How Distance Affects Relationships

I think distance can effect relationships in several ways, depending on the situation, the kind of relationship, also how or if the relationship is maintained. Fortunently I haven't had to part from close relationships often, but I can share two examples in which distance had an opposite effect. I grew up in a small town, there was only one school that went from kindergarten thru eighth-grade. So with the exception of the occational â€Å"new student† the people in my class had known me since I was 5 years old. Not only did I see them in class, I saw them after school as well.Because of course Carbonado is essentially one neighborhood, we all shared the same stomping-grounds. I had known my best-friend Kimberly it seemed all my life. We shared everything, sat beside each other in class, were partners in every school project, and were together after school every day until our parents called us home for dinner. Together all the time since Kindergarten. I don't know how it so sev erely changed seemingly over-night. After eighth-grade Carbonado students had to then ride a bus for twenty minutes to get to High-School in Buckley.Up to this point it was the biggest change Kim and I were ever faced with, but one thing was the same we were together. For the first time we had classes without each other. No big deal, we just met after and it seemed like nothing was going to change us in the begining. Suddenly being around new people was exciting and soon meeting at passing was just that, passing. But, we still had the bus rides and we sat next to each other sharing every detail of our day like best-friends do. Then came the boys, and their cars, so the bus rides faded away as well.Believe it or not this was only six months into our freshman year! Six months, after all those years. I didn't make it through that first year before deciding Alternative-School was a better fit for me. It was 5 miles from Kim's school, but it might as well have been half-way across the wo rld. Years passed, we got cars, other friends, and jobs but we still lived within a square-mile as we had growing up. The actual distance was an illusion, we had grown apart. I still love Kim with all my heart, but when we have our yearly chat on the phone or I run into her at the gas station or the post ffice our conversation feels more like â€Å"proper proceedure†. I know that we still do have a relationship of sorts, it's just not the intimate bond we once shared. Distance I'm sure harms more relationships than it helps, but I think in some situations it effects can build a stonger bond. This is especially true in the relationship between my dad. My father is the first man I ever loved and I am his first born child. I was born in 1984 with several holes in my heart. I had multiple proceedures including open-heart surgery before my first birthday.My parents were 19 and 21 years old and the surgeries I had undergone had only been sucessfull a few years prior. It was an emot ional roller-coaster for them to endure. I believe coming close to loosing me contributed to the close relationship we shared as I was growing up. I can still remember what his truck sounded like coming up our street when he came home from work, and the smell of the de-grease soap he used to was his hands for dinner. I remember thinking of him during my school day, trying so hard on all my work because he always told me I could do anything.I couldn't wait to show him art-work, science projects, and report cards. I was always rewarded with kind words and a proud smile as I followed him into his garage where he fondly displayed my achievements. Along the way whenever I had any trouble, he could explain things in a way that made perfect sense. He understood me. Not only did I feel loved by his actions, I knew I was loved by his words. As time went by it became obvious my brothers and dad shared more common interests so, sometimes I was left behind.Somehow my he always found a way to sp end special time with me too, even if that meant taking me to the mall or going to a movie he would rather not see. My teen-years hit our relationship like an earthquake, a shaking of the ground caused by the shifting of my priorities. Suddenly my friends were the most important thing in my world. I became decietful, disrespectful, and I felt my dad just didn't understand me anymore. This constant clash lingered throughout the final years of my adolescence, until I was finally free. My liberation came in the form of a one-bedroom apartment in the â€Å"big ity† of Kent. My boyfriend and I living off of minimum wage, having a diet consisting of Top-Ramen and canned soup was only fun for so long. A couple of years later I was missing the home-cooked meals and the home-town feeling I'd known all my life. Above all I missed my family. I got laid-off from my job and I didn't know what to do. The next morning there was a knock at my door, I was barely awake. I rolled out of bed and staggered thru my dark apartment to get the door. It was my mom, â€Å"get dressed your dad got you a job, a good one† she said.When she told me it was at a machine shop my stomach dropped â€Å"I can't work there! † i said. Then my mom said I should at least check it out, it was for more money and it was worth a try. I entered into the welcome office and it calmed my nerves some. I shook the managers hand and he offered me what sounded like an office job, I accepted. Then he took me to my work area, through these heavy doors, I was on the shop floor, sparks flying, machines running and grease everywhere. I thought about telling him no but something stopped me.I saw my dad in his work area and when he saw me he had the happiest look on his face. As we approched him I saw family photos and a card I had made him 15 years prior in the top of his toolbox. I could not let him down. We had lunch and he gave me the same encouraging words he gave me growing up. It gave me the strength I needed. We had lunch together for the next 2 years and got to know each other in a differant way. I truly believe the distance from my family allowed me to grow, and had a very positive effect on my relationship with my father. Our bond is unbreakable and I know now nothing can change that.

