuban-AmericanTV3HitOver 6055YFemale65From multiple racesFrom multiple Spanish, Hispanic, or Latino groupsEV3SmashedUnder 6070NFemale22From multiple racesI am not Spanish, Hispanic, or LatinoJT1SmashedUnder 6050YMale18AsianI am not Spanish, Hispanic or LatinoDB3SmashedOver 6025NFemale63Black or African-AmericanI am not Spanish, Hispanic or LatinoDB4SmashedUnder 6050YFemale31Black or African-AmericanI am not Spanish, Hispanic or LatinoJT2HitUnder 6045YFemale19Black or African-AmericanI am not Spanish, Hispanic or LatinoDB2HitOver 6065YMale62WhiteI am not Spanish, Hispanic or LatinoDB1HitUnder 6060NMale31Black or African-AmericanI am not Spanish, Hispanic, LatinoDJC4SmashedUnder 6024NFemale24AsianI am not Spanish, Hispanic, or LatinoDJC1HitOver 6060NFemale67WhiteI am not Spanish, Hispanic, or LatinoDJC2HitUnder 6045NFemale23WhiteI am not Spanish, Hispanic, or LatinoDJC3SmashedOver 6062YMale62WhiteI am not Spanish, Hispanic, or LatinoLM4HitOver 6070NFemale62From multiple racesI am not Spanish, Hispanic, or LatinoLM3SmashedOver 6040NFemale61WhiteI am not Spanish, Hispanic, or LatinoPH1SmashedUnder 6060NFemale27WhiteI am not Spanish, Hispanic, or LatinoLM4SmashedUnder 6080NFemale31Some other raceSome other Spanish, Hispanic, Latino groupPH4HitOver 6080NFemale71Some other race (Hispanic)Some other Spanish, Hispanic, Latino groupPH2SmashedOver 6050NFemale60Some other race (Hispanic)Puerto RicanPH3HitUnder 6025NFemale28Some other race (Hispanic)Puerto RicanLM2HitUnder 6060NFemale35From multiple racesPuerto RicanTV2SmashedUnder 6040NFemale36Some other race (Hispanic)Puerto RicanTV1HitUnder 6050NFemale40From multiple racesSome other Spanish, Hispanic, Latino groupDA2HitOver 6050NMale62Some other race (Hispanic)Some other Spanish, Hispanic, Latino groupDA1SmashedOver 6055NFemale65Some other race (Latino)Some other Spanish, Hispanic, Latino groupDA4HitUnder 6030YMale21Some other race (Latino)Some other Spanish, Hispanic, Latino groupDA3SmashedUnder 6035NMale19Some other race (Latino)Some other Spanish, Hispanic, Latino groupEV4HitOver 6040YFemale61WhiteSome other Spanish, Hispanic, Latino groupTV4SmashedOver 6055YFemale60WhiteSome other Spanish, Hispanic, Latino groupJT4SmashedOver 6050NMale66From multiple racesSome other Spanish, Hispanic, Latino groupJT13HitOver 6060YMale62Black or African-AmericanSome other Spanish, Hispanic, Latino groupJT14SmashedUnder 6070YMale30Black or African-AmericanSome other Spanish, Hispanic, Latino groupJT12HitUnder 6060YMale37Some other race (Hispanic)Some other Spanish, Hispanic, Latino groupJT11SmashedOver 6090NFemale67Black or African-AmericanSome other Spanish, Hispanic, Latino groupJT3HitOver 6080NFemale62Some other race (Hispanic)Some other Spanish, Hispanic, Latino groupEV1SmashedUnder 6025NFemale21WhiteN/A
Final Course Assignment.
