Robert Schumann s Influence On His Music - 1299 Words

Robert Schumann was a famous German composer in the Romantic era. When he was young, his talents revealed from poetry to music. In 1830, he decided to be a musician, although he was learning laws. Since he anxiously wanted to be successful in music, his hands got hurt. However, he still had enthusiastic and sensitive depositions. Then he changed to be engaged in creating and commenting on music. Later on, he married Clara Wieck and wrote over hundred outstanding music. Thus, Robert Schumann’s experiences had a huge impact on his music. Robert Schumann was born in Zwickau, Germany, on June 8, 1810, at 10:30 p.m., who was also the fifth and youngest child in the Schumann. His father, August Schumann, was an â€Å"author of chivalric romances and an indefatigable lexicographer.† This evoked and cultivated Robert’s capabilities of music and literature. After he was about seven, he started piano classes with Gottfried Kuntsch at Saint Mary’s. About four years later, Schumann had performances in abendunterhaltungen (semi-private evening entertainments), which was organized by Kuntsh. This entertainment gave him opportunities to spread his repertoires in Schumann’s early compositional efforts (Daverio). On March 29, 1828, Schumann went to the University of Leipzig and was studying law. Since his mother, Johanna Christiana, worried about Schumann’s future career and believed that being a lawyer could have a safe and relaxing life instead of being a musician, she squelched Schumann toShow MoreRelatedThe Rise And Fall Of Robert Schumann1531 Words   |  7 PagesRISE AND FALL OF ROBERT SCHUMANN) Robert Schumann is regarded as one of the most influential and recognized composers and critics in history. He was born in Zwickau Germany and was most prominent during the romantic era, writing what many consider some of the greatest but also worst music of his time. He was married to Clara Wieck and they had eight children. Even though Schumann was able to accomplish plenty during his music career, his life is considered short lived. Robert Schumann was extremelyRead MoreSchumann and the Kinderszenen3355 Words   |  14 PagesSchumann and the Kinderszenen Robert Schumann, composer throughout the early- to mid-nineteenth century, is probably best known for his songs and piano works. Before injuring his finger most likely through the use of a chiroplast (an instrument that guides the hands while playing; highly controversial), Schumann was an avid piano player, if not a proper concert pianist and virtuoso[1]. But due to this ailing finger, Schumann had to eventually find other means to support his life. ThankfullyRead MoreCreative Development of Robert Schumann2049 Words   |  8 PagesConcert program: The creative development of Robert Schumann Introduction One of the unique features of the 19th century composer Robert Schumanns output is the degree to which the verbal mediums of literature (such as poetry and drama) affected his musical output. While many operas have been inspired by great literature, Schumanns expression even in his piano compositions and non-verbally oriented musical works show a literary flair. Many of his compositions allude to characters or scenes fromRead MoreMusic : Music Elements Were Analyzed And Understood1359 Words   |  6 PagesJanice Jacob Language of Music Concert analysis This semester various music elements were analyzed and understood. Through the usage of various musical elements each piece was able to express the composer’s emotions and ideas. The first concert that was attended was composed of classical compositions. It was called: solo and chamber concert. The second concert or performance I attended was Pinocchio. In these concerts various instruments were used to play and express the piece. In addition, singersRead MoreMood Disorders : Their Influence And Portrayal Of Art1466 Words   |  6 PagesTheir Influence and Portrayal in Art Charles Frankel said, â€Å"Anxiety is the essential condition of intellectual and artistic creation and everything that is finest in human history†. There is some evidence to support this idea that anxiety and other mood disorders are essential to many forms of art. In this article I will examine how mood disorders influence art, as well as give multiple examples of how mood disorders are portrayed in the following art forms: paintings, literature, and music. BeforeRead MoreAnxiety And Other Mood Disorders1460 Words   |  6 Pageshistory†. There is some evidence to support this idea that anxiety and other mood disorders are essential to many forms of art. In this article I will examine how mood disorders influence art, as well as give multiple examples of how mood disorders are portrayed in the following art forms: paintings, literature, and music. Before we can broach the topic of art and mood disorders we need to have a good basis of what mood disorders are. Mood disorders are defined as â€Å"a perpetual and significant disturbanceRead MoreDifference of Ideals Between 19th and 20th Centuries1057 Words   |  5 Pagesover the 19th and 20th centuries. These ideals covered many genres of music from piano music, orchestral pieces, to operas. The composers of these times tried many different techniques and styles making a lasting impression on the Romantic era of music. Some of the most influential composers during the 19th century that we discussed were Franz Schubert, Hector Berlioz, Frederic Chopin, Felix Mendelssohn, Robert Schumann, Carl Weber, Richard Wagner, Gioachino Rossini, Giuseppe Verdi, FranzRead MoreConfessions Of A Key Board Dabbler1832 Words   |  8 Pagesattended my first SWIC Music Faculty Preview Recital at the Schmidt Art Center. The venue for the afternoon recital was held in the gallery room, a room set up for an audience of about 50 music majors. In the front of the hall sat a white grand piano on parquet floors; the walls of the room were adorned with art of varying mediums. Having mucked around on the piano as a child, I sat enthusiastically as a musical amateur in great awe of anyone with talent of the keyboard or gift of music of any kind. Read MoreThe Aesthetic Qualities Of A Musical Selection From Space Odyssey1568 Words   |  7 PagesIntroduction From a young age, I’ve had a great interest in all sorts of music. I appreciate and enjoy listening to classical, opera, rap, hip-hop, country, contemporary and Mexican music. When I signed up for Music Appreciation, I was excited to learn more about the history of music and the instruments used. I wanted to learn what to listen for and how to understand the different types of music. There are many styles of music from different eras. After taking notes on a variety of listening exercisesRead MoreBread and Puppet Theatre and the Audience2139 Words   |  9 Pagesritual for everyone just like eating bread.` We give you a piece of bread with the puppet show because our bread and theatre belong together. For a long time the theatre arts have been separated from the stomach. Theatre was entertainment.` (Peter Schumann, Bread Puppet official website). The foremost goal of this theatre is to raise feelings of sensitivity in the viewer and to outline what the terms good and evil m ean, especially in political spheres. This reflects the use of the audience as

Effect Of Plastic Surgery On Teenagers - 1370 Words