Health Care and Change

Describe how the effectiveness of your organizational change will be determined once it is implemented. Change can be viewed as negative or positive depending on how it’s presented. It can be met with resistance probably due to lack of simple oversights, lack of persistence, poor communication, or other more personal vulnerabilities (Bert, Spector, 2010. The goal of the change should be identified before implementing it into the organization.Status reports, evaluations, and periodic surveys are all useful resources for determining the effectiveness of an organizational change (Bert Spector, 2010). The effectiveness of change will be determined by the Proper communication between the organization and the staff: The staff and the leaders will communicate effectively about the change; they will discuss how the change has affected them positively and negatively, The saying goes that â€Å"Once man understands an idea; he can identify with it, acknowledge it, and make it his ownâ €  Aristotle.Throughout the change, it’s important for the developed skills of written communication, meeting management and presentations to determine if the change has been effectively implemented (Bert Spector, 2010). Another way to determine the effectiveness of the change will be through monitoring, and measuring of the change that is the implemented. Measurement could include employee and customer surveys tool to measure progress of the change. This helps to clarify the purpose and direction of the change effort, by encouraging the employees to consider its specific impact in unambiguous terms.Measurement tells people what you care about , Tracks the effectiveness of the change effort both tells people that it is important and provides a way to judge how well it is being implemented, or how well it was designed (Bert Spector, 2010). Use of observation is another method that will determine the effectiveness of the change. An observation is designed to allow the OD pra ctitioner to see firsthand what is occurring with implemented change, the managers can use this method to observe the behaviors of the employees towards the change.It can determine whether the employees are adopting, adjusting to change or they are still resisting to it (Bert Spector, 2010). Review the progress of the change every month and see if the there any area that not progressing as expected and check for need for improvement in those areas that are not working. Check and see if some employees are struggling with the change, and find ways of helping them, maybe they need more training, or support to adjust. Provide support and training needed have a successful change.Collect and report data regularly, this is important in providing an ongoing stream of objective information that keeps the company aligned with business goals. The reports are made simple, enabling all the stakeholders to understand and appreciate the results. With this strategy, the company will identify opport unities and threats earlier and better manage employee expectations (Barbara Armstrong, 2013). Analyze possible outcome measurement strategies related to organizational change processes.Determinants of strategy include organizational and environmental factors, and the outcomes reflect both internal changes and external relationships (Bailey, 1992). EHR adoption will continue to grow and with it, better access to important clinical information that can be helpful to improving U. S. healthcare (Benefits of EHR, 2007). Possible outcome measurement strategies of EMR/EHR implementation at my facility will include: Improved Information Availability: With EHRs, patients' health information will be available in one place, when and where it is needed.Providers will have access to the information they need, at the time they need it to make a decision. Patients charts are always carried and used to different departments in the facility, Sometimes Doctors cannot find the charts to be able to as sess patients, with the EMR; all departments have the information they need right in front of them without searching for the chart (Benefits of EHR, 2007). EHR/EMR will be the Foundation for Quality Improvements at the facility: Reliable access to complete patient health information is essential for safe and effective care.EHRs place accurate and complete information about patients' health and medical history at providers' fingertips. With EHRs, providers can give the best possible care, at the point of care. This can lead to a better patient experience and, most importantly, better patient outcomes (Benefits of EHR, 2007). EHRs implementation will Support the Provider Decision Making, EHRs will help providers make efficient, effective decisions about patient care, through: Improved aggregation, analysis, and communication of patient information (Benefits of EHR, 2007).All departments at our facility can communicate