Sheet1No.Strengths (3)Weaknesses (2)Recommendations (2)Evidence (u.docx
Sheet1No.Strengths (3)Weaknesses (2)Recommendations (2)Evidence (used once only)Theory1Functional orientation
- evidence
- tangible product adv (features, performances, benefits)Inconsistent Messages
(say, do, confirm)It is recommended that supermarket A is to include the term 'wsl' in adv so as to .. Result of implementing consequences theory (journals on this theory)Strength 12Symbolic/experiential orientation
- cartoons, facial expressions, colours, pictures, animations
- emotional
- price ('8' - lucky/prosperity, '9' - longevity)ConsequencesStrength 23Category-dominance orientation (strengths only)
- brand name/logo of adv (evidence)
- e.g. FairPrice advertisement, Rolex, key sponsorsTrustworthinessStrength 34TOMASymbolic/experiential orientationSymbolic/experiential orientationWeakness 15Hierarchy EffectFunctional orientationFunctional orientationWeakness 26CPMAttributes
- what attracts ann advertisement
- features, product image, design, benefitsAttributesAttributesLaddering ProcessConsequences
- adv/benefits of using advertised products/services
- must believe/buy/agree your benefits & advConsequencesConsequencesValues
- quality
- experience post-purchase
- warranties, (money-back) guarantees, 3rd party endorsement, testimonial evidences, awards won, year of history, reputationValues
- critical weakness is that it lacks of…. Deemed to be a signofocant weakness… failed to apply Value Theory (journals)
- if the whole industry does not offer ____, do not take it as a weakness
- no need for comparisonValuesUnique Selling Proposition (USP)
- Superiority
- Unique
- Distinctive
*trademarks, patents, awards wonBrand Image (Transformational Advertising)
- brand logo
- fashion, prestegious productsResonance
- reflect audience life experience
- testimonial evidences
- before & after imagesResonance
- celebrity not good, lacks worthinessResonance
- change endorser (Jack Neo/Tiger Woods)Emotional
- colours, pictures, images, font size, choice of words, testimonial evidencesEmotional Pre-emptive
- message of superiority
- 'No. 1 top seller brand', 'Voted by many'
- country of originCelebrity Endorser
- TEARS model (credibility & attractiveness)
- trustworthiness, Expertise
- physical attractiveness, respect, similarity (to target audience)
- Brian WongCelebrity Endorser
- Jack NeoCelebrity Endorser
- It is recommended that XXX should engage XXX to endorse in the brand to increase attraciveness, expertise… Celebrity Endorser Theory (journal)Typical-person EndorserTypical-person EndorserTypical-person Endorser
- in order to increase attractiveness, recommended that XXX should engage a typical-person endorser (journal)Humour
- cartoons, facial expressions, vocabHumour
- cartoons, facial expressions, vocab*page 197 - theories
10
100PLUS ACTIVE
Student’s Name
Institutional Affiliation
Date
100PLUS ACTIVE
1. Executive Summary
Within marketing, there is a need to conduct promotions of products through .
Sheet1Moisture content analysis final resultsGroupValue of m3 (g)A.docx
Sheet1Moisture content analysis final resultsGroupValue of m3 (g)A21.459B25 kPa34.35950 kPa18.771C19.282D17.816E23.651F26.148GTBCH28.664
LEEDS BECKETT UNIVERSITY
CIVIL ENGINEERING
GEOTECHNICAL ENGINEERING: APPLICATION & THEORY (BEng)
Laboratory Experiment:
Undrained triaxial compression test (without pore water pressure measurement) BS
1377: Part 7: 1990.
Object of Experiment:
To determine the undrained shear strength of a soil using the triaxial compression test.
Theory/Apparatus:
The apparatus consists of a cell, which is filled with water under pressure; the
specimen is loaded vertically, via a proving ring to measure load.
Triaxial Cell
The vertical load on the specimen is increased until failure occurs, the vertical strain
being recorded at the same time using a dial gauge. The test is repeated on different
specimens from the same soil, using different values of cell pressure.
254
Stresses on specimen in Triaxial Cell
Cell Pressure Deviator Stress =P/A 1=3+P/A
1 = major principal stress
3 = minor principal stress
Therefore, P/A = (1-3) =Deviator stress
The deviator stress is the load on the specimen, P, divided by the cross sectional area
of the specimen. However, as the sample is compressed during the test, the cross
sectional area will increase. Therefore, in calculating the deviator stress an allowance
for the change in area must be considered.
For the calculation of deviator stress, it is assumed that the volume of the specimen
remains constant and that the sample will deform as a cylinder, e.g.