In March of 2008, a Florida girl went for a regular routine of cosmetic surgery, as the procedure began, her body temperature started rocketing abnormally high and the heart rate went out of levels. Right then, having to take extra precautions, the clinic flew her out to a hospital, later pronouncing that she had fallen into coma and soon after, passed away (Rivero 1). This mistake had sparked an outrage all over the world, not only because an innocent human being had died but it was a source that started it all, plastic surgery. Therefore showing that plastic surgery in teenagers should not be an escape of reality for teens, for the reason that with any human being, their features on their body will change, the surgery could possibly make†¦show more content†¦In almost all cases when a teenager feels the need to go under the knife for a fix on their appearance, it is because of self-esteem issues they are facing as a teen. Added pressure from social media we all know subseq uently well in this world lower those issues furthermore as well as hook on to what is striking and not in body appearances, but also the fact that there are many numerous of people being bullied by other people. This particular thing undermines the strides teenagers are willing to take from such childish and unimportant problems. The way that such hatred in this world even exists is completely uncanny, but the fear many teenagers face with those issues that they might have with their body or face, will almost always consider an option of plastic surgery to transform themselves into something enhanced. The price of that mishap will be their outlook on their future, what they might think is the most ghastly thing anyone has ever seen, may be the most elegant thing in the biosphere as they reach in their twenty’s. Yet some readers may challenge the view that teenagers will still continue to observe their negatives about their body as they grow older, because itShow MoreRelated Effects Of Plastic Surgery Among Teenagers1467 Words   |  6 Pages Plastic Surgery amongst Teenagers is on the rise In the year 2015, where here in the United States following the lastest celebrities has become an influence on many teens across the Unites States, what I mean by influence is plastic surgery. You see it everywhere it s on TV, on billboards, on the radio and all over the magazines. It seems as if everything a well known celebrity does teens want to do also. And what celebrity has gottenRead MoreTeenagers Should Never Have Cosmetic Surgery Essay1555 Words   |  7 PagesTeenagers Should Never Have Cosmetic Surgery In 2012, over 236,000 teenagers from the ages of 13-19 years old, went under the syringe to have a cosmetic procedure done (Gilbert, Web). Teenagers should never be able to have cosmetic surgeries because of the harmful effects the procedures have. Teenage minds and bodies are not fully developed until they are in their early twenties. Therefore, doctors are unable to fully comprehend the risks these procedures will have on the teenagers, since theirRead MoreSocial Media On Teen Plastic Surgery1177 Words   |  5 PagesIntroduction a. Understanding plastic surgery. b. Knowing the reason why people would most likely operate plastic surgery. c. Knowing whether plastic surgery is a way to promote beauty or destroy it. II) The Main Conflict a. Knowing how plastic surgery destroys beauty rather than promote it. b. Many people go overboard with surgery to look MORE beautiful. c. Lack of self-confidence guides people into fakeness. III) Plastic surgery in a developing teenager a. The influence of socialRead MoreCosmetic Surgery : Surgical And Nonsurgical Procedures1293 Words   |  6 PagesCosmetic plastic surgery is surgical and nonsurgical procedures that reshape the normal body structure in order to improve appearance and self-esteem. Some of the most common cosmetic procedures are breast augmentation, liposuction, and rhinoplasty. Individuals with a healthy mind, positive outlook, and realistic expectations are appropriate candidates for cosmetic procedures. Plastic surgery is a personal choice and should not be done to fulfill someone else’s desires or to try to fit into an idealRead MoreAnalysis Of The Article Teens Under The Knife By Kaitlyn Ali And Tiffany Lam1351 Words   |  6 PagesKnife written by Kaitlyn Ali and Tiffany Lam readers are informed on the possible risks that are exposed to teens who have cosmetic surgery. Ali and Lam state, There are many risks in plastic surgery, such as permanent numbness, infections, blood clots, an d even death (par. 9). The developing bodies of teens are still changing which could lead to altering the effects or future displacement of the surgical procedure. The article states, Because teens bodies are still developing, what [teens] changeRead MoreThe Picture of Beauty has Brainwashed Everyone1229 Words   |  5 Pageseverybody brain, its brain washing everyone. New models, style look and haircuts are up there every day making everyone go insane to try them out. Some people would look nice in them and the others will look bad which going to cause a disaster. Some teenagers these days are always trying to seek out the beauty inside them and the disaster is if it didn’t work, it would make the person paranoid. Even the little kids have some special toys called Barbie or baby doll. Children can dress up the doll and wearRead MoreTeen Cosmetic Surgery is Ugly1059 Words   |  5 Pagesprior to filming, many plastic surgeons and parents worried fans would want to do the s ame based purely off of cosmetic reasons. Tisdale had a leading role in a movie where she was popular, had a great singing voice and all the guys seemed to want her. Why would the youth today not want to look like her? All of these reasons are insufficient when it comes to reality. Unlike adults who undergo plastic surgery to turn back the clock, teens sometimes crave plastic surgery to fit in. They may thinkRead MorePlastic Surgery Operations For The Age1337 Words   |  6 Pages356 plastic surgery operations for the age group 13-19 in 2012 alone (Penningtons Manches) and surely the rate has increased in the past 4 years. Many people believe that it is up to the child to decide what they do to their bodies but those decisions can negatively affect their overall wellbeing. Understanding that there are certain exceptions, such as it being medically necessary, to this, teenagers under the age of 18 should not be allowed, even with parental consent, to get plastic surgery forRead MoreEssay on Photo-shopped Lies1050 Words   |  5 Pagesthat have benefitted us for years now. Although all of this rings true for media, some portrayals in media have had devastating effects that continue to increase. Photoshop has become increasingly popular to magazine and brand edi tors, celebrities, and models. This affects the way teens see themselves resulting in drastic measures such as eating disorders, cosmetic surgery, and bullying one another for being different. The first case of an eating disorder recognized medically was in 1873 (â€Å"Key Events†)Read MoreSociety s Outlook On Plastic Surgery963 Words   |  4 Pageson plastic surgery has changed throughout the years; it has become something so common that it is no longer looked down upon on. According to the American Society of Plastic Surgeons â€Å"15.6 million cosmetic procedures, including both minimally-invasive and surgical, were performed in the United States in 2014, an increase of 3 percent since 2013.† and the rates continue to expand as the years go by. There are so many more surgical procedures that can be done compared to when plastic surgeries began

Dance Choreography Free Essays

