Timbre In The First Movement Of La Mer

Timbre In The First Movement Of La Mer Timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices or musical instruments. Sometimes timbre is also known as tone quality or tone colour. La Mer is an orchestral composition by Claude Debussy. The composition began its life in 1903 in France and was finished in Eastbourne in 1905. Its first performance had mixed reviews possibly due to the strained relationship he had with his wife and also some critics said it did not create any sensations of the sea. The orchestra that premiered the piece was also poorly rehearsed. In this essay I am going to identify the basic categories of timbre employed by Debussy in the first movement, De laube à   midi sur la mer from La Mer. I am going to show how timbre is employed structurally through the course of the work, with clear identification of structural points and relationships between the sections. I will also show how timbre in this first movement is fundamental compared to other parameters. As we know Debussy was heavily related to impressionism which was dominated by atmosphere and the use of suggestion. Debussy uses timbre to suggest colour, mood and atmosphere, as would Monet or Renoir in their own paintings. In particular, one of Debussys greatest influences when composing La Mer was the Japanese artist Hokusai. In his painting The Great Wave of Kanogawa he shows a vivid but suggestive, powerful wave breaking with foam and spray crashing, creating a scene of terror. This painting is very similar to Debussys first movement, which is vague but also has moments of terror in it. This can be seen at bar 84 here the new section starts. Today, La Mer is highly regarded because of its powerful creation of colours and Debussys replication of the sea. Debussys unique employment of these creations have more than certainly gone on to influence many later scores, such as you might find within the film industry because of its suggestive atmosphere. For example, John Williams Jaws. Generally speaking, La Mer has been influential on many contemporary soundtrack composers because of its highly suggestive and moody atmosphere. The structure of this piece was quite different from other pieces composed around the same time. Debussy fits his structure around the moods, journey and life of the sea without any human element, just purely about nature. We can see through many books and online articles how important timbre was to Debussy. Caroline Potter in Debussy and Nature describes that Debussys representation of the sea avoids monotony by using a multitude of water figurations that could be classified as musical onomatopoeia: they evoke the sensation of swaying, movement of waves and suggest the pitter-patter of falling droplets of spray. We know that musical onomatopoeia is closely associated with specific musical instruments, so Debussy probably chose the instruments with a timbre he felt related to the sea, such as the flute solo at the beginning of the movement at bar 44 which might give the impression of a bird soaring above the sea: It has a lonely character, possibly a sea bird. Debussy also went a stage further when creating sounds related to the sea. Simon Trezise states in the Cambridge Companion to Debussy that for much of La Mer, Debussy spurns the more obvious devices associated with the sea, wind, and concomitant storm in favor of his own, highly individual vocabulary Debussy gives a pictoral title for his fist movement from Dawn to Noon on the Sea. Whether this was intentional to give a literal name for his first movement is unknown but the work certainly does create pictures of the ocean. Through the first movement we can hear the gentle swells and glistening surfaces of the sea to the breaking of the waves on the shoreline. Perhaps through the quieter parts of the movement it suggests that under the sea it is calm and unchanging yet on the surface is an ever-changing picture. La Mer is split into three different movements the first being From Dawn to Noon on the Sea with quick timbral changes to suggest the seas different, ever changing natures. From Dawn to Noon on the Sea is built upon short episodes, which use different instruments to suggest the various timbres of the sea. Debussy develops this to a wonderful suggestion of the swelling of waves, as a theme for divided cellos swells and subsides this is similarly copied by the timpani and ho rns. These episodes can also be heard in the final stages of the final movement. In the first movement of La Mer, Debussy remarkable use of timbre can be seen. As Paul Henry Lang notes, its a vibrating, oscillating, glimmering sound complex, caressing the senses in which Debussy rarely uses the full mass of the orchestra, but approaches it with delicacy and resourcefulness to shimmer in a