the patients progress to physicians through the use of EMR, the phy sician can easily access the information without walking from one department to another. Evert needed piece of information to determine patients care and progress will be accessed with the use of EMR, EHR. When health care providers have access to complete and accurate information, patients receive better medical care. Electronic health records (EHRs) Implementation will lead to improved ability to diagnose diseases and reduce or even prevent medical errors, improving patient outcomes.Doctors can diagnose patient based the accurate vital signs and nurses assessment viewed computer. We usually have to call doctors to give them information on patients’ conditions, we don’t have Doctors at our facility 24 hours a day, they come two -three a week. With the EMR, doctors can view patient’s change of condition at their offices and provide the diagnoses and treatment (Benefits of HER, 2007). Determine how you will measure quality, cost, and satisfaction outcomes to eval uate your proposed organizational change.The expense of making changes within an organization is often difficult to measure from a pure cost standpoint. Similarly, the advantages acquired from revised operations may not be readily measured. Where possible, however, every attempt should be made to evaluate the real savings obtained from a planned change by creating measurable goals. Proposed changes in products, processes, and service activities should be quantified, if possible, before the desired modifications are implemented (Bailey, 1992). You can measure the quality of the change through surveys and observation of the change.Surveys determine how the company has progressed with the change and what is needed for the change to keep progressing. Surveys can have questions such as, has the creation EMR and elimination of paper documentation resulted in more effective work flows, improved communication practices, and management monitoring? Compare the previous work ethics to the pres ent, is there any improvement? Check for the reduction of medication errors and proper documentation since the implementation of EMR. Observe the employees behaviors and reaction to the change, are they more accurate in interpreting doctors’ writings?Quality can be measured through the Quick access to patient records, efficient care Enhanced decision support, and medical information Performance-improving tools, complete documentation that facilitates accurate coding and billing Interfaces with labs, registries, and other EHRs Safer which results in better patient experience and, most importantly, better patient outcomes (Benefits of HER, 2007). As the company works to improve the implementation of the change, the company will continue to calculate the costs on a monthly basis and track them against baseline and benchmarked costs.Continue to look for additional improvement opportunities (Barbara Armstrong, 2013). Costs are important when implementing a change, the finances dep ends how far you go with the change in progress. With the EMR change, it is costly to implement this change since it requires finances for the trainers, to buy software, computers, and to continuously maintain the software (Barbara Armstrong, 2013). The company will use a track sheet with the expenses spend on the change each month; the company will review and determine if the expense is within the budget or it going overboard.The company will then determine how to progress with the change figures obtained from the reviewed financial sheet. A survey will be carried out each month to determine the satisfaction of the change in progress. The company will use regular â€Å"listening meetings† where people could ask questions and voice their concerns (Barbara Armstrong, 2013). They survey will be either through calling employees, or written one with questions rating from scale of one to ten, on how the employee are dealing with the change, how they value the change, if the change helpful in their work, if they feel supported by their immediate managers and the cooperate.These surveys will also a have a potion which allows the employees to voice their take on the change and have suggestions to make this change better for them. Use employee surveys to learn people’s perceptions of issues tied the implementation in process, such as the level of physical comfort, degree of collaboration, or quality of group decision-making(Barbara Armstrong, 2013).Have working conditions been improved and stressful conditions been reduced for our employees with this implementation? Have we successfully implemented the use of new technology? Have we ensured that requirements for new operating practices and skills have been addressed and resolved? Has the organization become more flexible and proactive in generating responses to meeting the needs of the employees? (Nancy Landahl, 2010).