string(100) " you had to have an understanding of what you want from dancers before you start working with them\." RESEARCH PROJECT SUBJECT TITLE: Choreography TOPIC: Choreograph two dances in the school musical, High School Musical ASSESSMENT TYPE 1: FOLIO PROPOSAL RESEARCH DEVELOPMENT Weeks 1-4: (Background Research) †¢ Plan for the year. Background research – history of choreography †¢ Send letter to Kenny Ortega and Mia Michaels in America †¢ Analyse DVDs of musicals, Grease, High School Musical, Centre Stage, Bring It On Fringe and Festival Performances †¢ Research copyright laws and copying exact moves from the movie Weeks 4-10 (the audition process) †¢ Send email to VN about auditioning techniques Interview ET, ST, AP about auditioning experiences †¢ Interview BS about how she selects dancers for musicals she choreographs †¢ Choreograph audition dance and get feedback †¢ Interview MB about what inspires her choreography Weeks 10-11 †¢ Teach audition piece and select dancers †¢ Weeks 12-14 †¢ Research famous choreographers and how people learn Weeks 11-14 †¢ Choreograph dances to teach at the musical camp †¢ Attend camp and teach dances and rehearse them Weeks 15-20 †¢ Continue rehearsals and polishing performances †¢ Discuss my ideas for costumes for the dancers School Musical Performance BACK GROUND RESEARCH ABOUT CHOREOGRAPHY AND CHOREOGRAPHERS (and my annotations in blue) Kevin O’Day: starting at the top – choreographer and dancer Kevin O’Day, the redheaded dancer so familiar to us from his distinguished tenure with the company of Twyla Tharp (he toiled there eight long years), his duties as soloist with American Ballet Theatre, and his current membership in Mikhail Baryshnikov’s White Oak Dance Project, has made a bravura leap into the tenuous, difficult world of choreography and emerged a winner. makes me realise that choreography isn’t easy, and not everyone succeeds, not even experienced dancers) With astonishing aplomb, O’Day, at thirty-two, seems to have sprung full-grown into the arena of making dances, forging a vocabulary that while tinged with influences nevertheless shapes movements and phrases at once formal, musical, inventive, and genuinely felt. We will write a custom essay sample on Dance Choreography or any similar topic only for you Order Now realise my choreography will probably show influences from teachers I have had) That his choreographic gifts should have made themselves evident within the span of less than a year, and through only two brief works, each under a distinguished aegis, is a tribute to his finely honed dance sensibilities and to the eyes and minds of his champions, Baryshnikov and Peter Martins. Indeed, so strong was their belief in O’Day’s talent and so positive was the audience and critical response to these fledgling works that both directors instantly commissioned new works for their respective companies. (shows that if people believe in you and guide and support you the choreography can become amazing. Also if something is so spectacular your work can get noticed and take you far) On February 9. O’Day’s second work for New York City Ballet (still untitled at press time) will be premiered. It is set to a score by the young English composer Graham Fitkin. Last December in Tokyo, White Oak unveiled O’Day’s The Good Army, to music of John Lurie of the Lounge Lizards, with Baryshnikov as one of its dancers. This uncommon whirlwind of choreographic success (success is hard and uncommon! ) all began in March 1994, when the White Oak Dance Project gave its first New York season at the New York State Theater. There was no question that O’Day’s first ballet. entitled Quartet for IV (and sometimes one, two or three †¦ , was the unqualified hit of the company’s first New York appearance. While several pleasures were garnered from Baryshnikov’s small troupe, not the least being his own masterly and immaculate performances, the company’s repertoire was short on originality or genuine interest. When O’Day’s moment came, audiences responded with an immediacy that indicated the relief they felt at finally encountering a work that, in its exuberance and emotional focus, proved as intellectually engaging as it was entertaining. This para shows that if something isn’t original or interesting the audience just doesn’t respond, but when something amazing is seen before them they react and now are much more engaged) A few critics carped at what they considered O’Day’s glaring Tharpisms, such as his noodling with her polycoordinations and her odd manipulations of phrasing. But some, notably Arlene Croce in the New Yorker, found this choreographic debut remarkable and worthy of attention. (His debut shows that even your firs t show can be great. Gives me hope) When only a few weeks later O’Day presented his second ballet, Viola Alone (With One Exception), set to Hindemith, created at the invitation of Martins for New York City Ballet’s prestigious Diamond Project II, the rarity of O’Day’s gifts became even more evident. Here was a work of very particular craft and content. (Not all dancers can choreograph) Dance Magazine senior editor Tobi Tobias, writing about the Diamond Project premieres in New York magazine, stated, â€Å"O’Day’s ballet, the most vivid and engaging of the seven [seen], shows him attempting to steer clear of the Twyla Tharpisms that are his heritage. (still need to be individuals and break free from your influences)Then, describing the flow and structure of the ballet, Tobias concludes, â€Å"At the end, [Alexander] Ritter gestures toward the onstage violist, as if to say, ` The carefree days of my life–gone now–lie in this music,’ but sentiment is so ruthlessly excluded from the earlier proceedings that the chief elements of the piece remain lusty energy and bold motion, deftly marshaled. On speaking with O’Day, one learns that the act of choreographing has long been part of his life as a dancer, a by-product of observation and, of course, desire: â€Å"I had always worked in studios on my own whenever I could,†. he says. I’d get a video camera, set it up, and I’d dance around. I was collecting material. (I will be doing this this year – e. g. experimental research) â€Å"I learned from Twyla Tharp that if you’re going to choreograph, you had to go into the studio by yourself and spend time working. You just had to work and work and work. And you had to work on your own way before working with a group of people or even just two people. The point is, you had to have an understanding of what you want from dancers before you start working with them. You read "Dance Choreography" in category "Papers" You can’t just snatch things out of the air. (This is excellent advice – working by yourself before working with the class so you can perfect the piece. It takes a lot of time and lots of practice but this way you know how it looks and what to expect from the dancers) â€Å"The influence of Twyla helps me when I’m in the studio alone. You see, Twyla has a lot of ways of putting movements through a road test. She’ll improvise, make a phrase, then turn it into something very solid. She would also change the music. Within the span of an hour she might change the music four or five times. So, she makes a body of material, and that’s been her greatest influence on me: how to put together a body of material. â€Å"(a lot of trial and error will be involved, so must allow time to experiment) Thus, explains O’Day, he, like Tharp, will try things on is own body, sometimes to different music, and create a patchwork that may ultimately be used in a work: â€Å"The more I try this, with different textures, different music, different road tests, different qualities