100%
o
X
Strain
L
1 3
P
Deviator stress
A
where P = vertical load, which is measured by a proving ring (kN)
A = Area calculated using the following method;
( ) )o o o oVolume V A L AL A L X
255
1
o o
o
V A
or A or A
L X
Method:
1. Extrude the sample from the tube and trim to size - soil sample of 38mm
diameter and 76mm long.
2. Sleeve the sample with the rubber membrane.
3. Put the sample on the pedestal at the bottom of the cell and seal with the
rubber ring. Place the loading cap on top of the sample and seal with rubber
ring, before securing top drainage tube.
4. Mount the cell over the sample and fill as per the
Flooding Triaxial Cell checklist.
5. Set-up the test with the Clisp Studio assistant, and complete the
Pressurising Triaxial Cell checklist before running the test stages.
6. When test stages are complete, end the test via Clip Studio and complete the
Draining Triaxial Cell checklist.
Results and Calculations:
• Sketch the failure mode of each sample.
• Calculate the moisture content of the soil as per Appendix A.
• Calculate the results as follows:
(i) For each sample tested:
• Find the failure strain (either the final value or.
Sheet1ManhattanBrooklynQueensThe BronxStaten IslandEducationMarita.docx
A survey was conducted of 150 residents in Springdale, asking about their shopping habits and attitudes toward three local shopping areas: Springdale Mall, Downtown, and West Mall. The survey collected data on respondents' demographics and shopping behaviors. Point estimates and 95% confidence intervals were calculated for the average attitudes toward each shopping area based on interval scale questions. Confidence intervals were also determined for population proportions related to respondent sex and marital status. Sample sizes needed to estimate mean attitudes within 0.05 margins of error at 95% confidence were calculated.
Sheet1Learning Solultions NameVersion NumberMediumTypeLessonSc.docx
Sheet1Learning Solultions Name:Version NumberMedium/Type:Lesson/ScenarioTaskOrderEventfunctionality descriptionGraphicsTextAnimationName the taskprovide name of screen/window/tab that is either new or needs to be modifieddescribe level of functionality needed - fully functional, view only, part functional part view only, etc.File names of screenprint JPEGs, gifs, tifs, and pngs.Text that must be programmed inDescribe internal movements or animations requiredLogin1Logon screenEntered text needs to move to the next screenlogin_dialog.jpgEnter your user name and password. For this exercise, use the name "student" and the password "learn".An arrow point to the login box.
What is the final product's medium (e.g., .SWF, .PPT, .PPS. Video, .WAV)
Think of sub-section as lesson or scenarios within the larger learning solution.
Sheet2
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ALL STAR CAFÉ
NOVEMBER 2018
SALES PROFITS AND OPERATIONS
ACTION PLAN
MISSION STATEMENT: TO PROVIDE THE FRESHEST HIGH-QUALITY FOODS AND BEVERAGE PRODUCTS,
SERVED BY A FULLY TRAINED AND KNOWLEDGEABLE WELL TAKEN CARE OF STAFF PRODUCING,
OUTSTANDING PROFITS FOR OUR OWNERS
1) PERFECT EXECUTION OF OUR COMPANY’S MISSION STATEMENT AND CORE VALUES
BREAKDOWN
A. FRESHEST HIGHEST QUALITY PRODUCT INSURE PROPER RECEIVING, DATING, ROTATION OF
THE PRODUCT, PROPER INVENTORY LEVELS, INSURE ACCURATE ORDERS FOR LEVELS AS
WELL AS PREPARED PRODUCT
B. HIRE, TRAIN AND DEVELOP A KNOWLEDGEABLE STAFF THAT IS PAID APPROPRIATELY AND
GIVEN INCENTIVES TO MAINTAIN OPTIMAL PERFORMANCE. CONDUCT REGULAR EMPLOYEE
REVIEWS AND KEEP ISSUES OF COMMUNICATION OPEN
C. INSURE OPTIMAL PROFITS BY ENSURING THE BEST INDUSTRY PRICING MAKING SURE THAT
MARGINS ARE CONSISTENT WITH THE INDUSTRY.