Consumers Perceptions of Global and Local Brands Dissertation

Consumers Perceptions of Global and Local Brands - Dissertation Example For consumers, the global reputation provides a more satisfying element and they find to spend some extra money worthy for global brand whereas for companies, global brands enhances market share, market position, and customer base with a push in the profits. With the increase of more and more global brands and the expansion of global brands in different parts of the world, customers are in different parts of the world are looking to buy more global brands. Customers perceive that the quality of the products offered by global brands are far more in comparison to the quality of the products offered by different local firms and therefore they are more inclined to buy products that are available globally rather than only in the local region. The preference of global brands over local brands have increased rapidly in developing countries as well within the consumer goods industry, people from developing countries find global consumer brands more trustworthy and environmental friendly than local brands. This has allowed multinational companies to expand their operations in the developing countries and gain huge profits from this diverse market. There are several factors that influence the buying decision of an individual and the marketing managers of global brands identify and analyse these factors and then by focusing on these factors they are able to win the battle against different local brands available in different parts of the world.

Research proposal Dissertation Example | Topics and Well Written Essays - 1500 words - 1

Research proposal - Dissertation Example A growing and more substantial body of research and studies provide evidence of conflict between intrinsic motivation (a person’s own motivation for undertaking a task) and extrinsic motivation (external and conditionally imposed motivation for undertaking a task) (Benabou & Tirole, 2003; Holmstrom & Milgrom, 1991; Kreps 1997). In response to the diverse range of motivational studies a number of motivational theories have emerged that endeavor to account for the various findings. Such theories include those that focus either on incentives, expectancies or goals, and those that seek explanation of how employees respond to different types of incentives provided. The objective of this study is to take an investigative approach to research the various motivational theories and how they are being implemented within the workplace. A study will then be undertaken in order to determineundertaking a study that will focus on employee perceptions of the motivational incentive systems ope rating within their company, and how they impact on their performance and effort. ... research literature in relation to motivational systems and theories used within the workplace, and has the potential to provide suggestions for future incentive systems that take both intrinsic and extrinsic motivational factors into account and foster best opportunities and maximum efficiency and effectiveness of personnel. Literature review Motivational theorists consider that for each and every thing we do (behavior and actions) there is a fundamental reason or cause. They also believe that appreciation of the causes will enable prediction and thus allow for influence on those behaviors or actions (Franken, 2002). Motivational research today focuses mainly on the determination of what spurs motivation - what stimulus is required to increase motivation - and takes both intrinsic and extrinsic motivation into consideration. Intrinsic motivation according to Oudeyer & Kaplon (2007) is best understood when contrasted with extrinsic motivation, which relates to any activity that is un dertaken because of some of kind of reward or discrete outcome. Intrinsic motivation by contrastive definition refers to activities that are undertaken solely for pleasure with no price or value imposed on it (Ryan & Deci, 2000). An important distinction however, is that intrinsic and extrinsic do not mean the same as internal and external and are not synonyms. Internal motivations receive internal rewards, whereas external motivation receives external rewards; intrinsic motivation and extrinsic motivation however is not determined by where the reward comes from but on the type of reward that is given (Oudeyer & Kaplon, 2007). The theory of incentives has traditionally assumed that concrete and/or intangible rewards such as money, power or investments (Hoy & Miskel, 1991) that are given

International relations war Essay Example | Topics and Well Written Essays - 1500 words

International relations war - Essay Example Stanford encyclopedia of philosophy defines war as â€Å"an actual, intentional and widespread armed conflict between political communities† (Orend 1). From these definitions war can occur between people, cultures and states. War is usually aimed at having power over the other person. An overall definition of war is continuous violence between groups in which state military forces take part on one side in case of a civil war or both sides in case of interstate wars. There are different types of war which are triggered by different situations. Hegemonic war also known as global war or world war or general war is a war aimed at controlling or conquering the whole world. It last happened during the Second World War. Where a state attempts to conquer and occupy another state, it is referred to as total war. The aim of the state is to reach the capital city and force the government to surrender. The whole of the enemy’s family is perceived as a legitimate target. After conquering, the victor replaces the subdued government with its own choice. An example of total war is the 2003 Iraq war. In limited war, the conqueror aims at doing other things apart from conquering and occupying the state. It is a common phenomenon in border wars, after occupying the state it wants, it may stop there to defend its gains. An example of such a war is the U.S. war against Iraq in 1991; U.S. recaptured Kuwait but did not go further to topple Saddam Hussein’s government. Civil war occurs between some groups within a state with the aim of creating, or preventing a new government for the whole state or some parts of it. Guerilla war is operated by illegal forces that are hidden by civilian population. They rarely confront an enemy; instead they harass and punish the enemy for a long time till the enemy limits its controls. Finally the enemy loosens its grip on the territory and liberates it to the guerrilla army (Eckbaull 1). A simple definition of strategy can be a means of solving