of doing a movement, to see how far a movement can be stretched or shrunk. All these things serve to build a body of material, which might then go into forming a piece. † Dance Magazine, Feb, 1995 by John Gruen http://findarticles. com/p /articles/mi_m1083/is_n2_v69/ai_16686035/ NIGEL LITHGOW’s line – â€Å"if the choreography is simplistic it is up to the performer to bring the routine to life. (So You Think You Can Dance) Will really apply to me as most of the students I will be working with don’t have much experience –so will have to have simple steps. This means that I will have to enforce that dancers have to be so energetic to really bring the moves to life. This shows that my choreography, although very important, isn’t everything. There’s a big responsibility on the dancers to bring the dances to life. I will share the quote with the group when it’s looking dull so they can bring it to life. My views on RESEARCH ON HOW TO TEACH: from article in SACE STAGE 2 Physical Education Workbook, Different methodologies (ways to teach or coach) Visual Demonstrations –this is the most effective way of teaching dance. This is the main method I have used so far and it’s the method I will continue to use the majority of the production. This won’t have to be done as much once the dance is learnt as the students have to know how to do it without me because I will not always be standing at the front. This method is so useful for them to get a picture of the dance in their head and how to do it correctly. Usually when we start a rehearsal and before I begin to teach a new dance I sit everyone down and stand out the front and do the dance properly so they know what the dance is meant to look like. Then I break down each move, visually showing the cast each step. This would best suit visual learners. Audible Cues – when I am teaching a dance from the beginning this method will only be used in conjunction with the visual demonstrations. Just verbally telling them how to do the dance won’t work. This will be used also when they are doing the dance and I can call out the counts or â€Å"Arms straight! , â€Å"Point your toes† etc. When I am instructing, have to ensure that instructions are short and simple so I don’t confuse/overload the learner and once they know the moves the instructions can get more complex. This obviously suits a verbal learner who understands best through written and spoken words. Manipulation – haven’t used this methodology so far, but from past experience in dancing I know it’s very effective. I believe it’s more useful for beginners or those who struggle with dancing. Basically I have to physically put the person’s body/arms/legs through the correct range of motion. Obviously there is a slight ethical concern here, I have to ensure I don’t touch someone in the wrong way. But I think I will start using this more especially with arm movements as they can be quite tricky and visually and verbally showing them how to do it doesn’t always work, Reflections about article Tips for Teaching – Seven Principles of Good Practice http://honolulu. hawaii. edu/intranet/committees/FacDevCom/guidebk/teachtip/teachtip. htm#techniques Use time well – very important – time is everything, to get production ready on time. Have to keep reminding cast and they have to help. I have to completely plan rehearsals and set realistic goals. Communicate high expectations – â€Å"Expect more and you will get more†. – reflects my way of teaching. I have such high expectations of this musical and have a vision of how good it will look. Expecting the cast to perform well is a bonus for me as I will put in the effort to ensure it reaches this standard. Respect diverse talents and ways of learning – have to ensure all dancers have opportunity to learn in ways that work for them. Seize the moment – if people come and ask for clarification – even though I might not have time to help them, I should as they are probably ready to learn at that moment. Involve the student in planning – this could help if I’m stuck for ideas giving the groups challenges to come up with choreography. There is some student involvement in the freestyle parts where students get the chance to be creative and do their own thing. Move from simple to complex- I can use this principle in my teaching for sure – If I teach complex choreography to begin with and then assess everyone’s progress who finds it easy and who finds it difficult. Then if everyone gets it and it looks too simple I can make it more difficult. TELEPHONE INTERVIEW WITH ST (actor, singer, dancer) + My Reflections (in blue) a) What do you think works well in auditions as a performer? Having confidence is the key to success. Believing in yourself. Forgetting a move – just keep going I will have to reinforce these points to all the cast. They should be confident and believe in themselves and remind them to keep going even if they make mistakes. b) How does a dance audition usually run? Get there and register (giving name, age, details experience). This is a good suggestion; however, using numbers could be a bit intimidating for our students. We would get them to fill out their details of experience etc You then sit in a waiting room – most people warm up here. If it is an audition with a prepared dance you practice it. We’d give them time to warm up, but not in another room Usually there would be 2 sessions with 40 dancers. You get called and line up and learn the dance in rows of four. First four would do the dance and then go to the back of the line. Because of the time constraints we’d only have one session but I like the idea of doing it in rows and them moving to the back of the line There isn’t usually a set warm up- done by the performers while they are waiting. I’m considering doing a set warm up – only because a lot of the performers are inexperienced and would not know what stretches to do. c) What auditions have you been successful in and why is that? Is it because of the way the auditions were run? It is mainly the auditions which make you feel really comfortable. You are already nervous enough as it is and the places that make you feel safe and secure make you perform better. The environment makes big difference, for example you would be feeling scared auditioning in a spooky house so rooms with warm nice colours give it a good feeling. I will make an effort to be really friendly, welcoming and kind to make the students feel comfortable. A lot of them would never have danced before and I wouldn’t want them to feel scared and not come back. In no way would I get angry, frustrated or grumpy if they’re not being cooperative. I’ll be the nicest person I can try to be. ) Are the dances usually hard so the good people excel or easy so everyone has the opportunity to shine rather than focus on the moves? Usually you would learn a dance that is either going to be in the show or a similar style to what is going to be in it. At first I wanted to do a different dance rather than one we’ll use but after hearing this, and after talking to the director, I have decided to do the chorus of â€Å"We’re all in this together† for the audition dance. e) Anything else you would like to add? You would usually receive a phone call, email or letter in the post about 3 eeks later saying if you’re successful or not. I’d have to discuss this with other teachers involved, but we’d probably take 1-2 weeks to decide and let them know by hanging up the parts or telling them in person. You need a large wide room as there is nothing worse than trying to dance when it is crowded and