thousand colours. As a result, Debussy splits his strings up into separate lines, combines the sounds of contrasting instruments, uses provocative harmonies with parallel chordal movement and unresolved progressions, and plays about with thematic fragments that never join together into full-blown melodies, all to achieve unprecedented, yet wholly natural, sounds and timbres. Pierre Boulez calls the result an infinitely flexible conception of acoustical instrumental relationships that avoided symmetry, a development conceived in feelings and irreducible to a formal classical plan. As noted in the introduction, La Mer was unlike any other piece composed at the time. He uses timbre as a relative to the structure of La Mer. The opening marked at pp starts with strings and harps. This timbre creates a still and calm opening, possibly representing the first light at dawn. Instruments are then gradually added, such as the rolling of timpani, with the deep, dark sound of the double bass, perhaps giving a sense of whats to come as well as contrasting with the harps and strings. Also at the opening our sense of pulse is ambiguous. The harps reflect this by playing in octaves in their lower register, together with the cellos also in octaves; producing a dark and resonant sound, which blends with the background. The beginning of this movement provides a pure harmonized and mystical effect to imitate the calm of the sea at dawn. As the sun slowly rises, at bars 1-5 the violas, doubled at the octave, add their ascending pentatonic melody, which gives sense of a fresh and c lean start to the day. At bar 31 the first principal section follows. This part of the movement grows and develops its own material, being mostly independent. However, we can see it is still based upon the opening, with a few different elements omitted. For instance at bar 33, we can see that the flutes pentatonic motif is doubled by the clarinets at the octave below. The use of the pentatonic melody might suggest an oriental flavour. The use of the flutes that dominate the hollow consecutive fifth have a similar timbre to that of the Chinese flute. As Debussy was closely related to the art movement of the time, this perhaps can be related to Debussys preference to The Great Wave off Kanagawa. In the background to this, the second violins and violas wave- like ostinato figure suggests the shimmering, repetitive surface of the sea, while the cellos wider range and more active motion might begin to imply more movement of the sea below the surface. In this section, the harps also play rolling chords that add resonance and suggest the relentless rays of the sun. The second principal section of the movement starts at bar 84. So far, the cellos have played only an accompanying role by suggesting the depths of the ocean. We can now see a new motif that Debussy uses at bar 86. Debussy employs the four part divided cellos to dominate the sonority. This is something that is a very unusual arrangement in Debussys orchestration. At the structural changing point, Debussy again uses the cellos to create a full, strongly articulated and intense sonority, combined with the swelling of the rolling timpani and the horns, to proclaim and bring us into a new section. This drastic change could suggest rumbling thunder or a slow but huge surge of the sea during a storm, gathering its power to strike out on a large rock. This is then followed by a short interlude from bars 122-133. This ten bar section consists of two strong points of four bars with only minor variation in the last four bars. A two bar extension is then added. At this point in the piece we can hear that the momentum is slack and the sea has become uneventful. This can be seen in the timbre employed in this particular section. If we look at the string section they are directed to play Sur la Touch. This creates a soft, colourless tone quality, which reflects the uneventful sea below. We then move into the final section (coda) of the piece. We can see that the harps light ringing timbre, as they play arpeggios in a high register, is used to employ an effect of light. This is contrasting to the low full and dark sound in the beginning. This effect produces a bright tone colour and adds a clear articulation to the ensemble. This suggests the midday image of the ocean filled with the strength of the sun at its highest point. The Trombones also make their first entry in La Mer, creating a tremendous sense of the alarming power of the sea. As the music advances towards a splendid tutti ending, the chorale symbolizes the midday sun bursting through the sea mist after the uneventful stillness of the interlude. The shining atmosphere of the midday suggested in the title is vividly presented. Debussys use of timbre is fundamental throughout La Mer and perhaps is more crucial