Utilitarianism view on a dilemma Essay Example | Topics and Well Written Essays - 1000 words

Utilitarianism view on a dilemma - Essay Example If we have chosen the option A and it has a great number of happy consequences as compare to option B, then the decision will be perfect. That all depends upon the great number of goodness. The ethical dilemma, which we have given, is a critical one. According to this dilemma, if a ship is sinking and there is only one life boat on the ship. The life boat has the capacity of only ten people but there are thirty people stranded in the sinking ship. The captain has two options for the utility of the life boat. One is to kill twenty people and save the rest of ten people in the life boat. On the other hand, he may let all them to die on a natural death and thus no one would be killed. In this situation, the dilemma is not of great number of goodness rather it can be explained using the lesser number of sorrow, pain or sadness while selecting anyone option. In this situation, the captain has no choice of having great number of goodness rather he can select only the option where he may have less sorrow over the consequences. If he selects the option of saving ten people on the utility of the life boat then there will be happiness that at least he has saved some people from the danger of death. In this option, he can fully utilize the opportunity of the utility of life boat. However, the dark side of this decision is the killing of more than ten people. This means that if he is saving ten people from death then on the other he is pushing twenty people to towards the death. Here in this situation the number of happiness is less as compare to the number of sorrow or the number of pain. We can say that under the umbrella of utilitarianism, the captain might not go with this decision that he can save ten people while pushing twenty other people to the death. The captain has another second option to adopt for the people. He may not kill any person in the sinking ship rather they may die their natural death. This means that he does not

Does language influence thinking skills or cognition Essay

Does language influence thinking skills or cognition - Essay Example All these include some of the questions several philosophies within cognitive science are trying to answer. For a much longer period, the thought that language might influence thought was considered wrong. Several data analysis have been collected through most parts and the end results show that, individuals who speak diverse dialects do indeed think differently and that even grammar can intensely influence how most people perceive the world. To elucidate the stated thought, let us ask ourselves a simple question; how would our lives be if we had never learned any of the languages? Could we still have friends around us, hold any particular job, have a relationship or family, get an education, explore our gifting or maximize our potential? Language is thus essential and entirely part of our lives, that it’s even hard to imagine life without it. A four-year-old in one society can perform a task with much ease as opposed to an intellectual in another society. This is a huge difference in cognitive strength and the surprising answer to this cause is the language. This theory goes back to the centuries with philosophers Sapir and Whorf emphasizing that, variances in languages such as English and Hopi, lead to the difference in thinking (Eysenck & Keane, 2000, p. 122-24). This thought however was met with serious criticism over time as philosophers argued that, the theories were not supported by much proof. However, decades later, it is still evident that language shapes thinking. The results have had a great influence in law, education and even politics. Speakers of diverse languages also vary in how they define events and, as a result, how they can remember who did what and so forth. All events, even instant accidents, are complex and need us to interpret what happened. Take, for instance, former vice president Dick Cheney’s accident, in which he unintentionally shot Harry Whittington. One could say that it seemed as if