squishy. Mirrors and bars are something you need but if it’s at school you might not have it. The auditions would usually be held in the hall but from past experience this is narrow and squashy. Ideally I’d like them to be held in the spacious gym, but guess it depends on the availability of the gym. The main thing is to talk loud. With echoing rooms the noise can bounce off the walls and it is hard to hear which is difficult for people at the back. You are already nervous enough and this makes it much more stressful if you can’t hear the instructor. This is a good point. Nothing is worse than not being able to hear the teacher, especially in a big room where there’s lot of people. I’m going to speak loudly and clearly so everyone can understand. This also raises the issue if there’s so many people in rows, it’s hard to see people up the back I think this interview was really successful as ST gave me some really good ideas and insights. REFLECTIONS ON THE MOCK AUDITION AND WHAT I LEARNED ABOUT CHOREOGRAPHY On Monday I gathered 3 close friends to trial the audition process. The aim was to teach the dance I had prepared for the audition and get some feedback on what the dance was like and how I went teaching it. I chose three friends with 3 diff levels of dancing ability: one is a talented well coordinated dancer; one is a competent dancer but inexperienced and one is not into dancing at all. I filmed the majority of the audition if I need it for future reference. I think this was a valuable task and I got so much out of it as I faced some hurdles but the main thing was they learned the dance in the allocated time frame. One thing I learnt during this mock audition is to be totally prepared. On the day I forgot the CD I was using. I also thought about what was a more appropriate method of teaching; facing the cast and therefore the moves being opposite direction or facing the same way as the cast with them not able to see what is going on the front of the body. I also had to think about how much I would teach at once. For example, teach 4 or 8 counts before renewing it. How competent did they have to be before we tried it to the music? I also demonstrated the moves in different areas around the room so everyone got to see exactly what I was doing and from different angles. I found I needed to speak slower and clearer to G as she needed more explanations so I have to remember there will be a variety of standard in the room. Giving the cast the opportunity to do it without me, whilst I sit back and watch not only gives me the chance to see how my choreography looks but makes the students think harder. From past experience I know that doing a new routine without the teacher demonstrating with you gets the routine drilled in your mind, especially as they’ll have to do it alone/pairs at the audition. Giving the cast the opportunity to watch me and the way it is meant to be done will also help. Finally I think I have to show I’m confident and happy with my choreography because I thought I looked a bit embarrassed and worried about what others would think. Things I’ll do the same- filming, deconstructing choreography into 8 counts, demonstrate with them NOT participating, demonstrate with them following, face same way as cast then swap so they get to see the whole picture, stand aside and watch them do it alone, move around room demonstrating + giving advice, get feedback. Things I’ll do different- be more organized, more confident, speak with louder voice, don’t get frustrated as everyone learns at different pace, get into it – be OVER THE TOP, wait till they’re more competent before practicing with music. USEFUL ADVICE FROM VN about how she chooses successful dancers at the udition (from email):Compare the dancers to the strongest performer in the group. Other things like heights to make the sure the group is evenly balanced. How the performer presents themselves for an audition is also important. AUDITION PROBLEM: A problem we encountered during this process was a large number of people pulling out after the audition and callback process This really worried me as I was stressed that everyone would pullout and we wouldn’t have a big enough cast. After talking with the other teachers involved I realized that this was a positive. A smaller cast would be a lot easier to handle and would be easier to get 50 people looking tight and uniform compared to 100. This number would also fit on the stage better and give everyone the opportunity to be on stage for most of the time. Another problem with picking parts was that we had a lack of boys to begin with†¦I think I will have to learn not to stress too easily as things usually fall into place at the end. ETHICAL CONSIDERATIONS. – keep in mind people’s feelings. A lot of these kids have never danced in their lives so I have to treat them with respect when teaching the dance and give them the time to pick it up. Not that I want to do this, but I can not laugh, or stare or give sarcastic comments or do anything to restrict them wanting to return to practices†¦. Also when choosing parts I have to be aware that my friends are auditioning and not be tempted to favour them and give them important roles if they don’t deserve them. I have to leave friendships aside and be unbiased, treating everyone fairly. – I also have to remember not to copy the choreography from the movie. The part I did adapt for the finale is the only part I am really going to use. This just reminds me that someone else has spent so much time choreographing these dances and it is not fair if I take them completely and say they are mine. Not to mention legally this would not be allowed. I actually don’t like some of the choreography in the movie so I don’t want to take it and besides a lot of the choreography would be too difficult for our standard of dancers. So sticking with the another method I have just come up with ,where I play the music and just do what comes to my head seems like a good thing to do. PROBLEM: There are not any huge problems at this stage. One thing that I have to go is remember to keep researching. I am doing a lot of choreographing at the moment which is obviously a positive thing, but I also have to remember that this subject is the research project. Now the audition process is over I don’t have to keep researching that but I do have to keep looking at ways of teaching and research choreographers and what makes other musicals good. In my last discussion Ms W told me I was not doing enough researching. FEEDBACK ON MY CHOREOGRAPHY FROM questionnaire to a third year Dance student at Adelaide Centre of the Arts (showed him the footage taken at the Musical Camp) What do you think of the choreography of ‘We’re All In This Together’? It’s great, for someone so inexperienced. Looked effective and strong as a large group. Obvious that it’s taken from the movie which is what your audience will want to see, but some of your easier modifications look cleaner. Some students are struggling –especially some boys and some leads. What could be changed? Perhaps some of the hard moves could be modified/slowed down, especially in the Wildcats’ cheer at the end. Arms look messy and un-uniform in â€Å"wave your hands up in the air†. It doesn’t even look like there are any set moves. In chorus, â€Å"When we reach, we can fly†, maybe arms could be simplified. Looks all over the place. What am I doing well in the area of teaching the moves? The way you break down every single move helps cast know where the placements are. Modifying moves as you go along is a positive as you’re