than other parameters that other composers might usually rely on, such as tonality and structure. However for Debussy, the use of timbre is very important when reproducing and replicating the sounds of the great ocean. The timbres he has used throughout reflect the title of the first movement and do suggest characteristic features one might associate with the sea. One of Debussys greatest attributes is the way he creates musical colour. Susan Key, a writer for the LA philharmonic program books describes how Debussy achieves his sonorities by augmenting the standard orchestra with some glitter: two harps and a large percussion section. But other musical elements also become agents of colour. Harmonic changes serve as colour washes; chords dissolve rather than resolve. Short melodic motives rather than fully developed themes sparkle in brief solos, substituting timbre and movement for narrative coherence. Debussys sophisticated use of timbre is shown in his orchestral scoring of the first movement of La Mer. The use of timbre and effect it has in Debussys orchestration not only becomes an important part of his formal structure, but they also provide energetic pictorial images and emotional atmospheres demonstrating his close relationship of music with visual impressionism. In La Mer, a vivid landscape is suggested from the various wave figurations, shimmering light and onomatopoeic sound effects. The vagueness, ambiguity and effects of light he uses reflects the visual arts, and are vividly implied from his usage of instrumental echoing effects, tremolo strings, harp, and the special timbre of percussion instruments. Although Debussys usage of instruments and most of his instrumentations are not as aggressive as his fellow composers such as Mahler, Strauss and Stravinsky, his delicate way of exploiting timbre is one of his most important contributions. I have identified how Debussy has used timbre to suggest colour, atmosphere and emotion in the first movement of La Mer. I have also shown how timbre is employed structurally through the course of the work and how for Debussy, timbre is just as, if not more important than any other parameters in La Mer.

September Eleventh: The New Tragedy Essay -- History Historical Terror

September Eleventh: The New Tragedy History is written from the tragedies that occur through time. Wars, plagues, famines, and economic crises punctuate references in history books. We refer to time in pre and post event terms, and how our thinking has changed since the occurrence. We measure our lives in relation to deep sorrow that causes us to reconsider our self worth and the lives we lead. There have been several of these happenings in this century, pre world war I, post world war I, the depression era, post world war II, the Cold War, the post cold war, and now we have post September 11th. A new tragedy has been identified as a cause for us to reconsider our place in the world. This new tragedy is distinctive because it took place on U.S. territory and nowhere else. It has global effects, but this tragedy is the United States’ own to grapple with. The reason for this lies in the nature of the attack. The dictionary definition of terrorism is the state of intense fear, or the act of inflicting or inspiring fear. This new word fills our t.v.screens our conversations and affects our everyday coming and going. History will look upon the terrorists’ events of September 11th as a pivotal point in our country’s direction of growth. The United States has entered the real world of terrorism. Although we have long been apart of the international community, we have been sheltered and overconfident in our belief that we are impenetrable. We have falsely believed that terrorism is a problem for someone else’s country; no one would dare attack us. That belief has been shattered. We now face a new perspective on the rest of the world and on ourselves. It is a very personal attack in the sense that the Unite... ...oes not induce such anger and resentment so as to act irrationally. Terrorism has immeasurable effects on people. Fear is something that cannot be measured quantitatively. It can lead to many psychological behaviors that affect the way we look at the world. Will fighting terrorism reduce our civil liberties and the things that make us who we are? Do we have the possibility of loosing our identity because of the fear? If that is the case, terrorism has succeeded and it really won’t matter how many bombs we drop or how many leaders we kill that are linked to terrorist organizations. We will have become so entrapped by our fears we will be immobile and incapable of being who we are. So we come to a point in the our history that we must choose which direction we will take to deal with this and the story will go on until a new punctuation occurs.