2) ENSURING MANAGEMENT AND STAFF ADHERE TO POLICIES, PROCEDURES AND PROTOL
MANAGEMENT, STAFF AND SHIFT MEETINGS.
● BREAKDOWN- HAVE EMPLOYEE HANDBOOK AVAILABLE
● HAVE REGULAR STAFF AND MGMT MEETINGS
● SET POLICIES THAT ARE NOT CURRENTLY ENFORCED, DOCUMENTED.
3) RESPONSIBLE PARTY IS MAINTAINING A CLEAR ORGANIZED FACILITY
● USE OF CHECKLISTS
● STAFF UNDERSTAND EQUIPMENT
● STAFF UNDERSTANDS THEIR RESPONSIBILITIES
4) EFFECTIVE OVERSIGHT OF STAF IN CONSTRUCTION WITH MOMT TEAM AND HOW TO IDENTIFY
KEY PERSONNEL.
● REGULAR STAFF EVALUATION
● REGULAR STAFF PEP TALKS
REGULAR STAFF TRAINING SESSIONS
5) MONITORING THE DAILY+WEEKLY+MONTHLY FINANCIAL CONTROL SYSTEMS INCLUDING FLASH
REPORTS, INVENTORIES, EVALUATION, RECEIVING OF PRODUCT, MONITORING OF INVOICING,
S.P.M.H+ PRODUCTIVITY
A. UPDATE P.O.S, ASAP
B. BREAKDOWN OF REPORTS
C. ACCURATE REPORTING OF ALL MONITORED COSTS
6) OVERALL DEVELOPING AND CULTIVATING AN ENVIRONMENT AND CULTURE OF HIGH ENERGY
AND GUEST FIRST ORIENTED ATTITUDE THAT MOTIVATES AND PROMOTES TEAMWORK.
A. MANAGEMENT LEADS
B. STAFF ACCOLADES
C. ENERGY IS CONTAGIOUS!
7) ABILITY OF PERSONEL TO EVALUATE, ORGANIZA AND PRIORITIZE ACTIVITIES AND
RESPONSIBILITIES, INCLUDING LABOUR MANAGEMENT, EM.
Sheet1LMH10090H80M70L605040302010NumberRisk NameFull Risk CostRisk.docx
Sheet1LMH10090H80M70L605040302010NumberRisk NameFull Risk CostRisk ProbabilityFactored Risk costRisk Impact to ProjectRisk Mitigation PlanPoint of ContactExpected Risk Retire date1$20,00020%$4,000L2$03$04$05$06$07$08$09$010$0$0$0
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Case Study:
Edward Bernays
Public Relations Pioneer
Who was Edward Bernays?
Born in Vienna in 1891, distant nephew of Sigmund Freud
His approach to public relations was to use symbols and the mass media to engineer consent
He claimed the public was essentially reactive
But the rise of the middle class meant that there was no longer the ruling class and the uneducated masses who followed dumbly . . .
What did he believe?
This emerging new social strata needed to be controlled and led.
He believed in a completely hierarchical view of society: the intelligent few have been charged with the responsibility of contemplating and influencing the tide of history and of dealing with the masses.
How did he deal with the masses?
Used sociology, psychology and economics and applied them to the messages and methods
He saw the PR expert as an applied social scientist educated to use an understanding of these three fields to influence and direct public attitudes (in a democratic society!)
How did he deal with the masses?
“The conscious and intelligent manipulation of the organized habits and opinions of the masses is an important element in a democratic society. Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country.”
Edward Bernays
What is PR?
“Of course, you know, we don’t deal in images, we deal in reality.”
For Bernays, PR was about creating and projecting credible renditions of reality itself.
He called news any overt act which stands out of the routine.
A PR expert carries out an overt act to interrupt the routine to bring out a response.
PR is the science of creating circumstances which do not appear to be staged.
Edward Bernays
“The public relations counsel sometimes uses current stereotypes, sometimes combats them and sometimes created new ones. In using them, he very often brings to the public a stereotype they already know, to which he adds new ideas, this fortifies his own and gives a greater carrying power.”
Edward Bernays
He fully believed that to manipulate the public, one must know its public as well as know who influences that public
PR experts, as molders of public opinion, must be ongoing monitors of social attitudes.