not changing it later when the old move has already stuck in their head. Like the way you demonstrate it alone first. What do you think I could do to improve? Louder voice! Don’t look as nervous, your body language makes you seem not confident. Stand closer to cast, feel free to mingle and help individuals. You did seem more capable and confident as time went on. What did the choreography look like so far in Status Quo? Looked great, loved the big chorus around the tables. Good idea doing it around one big circle so everyone gets a feel for the directions. Good concept – Brainiacs and book dance. Overall looks like a fun piece, shows great potential. What could be changed? Brainiacs’ dance needs to be sharper, maybe tell them to get into it a little more (footwork needs to be the same at the end of the dance). Some small groups could have simple choreography. A lot of freestyle people just need to get right into it or learn how to freestyle better (show them some moves ) Slow motion needs more work (actual moves. ) I do understand this is a work in progress. [pic] [pic] DISCUSSION My notes |How research is developing: |Ideas developing through the research | |firstly – looked at internet, dance magazines for info on choreography. Not all dancers can choreograph | |Was quite useful and made me more confident |Its up to the dancers to make the choreography â€Å"sing†, so simple moves can | |second – interviews with dancers+ choreographers about auditions to help|be really effective (good to know as I will probably be | |me get ideas about running auditions and selecting the dancers. Was |Creating a positive atmosphere is important to make performers feel | |really useful comfortable and get the best out of them (particularly important in our | |third – experiment al – started getting down my ideas about the |school – with boys and inexperienced dancers) | |choreography for the audition |Need to speak loud | |fourth –ran a mock audition to trial my choreography and practice |Break choreography into small parts, e. g. – 8 counts | |teaching it to a small group |Make sure performers are confident with steps before adding difficulty by | |NEXT – plan to look into learning styles and how to teach, so I get more|doing it to music | |information about how to teach the dances successfully |Good to sometimes demonstrate facing the cast, but also facing same | | |direction as them so they can follow | |Knowledge and skills I am developing and applying |FEEDBACK FROM TEACHER | |Knowledge -Many things about ethical considerations in being a |-Ms W said I need to remember that focus of the task is actually research, | |choreographer, such as: |not the choreography of the dances, that most of what I had done so far was | |how strict copyright laws can be. How important it is not to copy the |thinking about the steps and how I will run the audition, so need to think | |exact moves of the dances in High School Musical, also how to get |of more ways of incorporating research into it. this is true – but am | |permission to obtain performing rights , cant change the American |pretty nervous about what people will think of my choreography –so I keep on| |flavour of it or the script in any way etc |thinking about this) | |being completely fair when selecting parts for the musical – have to be |Suggested I analyse the DVDs of High School Musical and the Behind the | |professional and not let friendships influence my decisions |Scenes extras to get ideas. Also really needed to get on to organize visits | |Be aware of the abilities of the group |to view performances. |Many things about how to teach – importance of things like giving |Also suggested I undertake more research into t he features of a well | |students a say where possible (even though this is pretty difficult with|choreographed dance and look at some theoretical writing about choreography,| |dance – would look a mess if I did this) |so that I will be able to base the decisions for my choreography on more | |Importance of using different teaching methodologies |technical aspects drawn from the research. This would show that I have more | |Essential to be super organized ( have forgotten music CDs on a couple |thoroughly researched my topic. Will ask the dance teacher for some | |of occasions – is disastrous and don’t look professional) |suggested readings on this. |How high expectations can be really productive- encourage performers to | | |strive – but not be too high that they cant achieve them | | |Knowledge Skills in Choreography – importance of facing dancers but | | |also showing them when facing the same way. Teaching routine in small | | |chunks, then lo ts of repetition. Plotting patterns on paper and planning| | |beforehand. | |CHOSEN CAPABILITY: | | |Really enjoying being part of the musical and assisting others to | | |develop their creativity, as well as myself | | |Learning a lot about being sensitive to others- particularly with | | |learning to dance – it’s pretty scary and challenging for some so I | | |really need to take that into consideration | | |Have been getting feedback from a few people (teachers, director, stage | | |manager etc) and taking it into consideration. Is really helpful | | Stage 2 Research Project Performance Standards |Planning |Application |Synthesis |Evaluation | | |[pic] |[pic] | | | |[pic] | |A |Thorough consideration and |Thorough and highly resourceful development|Insightful synthesis of knowledge, |Insightful evaluation of the research | | |refinement of a research |of the research. |skills, and ideas to produce a |processes used. | | |topic. |In-depth analysis of information and |well-developed research outcome. |Insightful reflection on the nature of the| | |Thorough planning of research|exploration of ideas to develop the |Insightful and thorough substantiation of|chosen capability and its relevance to | | |processes that are highly |research. |key findings central to the research |themselves and the research project. | | |appropriate to the research |Highly effective application of knowledge |outcome. |Well-considered and insightful reflection | | |topic. and skills specific to the research topic. |Clear and coherent expression of ideas. |on the research outcome and its value to | | | | | |themselves and, where applicable, to | | | | | |others. | |B |Consideration of the main |Considered and mostly resourceful |Considered synthesis of knowledge, |Considered evaluation of the research | | |area of research and some |development of the research. |skills, and ideas to produce a |processes used. | |refinement of a research |Some complexity in analysis of inf ormation |well-developed research outcome. |Considered reflection on the nature of the| | |topic. |and exploration of ideas to develop the |Substantiation of most key findings |chosen capability and its relevance to | | |Considered planning of |research. |central to the research outcome. |themselves and the research project. | | |research processes that are |Effective application of knowledge and |Mostly clear and coherent expression of |Considered reflection on the research | | |appropriate to the research |skills specific to the research topic. |ideas. outcome and its value to themselves and, | | |topic. | | |where applicable, to others. | |C |Adequate consideration of a |Adequate development of the research. |Adequate synthesis of knowledge, skills, |Recount with some evaluation of the | | |broad research topic, but |Adequate analysis of information and |and ideas to produce a research outcome. |research processes