Friction Lab Essay

Discussion and Review Whenever a body slides along another body a resisting force is called into play that is known as friction. This is a very important force and serves many useful purposes. A person could not walk without friction, nor could a car propel itself along a highway without the friction between the tires and the road surface. On the other hand, friction is very wasteful. It reduces the efficiency of machines because work must be done to overcome it and this energy is wasted as heat. The purpose of this experiment is to study the laws of friction and to determine the coefficient of friction between two surfaces. THEORY Friction is the resisting force encountered when one surface slides over another. This force acts along the tangent to the surfaces in contact. The force necessary to overcome friction depends on the nature of the materials in contact, on their roughness or smoothness, and on the normal force but not on the area of contact or on the speed of the motion. We find experimentally that the force of friction is directly proportional to the â€Å"normal force.† When an object is sitting on a horizontal surface the normal force is just the weight of the object. However, if the object is on an incline then it is not equal to the weight but is calculated by N= mg cos ÃŽ ¸. The constant of proportionality is called the coefficient of friction,  µ. When the contacting surfaces are actually sliding one over the other the force of friction is given by Equation 1: Ffr =  µk FN where Ffr is the force of friction and is directed parallel to the surfaces and opposite to the direction of motion. FN is the normal force and  µk is the coefficient of kinetic friction. The subscript k stands for kinetic, meaning that  µk is the coefficient that applies when the surfaces are moving  one with respect to the other.  µk is therefore more precisely called the coefficient of kinetic or sliding friction. Note carefully that Ffris always directed opposite to the direction of motion. This means that if you reverse the direction of sliding, the frictional force reverses too. In short, friction is always against you. Friction is called a â€Å"non-conservative† force because energy must be used to overcome it no matter which way you go. This is in contrast to what is called a â€Å"conservative† force such as gravity, which is against you on the way up but with you on the way down. Thus, the energy expended in lifting an object may be regained when the object descends. Yet, the energy used to overcome friction is dissipated, which means it is lost or made unavailable as heat. As you will see in your later study of  physics the distinction between conservative and non-conservative forces is a very important one that is fundamental to our concepts of heat and energy.  A method of checking the proportionality of Ffr, and FNand of determining the proportionality constant  µk is to have one of the surfaces in the form of a plane placed horizontally with a pulley fastened at one end. The other surface is the bottom face of a block that rests on the plane and to which is attached a weighted cord that passes over the pulley. The weights are varied until the block moves at constant speed after having been started with a slight push. Since there is no acceleration, the net force on the block is zero, which means that the frictional force is equal to the tension in the cord. This tension, in turn, is equal to the total weight attached to the cord’s end. The normal force between the two surfaces is equal to the weight of the block and can be increased by placing weights on top of the block. Thus, corresponding values of Ffr,and FN can be found, and plotting them will show whether Ffrand FN are indeed proportional. The slope of this graph gives  µk. When a body lies at rest on a surface and an attempt is made to push it, the pushing force is opposed by a frictional force. As long as the pushing force is not strong enough to start the body moving, the body remains in equilibrium. This means that the frictional force automatically adjusts itself to be equal to the pushing force and thus to just be enough to balance it. However, there is a threshold value of the pushing force beyond which larger values will cause the body to break away and slide. We  conclude that in the static case where a body is at rest the frictional force automatically adjusts itself to keep the body at rest up to a certain maximum. But if static equilibrium demands a frictional force larger than this maximum, static equilibrium conditions will cease to exist because this force is not available and the body will start to move. This situation may be expressed in equation form as: Equation 2: Ffr ≠¤  µsFN or Ffr max =  µsFN Where Ffris the frictional force in the static case, Ffr max is the maximum value this force can assume and  µsis the coefficient of static friction. We find that  µsis slightly larger than  µk. This means that a somewhat larger force is needed to break a body away and start it sliding than is needed to keep it sliding at constant speed once it is in motion. This is why a slight push is necessary to get the block started for the measurement of  µk. One way of investigating the case of static friction is to observe the so-called â€Å"limiting angle of repose.