Edward Bernays
Part of this influencing involved using the implied authority, i.e. the social power of certain groups or leaders
E.g. “Damaged Goods” – he promoted a play about syphillis by securing members of high society and doctors as advocates
To encourage people to eat more bacon, he launched a campaign in which a doctor promoted the benefits of a hearty breakfast
Lucky Strikes
In 1929, Bernays was hired by the tobacco company that made Lucky S.
Sheet1Item Price# of ItemsTotal PriceCups$1.896$11.34Plates$1.506$.docx
Sheet1Item Price# of ItemsTotal PriceCups$1.896$11.34Plates$1.506$9Spoons$0.9710$9.70Forks$1.1010$11knifes$1.0510$10.50Beverage$2.895$14.45Food$1501$150Candy$4.687$32.76Cake$651$65Napkins$3.697$25.83Total $339.58Budget $400$60.42
1
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A
B
C
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Item
Price
# of Items
Total Price
Cups
$1.89
6
$11.34
Plates
$1.50
6
$9
Spoons
$0.97
10
$9.70
Forks
$1.10
10
$11
knifes
$1.05
10
$10.50
Beverage
$2.89
5
$14.45
Food
$150
1
$150
Candy
$4.68
7
$32.76
https://www.wordsmyth.net/
This is a free, multilingual online encyclopedia whose entries can be directly edited or added to by anyone who has access to the Web. I think is very helpful and is going to be a good recommendation tor students.
Chapter 2
Computer Applications in Education
INSTRUCTIONAL SOFTWARE
Programs developed specifically to deliver or assist with student instruction on a topic
*
3.*
Instructional Software ClassificationsDrill and Practice skill practiceTutorial information delivery Simulation demonstrationexploration
Instructional Games
skill practice
exploration
Problem Solving
skill practice
exploration
*
3.*
Problem of Identifying Types of SoftwareToday’s software packagesHard to classifySeveral different activitiesOverlap of functions in one packageExample: Reader RabbitDrill activitiesProblem solvingGames
3.*
Recent Trends in Software Design and DeliveryMultimedia elementsOnline access and componentsRenewed emphasis on directed strategies and networked systems
*
3.*
DRILL AND PRACTICE
TypesFlashcard activityBranching drillExtensive feedback activities
Criteria for well-designed programs Control over presentation Appropriate feedback Answer reinforcement
*
3.*
DRILL AND PRACTICE
Benefits Immediate feedbackMotivationalSaves teacher time
Limitations and problems
Perceived misuses
Criticism by constructivists
*
3.*
DRILL AND PRACTICE
Ways to useTo supplement or replace worksheetsTo assist in preparing for objective tests
Guidelines for useSet time limitsAssign individuallyUse learning stations
*
3.*
TUTORIALS
Tutorial typesLinear tutorialsBranching tutorials
Criteria for well-designed programs Extensive interactivity Thorough user control Appropriate pedagogy Adequate answer- judging and feedback Appropriate graphics Adequate record keeping
*
3.*
TUTORIALS
BenefitsImmediate feedbackMotivationalSaves teacher time
Limitations and problems Criticism by constructivists Hard to find Reflect only one instructional approach
M. D. Roblyer
Integrating Educational Technology into Teaching, 4/E
Copyright ©2006 by Pearson Education, Inc.
Upper Saddle River, New Jersey 07458
All rights reserved.
*
3.*
TUTORIALS
Ways to useSelf-paced reviewsAlternative learning strategiesWhen teachers are not available
Guidelines for useAssign individuallyUse learning stations or individual checkout
M. D. Roblyer
Integrating Educational Technology into Teaching, 4/E
Copyright ©2006 by Pearson Education, Inc.
Upper Saddl.