used. | | |little evidence of refining |exploration of ideas to de velop the |Substantiation of some key findings |Reflection on the relevance of the chosen | | |the topic. research. |central to the research outcome. |capability to themselves and the research | | |Satisfactory planning of |Adequate application of knowledge and |Generally clear expression of ideas. |project. | | |research processes that are |skills specific to the research topic. | |Reflection on the research outcome and its| | |appropriate to the research | | |value to themselves and, where applicable,| | |topic. | | |to others. |D |Basic consideration and |Development of some aspects of the |Basic use of information and ideas to |Superficial description of the research | | |identification of some |research. |produce a research outcome. |processes used. | | |aspects of a r esearch topic. |Collection rather than analysis of |Basic explanation of ideas related to the|Superficial reflection on the relevance of| | |Partial planning of research |information, with some superficial |resea rch outcome. |the chosen capability to themselves and | | |processes that may be |description of an idea to develop the |Basic expression of ideas. |the research project. | | |appropriate to the research |research. |Some reflection on aspects of the research| | |topic. |Superficial application of some knowledge | |outcome and its value to themselves and, | | | |and skills specific to the research topic. | |where applicable, to others. | |E |Attempted consideration and |Attempted development of an aspect of the |Attempted use of an idea to produce a |Attempted description of the research | | |identification of an area of |research project. |research outcome. |process used. | | |interest. Attempted collection of basic information, |Limited explanation of an idea or an |Attempted reflection on the relevance of | | |Attempted planning of an |with some partial description of an idea. |aspect of the research outcome. |the chosen capability to themselves and | | |aspect of the research |At tempted application of one or more skills|Attempted expression of ideas. |the research project. | | |process. |that may be related to the research topic. | |Emerging awareness that the research can | | | | | |have a alue to themselves and, where | | | | | |applicable, to others. | ———————– My topic and question. †¢ To choreograph two dances in our school musical, the much anticipated â€Å"High School Musical†. †¢ Really interested in dance. Have been doing calisthenics since I was two and am member of the Junior Crows Cheerleading Team. Have been in two Rock Eisteddfod Teams. †¢ Thrill of performing gives natural high and experiences have brought lifelong memories, lifelong friends and lifelong skills which will get me through life. †¢ Want to try something new now, still in dancing field but in different direction where I can have a say in the choreography and what is going on. Relevance of The Chosen Capability: Citizenship †¢ I will be very involved in, and contribute to, the school community. †¢ Will have to show understanding of other people’s perspectives all along. †¢ Will be taking action to contribute to the school community objectives of giving students opportunities to develop their talents (artistic) †¢ Will be asking for and taking notice of people’s feedback – basically giving them a say in the choreography. Isn’t that democracy? Research processes Background Research- using internet, magazines, journals, newspaper articles. Research topics like: Choreography, choreographers, reviews of â€Å"High school Musical†, interviews with cast etc Analysing performances of musicals on DVD, during the Fringe, TV shows like â€Å"Dancing With the Stars†, â€Å"So you think you can dance†; Adelaide Fringe or Festival Shows Interviews – with dancers choreographers, I know + to get feedback on my choreography Will have to work with and negotiate with many others, e. g. the director, stage manager, costume designer, all the performers, choreographers. Be open to suggestions Experimenting with different routines (often in small groups I’ve got to think of the ethical considerations too e. g. : -Safety of the performers – make sure choreography is safe. -Privacy – get permission from people I interview them -Plagiarism – must make my own steps original and not copy the choreo Suitability to audience- make sure moves are suitable to audience of all ages and not offensive in any way. My Outcome The video of the dances + an oral to my teacher explaining my choreography. †¢ My Outcome The video of the dances + an oral to my teacher explaining my choreography (14) This student’s research development was presented in large scrap book folios, too large to reproduce as an exemplar. The following is a selection of this evidence, reduced to 10 pages, for inclusion in the student’s portfolio to be submitted for moderation and marking. This selection of evidence, with the student notes to record the discussion, can be used for moderation purposes to confirm the teacher assessment decision for Assessment Type 1: Folio. Comments On balance the Folio is indicative of a B standard. Planning: †¢ The research topic is well defined. Thoroughly considered research processes, which are appropriate to the task, as well as manageable and ethical, have been planned. Application: †¢ The research is developed in a mostly resourceful and considered manner, including web-based research on choreography, features of successful musicals, how to teach and the audition process. Feedback from more experienced choreographers, has been sought although evidence is not provided of the way the research develops in response to this. At times, there also appears to be an over emphasis on ‘doing’ the choreography. Information to develop the research has been methodically collected and documented. There is also some evidence of information being analysed in order to develop the research. Some complexity in analysis of information and exploration of ideas to develop the research is evident, such as in the responses to some of the sources located, interviews and the mock audition conducted. †¢ Knowledge and skills specific to the topic are applied in a highly effective way, such as in careful planning of patterns for different parts of the dance, preparation for the auditions. Assessment Type 1: Folio Assessment Type 2: Research Outcome Assessment Type 3: Evaluation How to cite Dance Choreography, Papers

Electronics Engineering for Literature Review - MyAssignmenthelp