† This is defined as the maximum angle to which an inclined plane may be tipped before a block placed on the plane just starts to slide. The arrangement is illustrated in Figure 1 above. The block has weight W whose component WcosÃŽ ¸ (where ÃŽ ¸ is the plane angle) is perpendicular to the plane and is thus equal to the normal force, FN. The component Wsin ÃŽ ¸is parallel to the plane and constitutes the force urging the block to slide down the plane. It is opposed by the frictional force Ffr, As long as the block remains at rest, Ffr must be equal to W sin ÃŽ ¸. If the plane is tipped up until at some value ÃŽ ¸max the block just starts to slide, we have: Equation 3: But: Hence: Or: Thus, if the plane is gradually tipped up until the block just breaks away and the plane angle is then measured, the coefficient of static friction is equal to the tangent of this angle, which is called the limiting angle of repose. It is interesting to note that W cancelled out in the derivation of Equation 3 so that the weight of the block doesn’t matter. PROCEDURE This experiment requires you to record measurements in Newtons. Remember that in SI units the unit of force is called the Newton (N). One Newton is the force required to impart an acceleration of 1m/s2 to a mass of 1 kg. Thus 1 N = 1 kg.m/s2. You can convert any kg-mass to Newtons by multiplying the kg-weight by 9.8 m/s2, i.e., 100 g = 0.1 kg = 0.1 x 9.8 = .98 N. 1. Determining force of kinetic or sliding friction and static friction a. The wooden blocks provided in the LabPaq are too light to give good readings so you need to put some weight on  them, such as a full soft drink can. Weigh the plain wood block and the object used on top of the block. Record the combined weight in grams and Newtons. b. Place the ramp board you provided horizontally on a table. If necessary tape it down at the ends with masking tape to keep if from sliding. c. Begin the experiment by setting the block and its weight on the board with its largest surface in contact with the surface of the board. Connect the block’s hook to the 500-g spring scale. d. Using the spring scale, slowly pull the block lengthwise along the horizontal board. When the block is moving with constant speed, note the force indicated on the scale and record. This is the approximate kinetic or sliding frictional force. Repeat two more times. e. While carefully watching the spring scale, start the block from rest. When the block just starts to move, note the force indicated on the scale and record. You should notice that this requires more force. This force is  approximately equal to the static frictional force. Repeat two more times. Determining coefficient of static friction using an inclined surface a. Place the plain block with its largest surface in contact on the board while the board is lying flat. b. Slowly raise one end of the board until the block just breaks away and starts to slide down. Be very careful to move the plane slowly and smoothly so as to get a precise value of the angle with the horizontal at which the block just breaks away. This is the limiting angle of repose ÃŽ ¸ max. Measure it with a protractor (see photo that follows for an alternate way of measuring the angle) and record the result. You may also want to measure the base and the height of the triangle formed by the board, the support, and the floor or table. The height divided by the length of the base equals the coefficient of static friction. Remember: c. Perform two more trials. These trials should be independent. This means that in each case the plane should be returned to the horizontal, the block placed on it, and the plane carefully moved up until the limiting angle of repose is reached. DATA TABLE 6 Height Base Length ÃŽ ¸ max  µs Trial 1 Trial 2 Trial 3 Average Calculations 1. Using the mass of the block and the average force of kinetic friction from Data Table 1, calculate the coefficient of kinetic friction from Equation 1: 2. Using the mass of the block and the average force of kinetic friction from Data Table 2, calculate the coefficient of kinetic friction for the wood block sliding on its side. Record your result and see how it compares with the value of  µkobtained from Data Table 1. 3. From the data in Data Table 3, 4 & 5 compute the coefficient of static friction,  µsfor, the glass surface on wood, the sandpapered surface on wood, and wood on carpet, etc from each of your three trials. Calculate an average value of  µs.Record your results in your own data sheets. 4.  From the data obtained in Data Table 6 calculate  µsfor wood on wood from each of your three trials. 5.  Calculate an average value of  µs. Record your result on the data sheet. Questions A. How does the coefficient of static friction compare with the coefficient of kinetic friction for the same surfaces and areas? B. Why is it important to reduce friction during the operation of machinery? C. How does grease or oil affect the coefficient of friction?