ECO 5 CA Essay Example | Topics and Well Written Essays - 750 words

ECO 5 CA - Essay Example (Koutsoyannis, 192-199) First degree price discrimination- This incorporates negotiation between the individual customers and the seller for selling each unit of output at its corresponding prices, such that the monopolist can receive entire consumer’s surplus. So long as the price, discriminating manages to reap part of the consumers’ surplus his total revenue will be at the peak level, even if sells the quantity at the intersection point of MC curve with the MR curve. 2) Firms that practice price discrimination decide to charge that price for which the marginal cost is equal to the marginal revenue. Corresponding to that point of equality, we will get another point on the average revenue curve, which will tell us the price that the firm should charge to maximize its profits. Firms can also charge price based on the elasticity of demand. This implies an important fact that a monopolist will always operate in the elastic region of the demand curve. A monopolist will not be able to operate in the inelastic region of the demand curve because he will be getting negative marginal revenue, which is not at all desirable hence, he will operate only in the elastic region. If he operates in two markets where the elasticity is higher on one and lower on the other then he will charge a high price in the high elasticity market than in the low elasticity market. Producers can also decide their pricing strategies based on the marginal cost pricing approach. This means that if the producer operates in two markets and if he finds that the marginal cost of production if higher in the first market then in the second market then he will produce less in the first market and charge a high price in that market but in the second market he will produce more and charge a lower price thereby maximizing his profits. (Price Discrimination). The basis differentiation based on the gender for the

The Main Forces of the United States Essay Example | Topics and Well Written Essays - 1500 words

The Main Forces of the United States - Essay Example This motive had been echoed earlier on by Beveridge when he stated that ‘it may be that we will not annex the Philippines, Hawaii, and Cuba: but events will annex them†¦Ã¢â‚¬â„¢ (Ayers, 2009). The forces that were instrumental in this movement were the politicians and other state leaders who wanted to see the United States become an imperial power. Initially, Americas’ involvement in the war was purely humanitarian. They wanted to offer their support to the Cubans who were fighting for their independence against the Spanish Navy. However, their change after a presidential decree by McKinley who wanted to assist the Cubans to gain their freedom from the Spaniards (Ayers, 2009, p 489). This interference brought them to war with the Spanish Navy, a war which they wore due to their superior Navy skills and equipment. It was after this conflict with the Spanish that the Americans sought to acquire more territory in areas such as Philippines and Hawaii. They wanted to rid of European rule in these nations and spread their own beliefs and practices. Among the notable voices of imperialism was that of Albert Beveridge. Even at a young age, his superior oratory skills made him the focus of attention. He had been quoted championing for imperialism on a number of occasions, the most memorable being his argument that America needed to spread its liberty, civilization and the kingdom of God here on earth. It is such remarks that have been echoed by the American foreign policy, even to this day. At first, the United States was separated geographically from the rest of the European countries, thus could not participate in the acquisition. Additionally, it was guided by the Monroe Declaration that prohibited it from interfering with the affairs of other nations. The only exception was when they stepped in to offer humanitarian aid to the affected nations.