Question: Discuss about theElectronics Engineering for Literature Review. Answer: Research Methods for Engineers Literature Review: Connection to the Literature: In this module, I would try to answer some of the reasons why are the researches important for engineers? For so many years researchers are using the old school methods to conduct researches. The methods used do give results but is very time consuming. I admire them and want to become like them but the approach to them would be a little different. They always stick to that old school methods of conducting an experiment. For example, to conduct an experiment of calculating lifetime of a heavy radioactive compound they let disintegrate for weeks, sometimes months. To avail the results quickly and precisely one need to change the way one sees the world. We need to change the way we conduct experiments. Being from the field of electrical science, there are number of experiments which need time to be recorded. I always wonder cant we introduce a new improved way of conducting it so that it gives results quickly and precisely. The answer lies in research techn iques. There are number of ways that can help us to do all we want but for that we need to conduct researches and that too efficiently so that it wont hamper the process and results. The research team is the specially designed set of people that would help us to avail future tech in present. The researches need to be developed to improve quality. For example, signals were limited to transmit data for a small range. With the research conducted and improvement of technology, we are able to transmit them to a greater, wider range. The transformation of walky-talky to mobiles is the wonder of science only because of efficient research. I am also researching in new techniques from the field of science that can help electrical engineers to develop new technology that would be better than before. Research Question: Why researches are time consuming? Why are the researches important for engineers? What are the reasons that researches consume time? What are the areas that can help the quality of research to be improved? Any suggestion for the ways that can widen the view of electrical engineering. Significance: The research is the sector that always inspired me to explore. The reason behind to study electrical engineering is to explore the aspects one can discover while studying. Electrical engineering is the branch that lets you work for the benefit for the humankind as one cannot imagine a world without electricity. This research is very important to me as this will let not only me discover the wonders of science but also many young fellows who dream like me. The researches need investment, especially in this branch. Transformers, heavy generators and various machinery need huge investment but everything is worth it as if successful, humankind would achieve a lot for its future demands. Connection to the Current Body of Knowledge: We all know researches are time consumes. I wish to work upon discovering methods that would let us get results in an instance. Earlier all use to start an experiment and let it work for days. We will work to find out methods that would let us use a small sample for a small time and observations and results would be made upon that. The researches are important for engineers as this will let the humankinds betterment for what engineers work for. As described earlier, the researches consume time as the method is old school. If we work upon to find new methods with maximum yield we can save our time. The areas that can be covered to find new and better techniques are the application of various resources we have. The new technology can be made by the use of existing tools with the right application of them. Specifically if we talk about electrical engineering, there is still lot to discover in this field. The field where they need to work is to find a way of generating a sustainable reso urce of energy. Nowadays, scientists are researching on microwaves that can be used to generate power by the radiations sent by sun during the release of solar waves. There are more and more stuff in science that need better techniques to be researched. Expected Outcomes: The expected outcome is that we would be able to find new techniques that enables us to find new and developed technology at a faster, cheaper and efficient way. Also the human community would be benefited as they will be able to use more efficient ways than before. The example of microwave is best suited. If we are able to change that energy for our use, we would get a more efficient power source. Also we would be able to save our earth from further degradation. References: Richard J. Mayerand others (1995).Information Integration for Concurrent Engineering (IICE) Compendium of methods reportAir Force Material Command, Wright-Patterson Air Force Base, Ohio. p.7-10. Harmsen M. Saeki (1996). "Comparison of four method engineering languages". In:SjaakBrinkkemperet al. (eds.)Proceedings of the IFIP TC8, WG8.1/8.2 working conference on method engineering on Method engineering: principles of method construction and tool support: principles of method construction and tool support. January 1996, Atlanta, Georgia, United States. p.209-231 SjaakBrinkkemper, Method engineering: engineering of information systems development methods and tools. Journal of Information Software Technology, Vol 38, n4, pp 275-280 (1996) abColette Rolland(2008)Method Engineering: Towards Methods as Services. Keynote speech ICSE0. 2008. Colette Rolland(1998).A Comprehensive View of Process Engineering. Proceedings of the 10th International Conference CAiSE'98, B. Lecture Notes in Computer Science 1413, Pernici, C. Thanos (Eds), Springer. Pisa, Italy, June 1998. Kelly, K. Lyyttinen, M. Rossi. Meta Edit+: A fully configurable, multi-user and multi-tool CASE and CAME environment, Proc. CAiSE'96 Conf., Springer Verlag, 1996 Harmsen, S. Brinkkemper, Design and implementation of a method base management system for situational CASE environment. Proc. 2nd APSEC Conf., IEEE Computer Society Press, pp 430-438, 1995 Merbeth. Maestro II- das intergrierte CASE-system von Softlab, CASE systeme and Werkzeuge (Ed. H. Balzert) BI Wissenschaftsverlag, pp 319-336, 1991 Si Said. Guidance for requirements engineering processes. In: Proceedings of the 8th international conference and workshop on 'database and experts system application', DEXA'97, Toulouse, 15 September 1997 Rolland. A Primer for Method Engineering. Proceedings of the INFORSID Conference (INFormatique des ORganisations et Systemesd'Information et de Decision), Toulouse, France, June 1013, 1997. abAydin, M.N., Harmsen, F., Slooten, K. v., Stagwee, R. A. (2004). An Agile Information Systems Development Method in use.Turk J Elec Engin, 12(2),127-138 Abrahamsson, P., Warsta, J., Siponen, M.T., Ronkainen, J. (2003). New Directions on Agile Methods: A Comparative Analysis.Proceedings of ICSE'03, 244-254 J. Welke K. Kumar (1992). "Method Engineering: a proposal for situation-specific methodology construction". In: Cotterman, Senn (eds.)Systems Analysis and Design: A Research Agenda.Wiley, Chichester. pp. 257268. SjaakBrinkkemper, KalleLyytinen, Richard J. Welke (1996).Method engineering: principles of method construction and tool support: proceedings of the IFIP TC8, WG8.1/8.2 Working Conference on Method Engineering 2628 August 1996, Atlanta, USA. Springer.ISBN 041279750Xdoi:1007/978-0-387-35080-6 SjaakBrinkkemper, Saeki and Harmsen (1998). Assembly techniques for method engineering.Advanced Information Systems Engineering, Proceedings of CaiSE'98. New York: Springer.doi:1007/BFb0054236 AjanthaDahanayake (2001).Computer-aided method engineering: designing CASE repositories for the 21st century. Hershey, PA: Idea Group Inc (IGI), 2001.ISBN 1878289942 Brian Henderson-Sellers, JolitaRalyt, Pr J. gerfalk and Matti Rossi (2014).Situational method engineering. Berlin: Springer.ISBN 9783642414664doi:1007/978-3-642-41467-1 Brian Henderson-Sellers, JolitaRalyt andSjaakBrinkkemper, eds. (2008).Situational method engineering: fundamentals and experiences: proceedings of the IFIP WG 8.1 Working Conference, 1214 September 2007, Geneva, Switzerland. New York: Springer.ISBN 0387739467doi:1007/978-0-387-73947-2 Brian Henderson-Sellers, C. Gonzalez-Perez andDonald Firesmith(2004)Method engineering and COTS evaluationin:ACM SIGSOFT Software Engineering Notes archive. Vol 30, Issue 4 (July 2005). Manfred A. Jeusfeld,Matthias JarkeandJohn Mylopoulos, eds. (2009).Metamodeling for method engineering. Cambridge, MA: MIT Press.ISBN 0262101084