The Importance of Empowerment in Customer Service Management

The Importance of Empowerment in Customer Service Management Introduction The term empowerment refers to the process of providing more authority to the employees of an organization. It means to place authority and power on the employees to make operational decisions. Empowering the staff of an organization is an enormous motivation strategy.Advertising We will write a custom article sample on The Importance of Empowerment in Customer Service Management specifically for you for only $16.05 $11/page Learn More This is because employees perceive empowerment as their own personal contributions, resourcefulness, and efforts in the enhancement and the attainment of the organizational goals. It can be described as the process of nurturing the skills, desire, power, and tools that an employee requires to serve the clients of the organization. This essay explores the significance of empowerment in customer service management. The Impact of Empowerment on Customer Services Management In this modern era of high competition, the demand for high quality standards in customer service is essential for the success of any business. Most scholars argue that the out dated production-line strategy should be discarded in favor of modern strategies based on empowerment. This can be accomplished by treating employees in an appropriate manner, recruiting the right individuals, and encouraging a service environment that is conducive. In this scenario, customers, employees, and organizations gain some advantages. Customers benefit because they obtain superior quality services. Through empowerment employees are able to perform their duties based on their perceptions. On the other hand, organization managers can retain and attract new customers through provision of quality services. The empowerment of staff is particularly significant due to the dynamic relationships of customer alliances. Hartline, Maxham III McKee (2000) argue that the traditional-structured approach of centralized control is no longer applicable in thi s competitive era. Traditional models are regard to be particularly efficient in situations where uncertainty in relation to the needs of customers do not exist. In such cases, guidelines and regulations which dictate the conduct of employees towards the customers are required to enhance consistency. However, in the service delivery industry, which includes a lot of uncertainties, direct contact between the customer and the employee are frequent and significant (Hartline, Maxham III McKee, 2000, p. 34). Empowerment is essential and mandatory in the services delivery industry due to the need of decentralizing control from management. The power and authority to make critical choices is transferred to the lower cadre of employees in a process referred to as directed authority.Advertising Looking for article on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Chebat and Kollias (2000) argue that the service industry is hugely dependent on the capacity of employees to deliver the required service. The attitude and conduct of employees who have the first contact with the clients has a critical impact on the customer’s thoughts. This is because the service is delivered during the interaction between the employee and customer. As a result of the significance placed on the service encounter, organizations should establish strategies that can help them manage their employees who make first contacts with the customer (Chebat Kollias, 2000, p. 67). This will assist the management in making sure that the attitudes and conduct of their employees are appropriate to facilitate the provision of high-quality services. According to Ardahaey Nabilou (2012), the most coveted position in business today is the ability to attract, employ, and retain a highly skilled work force. It is believed that having such a team in the organization will be beneficial, and instrumental to both organization’s su ccess and transformation. In fact, all successful companies have a combination of intelligent and well-endowed personnel who share a perception that they belong to a single family. They discharge their duties passionately, and meticulously use their experience and knowledge in collaboration with other employees to influence growth and posterity in the company. Empowerment of employees equips them with the relevant skills. It enables sustenance of good relations, which companies establish with them (Ardahaey Nabilou, 2012, p. 34). Hartline, Maxham III McKee (2000) hold that empowered employees are obligated and authorized to deliver on customer preferences efficiently and effectively. They argue that empowerment describes a situation where the management allows employees to use their discretion in the daily choices they make in relation to their work. When the management permits subordinate employees to make significant decisions, they relinquish their control on the dynamics of se rvice delivery (Hartline, Maxham