Sheet1In_OutAustralian_CityInternational_CityAirlineRoutePort_Coun.docx
Sheet1In_OutAustralian_CityInternational_CityAirlineRoutePort_CountryPort_RegionService_CountryService_RegionStopsAll_FlightsMax_SeatsYearMonth_numOGold CoastWellingtonJetstarOOL-WLGNew ZealandNew ZealandNew ZealandNew Zealand018324020181ICairnsHong KongCathay Pacific AirwaysHKG-CNS-BNEHong Kong (SAR)NE AsiaHong Kong (SAR)NE Asia018451820177OSydneyShanghaiQantas AirwaysSYD-SHAChinaNE AsiaChinaNE Asia031920720143IMelbourneDubaiEmiratesDXB-KUL-MELUnited Arab EmiratesMiddle EastUnited Arab EmiratesMiddle East13111284201010OGold CoastAucklandVirgin AustraliaOOL-AKLNew ZealandNew ZealandNew ZealandNew Zealand09162020064ISydneyQueenstownAir New ZealandZQN-SYDNew ZealandNew ZealandNew ZealandNew Zealand081216200710IPerthDenpasarIndonesia AirAsiaDPS-PERIndonesiaSE AsiaIndonesiaSE Asia0731314020126OMelbourneDubaiEmiratesMEL-SIN-DXBUnited Arab EmiratesMiddle EastUnited Arab EmiratesMiddle East1291058820086OMelbourneBangkokThai Airways InternationalMEL-BKKThailandSE AsiaThailandSE Asia0601752020086OSydneyAucklandVirgin AustraliaSYD-AKLNew ZealandNew ZealandNew ZealandNew Zealand026468020138OBrisbanePort MoresbyVirgin AustraliaBNE-POMPapua New GuineaIslandsPapua New GuineaIslands017306020106IBrisbaneHonoluluAir AustraliaHNL-BNEUSAN AmericaUSAN America061638201112OSydneyShanghaiQantas AirwaysSYD-SHAChinaNE AsiaChinaNE Asia0308786201411IMelbourneSingaporeQantas AirwaysSIN-DRW-ADL-MELSingaporeSE AsiaSingaporeSE Asia28237620066OSydneyBeijingAir ChinaSYD-SHA-BJSChinaNE AsiaChinaNE Asia122487620063ISydneyHong KongVirgin Atlantic AirwaysLON-HKG-SYDHong Kong (SAR)NE AsiaUKEurope031954820125OPerthJakartaGaruda IndonesiaPER-JKTIndonesiaSE AsiaIndonesiaSE Asia017163220081OSydneyPort MoresbyAir NiuginiSYD-BNE-POMPapua New GuineaIslandsPapua New GuineaIslands17161020066OGold CoastTokyoJetstarOOL-TYOJapanNE AsiaJapanNE Asia0301005020153OPerthDenpasarGaruda IndonesiaPER-DPSIndonesiaSE AsiaIndonesiaSE Asia0609720201211OSydneyJohannesburgQantas AirwaysSYD-JNBSouth AfricaAfricaSouth AfricaAfrica026907720105ISydneyTokyoJapan AirlinesTYO-SYDJapanNE AsiaJapanNE Asia03113927200312ISydneyLos AngelesQantas AirwaysLAX-SYDUSAN AmericaUSAN America06823402200512ISydneyAucklandQantas AirwaysAKL-BNE-SYDNew ZealandNew ZealandNew ZealandNew Zealand12336201412IGold CoastChristchurchAir New ZealandCHC-OOLNew ZealandNew ZealandNew ZealandNew Zealand09148420133OMelbourneAucklandQantas AirwaysMEL-AKLNew ZealandNew ZealandNew ZealandNew Zealand0601416020049OSydneyKuala LumpurMalaysia AirlinesSYD-KCH-KULMalaysiaSE AsiaMalaysiaSE Asia18214920056IMelbourneGuangzhouChina Southern AirlinesCAN-MELChinaNE AsiaChinaNE Asia031799820127IMelbourneHo Chi Minh CityVietnam AirlinesHAN-SGN-MELVietnamSE AsiaVietnamSE Asia0134394200710IBrisbaneQueenstownVirgin AustraliaZQN-BNENew ZealandNew ZealandNew ZealandNew Zealand0118020135OSydneyPort MoresbyAir NiuginiSYD-POMPapua New GuineaIslandsPapua New GuineaIslands08117220144IMelbourneSingaporeEmiratesDXB-SIN-MELSingaporeSE AsiaUnited Arab EmiratesMiddle East030.
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