The Music Industry Essay Example for Free

The Music Industry Essay In this essay I will be discussing the four main areas of the music industry; I hope to gain knowledge about them and how they connect to one another so I can better myself overall as a musician. Record Labels: Record Labels are brands that are responsible for marketing the music recordings and music videos of bands/artists; there are two types of record labels, major and independent. There are only 3 major record labels left which are Universal Music Group, Warner Music Group and Sony Music Group, a record label is classed major when it has more than 5% market share. Major Record Labels There are many pros to signing to a major record label and the most obvious and perhaps most important one is that these big companies have a lot of money, this means they will be spending more money promoting your record, which means a higher chance of sales and popularity. Having more cash available also means they will invest a lot in touring, recording and music videos which will all benefit your career in a band or as a solo artist. Although the pros of signing a major record deal sounds incredibly rewarding, there is a few downsides which may cause a band/artist to be put off. Firstly, signing to a major record company won’t always last as long as the artist wants it to; if your major label is paying a lot of money to promote you they will not keep you signed if you are not selling records to return the output of money back into their pockets. A lot of the time they will sign a lot of acts just to see what ones are popular and will make money, resulting in the unpopular acts being dropped. Furthermore, things like artist unfriendly deals which leave the artist earning a lot less money than the label and not having full creative control of material are all disadvantages which could leave an artist or band seeking a better deal from in an independent label. 1 Independent Record Labels An independent record label is a label not associated with the big three major labels, a lot of artists start their career on independent labels. One pro of an independent label is that they love your music; this means they will be working harder with you, this also means you will have close working  relationships with the label due to smaller staff and a smaller roster which means you can contact your label easier and ask them questions. Also independent labels have artist friendly deals, you will have more creative control and independent labels are unlikely to contract you to multi album deals. Independent labels also have a few cons and the main one being money, which was the main pro of a major label. With less money available this will mean you won’t have large recording budgets, huge promotion deals and things like tour support, you will have to support yourself financially which is why a lot of artists would prefer a major record deal. Along with a shortage of money, other cons of indie labels include size which means less purchasing power and also disorganisation. 2 Overall I believe the best type of record label depends on preference, if an artist is seeking fame and fortune a major label deal would be best for them as more money would be available to them and they would be promoted and better known. If an artist felt strongly about the music they wrote and wanted to have full creative control an independent label would be best for them. How do I get signed? If you want to get signed to a record label you can start by sending in your demo to the AR department and then things can advance from there if they like what they hear. Record labels have separate department that help find and sign artists which is AR, they help find artists by listening to demos, going to gigs and watching recordings of bands to find talent, they would contact the artist and tell them how they would develop them as an artist. Furthermore, they find the right songs for the artist, make sure they work with the right producer and find the right studio; AR are also the department that handles contract negotiations. As an AR person you must understand what music is current and what can become popular, this is an important job and you must have a good ear as this person bridges the gap between record labels and artists and can be the person responsible for signing the next big thing. If you want to get signed to a record label you can start by sending in your demo to th e AR department and then things can advance from there if they like what they hear. i What can record labels offer you? Recording studios are also another thing that comes with a signing a record  deal, perks of a recording studio includes top of the range equipment and rooms with excellent acoustics to give your band a better sound when recording, you will also have a well-trained sound engineer to mix and produce your song, however these can be expensive and leave you with less money for things like touring. I believe recording your music in a studio will also give it a better sound which means it will also be more likely to sell. Record labels will also help you distribute your material, Retail is selling your music by physical sales or through the internet, you can sell songs and albums for digital download over the internet on multiple platforms such as iTunes or amazon, once a song is bought a percentage goes to the retailer and the rest to the artist and label. Selling your music on CD is distributed slightly different, labels will discuss with the retailer how many copies they want to order and once an amount has been agreed the cd’s will be shipped then sold. Overall I believe selling your music for digital purchase is better as internet sales are becoming very popular as people can download songs straight to their phones, also you make less of a loss if your songs don’t sell on iTunes or amazon etc. as you haven’t had to pay for CD printing.ii Music Publishing: A music publisher or music publishing company is in charge of making sure songwriters and composers receive their royalty payments when their compositions are used commercially.3 They will also help distribute and promote music that is created, license songs to record companies and copyright songs and compositions, their job is to promote and protect songs and compositions. Finding songwriters and composers in a music publishing company is also handled by AR, songwriters and composers can be found on YouTube, Twitter, Facebook and other social media sites; furthermore there are traditional methods like going to gigs to find songwriters and composers. 4 Promotion One of the most important jobs to a music publisher is promoting songs, this means getting the songs to be used in ways that earn money. They can talk to music supervisors to get songs played in films, TV shows and advertisements which can bring in a lot of money due to synchronisation rights and royalties. 