III McKee, 2000, p. 33). Empowerment is regarded to be a pre-requisite because customer service personnel require such flexibilities so as to effect decisions immediately, to enhance customer satisfaction. Proponents of empowerment argue that the point of contact staff are more reactive in service delivery, productive, adequately deal with complaints, are highly inspired, and offer high-quality services. Ardahaey Nabilou (2012) argue that the client’s satisfaction experience within the service sector decreases when the service does not conform to the customer’s expectations. Customer satisfaction heavily relies on the customer’s experience at the hands of the customer service provider.Advertising We will write a custom article sample on The Importance of Empowerment in Customer Service Management specifically for you for only $16.05 $11/page Learn More To equip the employee with relevant skills, the ma nagement should have an empowerment program within the organization. They argue that empowerment is a sequence of becoming, and it should not be considered as an end outcome Ardahaey Nabilou, 2012, p. 34) Conclusion This essay has explored the significance of empowerment in customer service management. From this discussion, it is evident that the service industry is hugely dependent on customer satisfaction to attract and retain customers. For customer service employees to discharge their duties properly and effectively, they need to be empowered. List of References Ardahaey, F, Nabilou, H 2012, Human Resources Empowerment and Its Role in the Sustainable Tourism, Asian Social Science, Vol. 8, no. 1, pp. 33-38 Chebat, JC Kollias, P 2000, The impact of empowerment on customer contact employees’ roles in service organizations, Journal of Service research, Vol. 3, no. 1, pp. 66-81. Hartline, MD, Maxham III, JG McKee, DO 2000, Corridors of influence in the dissemination of cus tomer-oriented strategy to customer contact service employees, The Journal of marketing,Vol. 1, no. 1, pp. 35-50.

How To Say Never in Spanish

How To Say 'Never' in Spanish Spanish has two common adverbs that mean never and they can almost always be used interchangeably, the words nunca and  jams. Most Common Way to Say Never The most common way to say never is nunca. It comes from the Old Spanish word nunqua, which entered the language from the Latin word for never, numquam. Spanish Sentence English Translation Nunca olvidarà © Madrid. I'll never forget Madrid. Brittany y Pablo nunca fueron amigos. Brittany and Pablo were never friends. El presidente no ha hablado nunca a favor de imponer sanciones. The president never has spoken in favor of imposing sanctions. Nunca quiero que llegue ese dà ­a. I never want that day to come. Slightly More Emphatic Way to Say Never Less used, and perhaps a bit stronger than nunca, is the word  jams, also meaning never.  Jams could be substituted in place of the word  nunca.   Spanish Sentence English Translation Es el mejor libro jams escrito. It's the best book never written. Jams pienso en la muerte. I never think about death. Jams imaginà © que llegarà ­a este dà ­a. I never imagined this day would come. Quiero dormirme y no despertarme jams. I want to fall asleep and never wake up. When Never to Use Jams One of the very few times you cannot substitute jams for nunca is in the phrases ms que nunca and menos que nunca, which mean more than ever or less than ever. For example,  Mi hermano gasta ms que nunca, which means, My brother is spending more than ever. Double Negative Never Spanish is very comfortable with double negative sentence construction, unlike English, which shuns it. When nunca or jams follows the verb that it modifies, use a double negative sentence construction. Spanish Sentence English Translation No he visto a nadie jams tan malo. I have never seen anyone so bad. No discutas nunca con un imbà ©cil, te har descender a su nivel. Never discuss anything with an idiot; he will bring you down to his level. Never Ever in Spanish Also, nunca and jams can be used together to reinforce their meanings, or strengthen the feeling, much like never, never or never ever in English.   Spanish Sentence English Translation Nunca jams vayamos a aceptar una dictadura militar. Never, ever are we going to accept a military dictatorship. Nunca jams hablà © con nadie de esto. Never, no, never have I spoken with anybody about this. Colloquial Expressions That Mean Never There are several figurative expressions that mean never that do not use the words nunca or jams.   Spanish Phrase English Translation  ¿en serio?;  ¡no puede ser! Never! or You never did! no lleguà © a ir I never went no contaba con volverlo a ver I never expected to see him again no importa; no te preocupes Nevermind ni uno siquiera Never a one  ¡no me digas!;  ¡no me lo puedo creer! Well, I never! no dijo ni una sola palabra Never a word [did he say]

Engaging families in culturally relevant ways Essay

Engaging families in culturally relevant ways - Essay Example According to recent statistics, the United States population is increasingly becoming more ethnically diverse. However, the teaching staff is mainly made up of a white population. Teachers have to understand that a lot of their students in their classes will be made up of different ethnic, cultural, racial, social class and linguistic backgrounds that will differ from their own. Teachers must be prepared and ready to teach the heterogeneous composition of students in their various classrooms. Engaging families in culturally relevant ways was found to academically provide for the success of Latino and black American children not served by the public schools of America, the term was coined in 1992 by Gloria Ladson. However, various other socio linguists, teacher educators and anthropologists looking for ways and means to find and create links between the school and student’s home culture, stated that this type of schooling was culturally congruent, culturally appropriate, cultur ally compatible and culturally responsive. After several attempts by Phelan (1991) in identifying exceptional educators in low socio economic, composed of mostly Latino and African American schools, Knight et al (2004) spent a lot of time trying to explain and observe their success with pupils who are normally pushed to their limits by the public education. He found out that most of the tutors shared a common trait; commitment and pride to their teaching professions. Additionally, all of them (teachers) believed that all students have a potential to be successful. These teachers had equitable and fluid relationships with their students. Moreover, they always attended community events so that they could showcase their support for their Latino and African American or poor students. Moll et al (1992) states that inclusive academic institutions or schools that are successful over time have a very significant commonality: they all engage

Principles of project management Assignment Example | Topics and Well Written Essays - 1000 words

Principles of project management - Assignment Example Still, the core project management principles apply. In these regards, the project tasks have been identified, namely, the development of a newly efficient and effective television. The project cost will be estimated; costs will involve development as well as end target margins on sales to consumers. Further consideration will be given to managing risk as a means of adhering to these financial targets. The project will then be organized around specific matrixes with a specific team. Within this team a specific breakdown and division of labor will occur, with a further specified timescale for the work to be accomplished. The plan will then be implemented. Throughout the process specific consideration will be given to project iterations and specific management of the predominant principles that have been outlined. Within the context of Apple, Inc. it’s recognized that increasing emphasis will be placed on technological innovation, user-interface, and cutting-edge design. Still, much of the project cycle will need to be considered in a dynamic context of development and design. 2. The need for project management is an essential aspect of product development and innovation. In the context of Apple, Inc. ... There are a number of factors of success and failure that are considered in relation to project management. Locke (2007) differentiates between many forms of project success. The primary theoretical understanding in these regards is that project management is a multi-dimensional process such that managerial success in terms of project management is distinguished from project success from the perspective of the end user. In these regards, Locke (2007) establishes success and failure factors in relation to the initial project definition. Success is determined in relation to the extent that the project takes on a clear and defined articulation. The next period is the execution period. Project success and failure during the execution period is contingent upon how well the project adheres to the primary elements of cost, execution, and time. Still, project success or failure is further distinguished in terms of overriding benefit for existing stakeholders. In terms of Apple, Inc. the prim ary stakeholders are the organization’s stockholders. As such the project’s ability to ultimately positively contribute to revenue and net profit streams will be the primary determinant of success. Ultimately, it seems this project is realistic. 3. There are four primary phases of project management: initiation, planning, execution, and closure (Lock 2007). Fig. 1 below demonstrates the project management phases. Fig. 1 Project Management Phase Peter (2003) notes that the initiation phase determines the scope and the nature of the project. For Apple, Inc. the scope of the project is the development of a television that is readily integrated with the personal computer, such that the individual will have ease