5 Publishers will have a network of contacts that they can  promote to and then negotiate a license with. They can also make deals with musicians that want to use songs their clients have written/composes. It is very important that a music publisher or music publishing company promotes well because getting your music heard and recognised can be the forefront to your success. Copyright management Copyright means protecting material and allowing composers to be paid for their work, if something is copyrighted it means the creators of the material are in charge of it and can decide who uses their work and what circumstances it is used in. In a song the musical work and lyrics are both protected, to copyright something it has to be original and not copied; it must be recorded on paper or on CD. It is important a music publisher copyrights their songwriters/composers material otherwise it can be copied by other people and they will not be able to prosecute in court without copyright. 6 Performing rights Performing rights are the right to perform songs in a public place; it is part of copyright law and means the composer/songwriter and publisher will be paid, the royalties would be split 50/50. Performance rights mean a group who are not copyright holders are performing a piece of music publicly, performances are considered public if they are in a public place such as a nightclub, restaurant or at a concert. This is another reason why it is important for a music publishing company to copyright their client’s music, so they can claim royalties and money can be made from their material. Live performance: Live performance includes things like gigs and festivals, I will be discussing some of the roles that make a live performance and how they work. Promoting a Live Performance The main thing that completes a live performance is people, without people turning up to your live performance you will fail to create an atmosphere and most importantly not make any money back from the high costs of renting a venue hiring staff etc. So to get people to come along to your event/performance you need to promote. Promoting techniques you can use  include printing off posters and posting them everywhere you can, ask small shops if you can put them in the windows or even stick them to lampposts. However you need a good eye catching poster otherwise it will go unnoticed. Other ways to promote include promoting your event on social networking like Facebook and Twitter, you can create an event and invite as many people as you like; people are likely to see this as a lot of people have their phones on them all the time and will receive a notification when invited7. Online and physical ways of promoting can both be effective when done right, but if you want a large amount of people to notice your event and consider coming you need to do both online and physical promotion. Setting up a live performance To set up for a live performance you need to start by gathering some equipment. It is advisable you go and take a look at the venue a few weeks before the show day so you can see what equipment needs to be brought along, things to look out for include seeing if the venue has a PA, if not you may want to hire or invest in one; if you are hosting the event at your own venue it is worth buying your own PA to save money in the long term. Other things include staging space, make sure there is ample floor space for the performers to stand and you may want to bring a stage/drum riser if there aren’t any there already. Lighting can also be important in bringing atmosphere to a performance. Finally, you will at least a handful of staff on the night such as security, stagehands and a sound engineer. 8When hosting an event you may want to choose for more expensive equipment whilst saving money on staff, good equipment will improve sound and experience meaning people will want to come aga in; but you can get away with hiring people for not much at all as people are happy to get into a free show and help. Health and safety Health and safety precautions at a live performance are incredibly important, start by making sure there is a person in charge of first aid as this is also the law; people are likely to get hurt in a crowd of people by tripping up or bumping into people. Secondly, when sorting and setting up electrical equipment you need to make sure wires are not across the stage in the air as this could cause a trip hazard for performers and also make sure there are no trip hazards in the crowd standing space also. Another precaution to take is making sure staging is secured properly; if heavy staging equipment is not put together correctly accidents could happen causing big injuries which could mean you not being able to host events again. A final thing to take into consideration is noise level, when hosting a live event you are granted a license with rules of decibel level and if you exceed this level you would not be granted another license so another live performance would not be possible. I believe taking all of these health and safety precautions is fundamental to looking after everyone at a venue and will mean things can run smoothly without any inconvenience. 9 Tour and event management An event manger means you will be in charge of a number of jobs, firstly you’ll need to find your venue that is suitable to your event; and then you need to book your acts. After you have sorted this you need to check health and safety is okay and then make sure the night runs smoothly. An event manager is an important role in making sure a live performance goes to plan, the audience may not notice the hard work of an event manager but if it wasn’t for them there would be no show. A tour manager is slightly different; they are in charge of booking venues as well as hotels and what crews are in charge of health and safety, security etc. I believe that tour and event management plays a huge part to live performance and makes things tick, without tour and event managers everything would be unorganised and would not go smoothly. Front of house and Backstage Starting with front of house, this includes a wide range of jobs such as door staff; these can be security or people that accept tickets. People at food stalls or bars are also included, these people are important as they can keep the audience refreshed with drinks and food. Front of house staff can be important as they are what the audience see so they need to be calm and relaxed so things run according to plan and not to distress anyone at the venue. Backstage staff covers a few more roles, they include the sound engineer who controls the levels and quality of the band’s sound to put on a good sounding performance for the crowd, secondly there are instrument technicians for drums, bass, guitar so if any instruments fail in any way they are there to fix it or provide a new instrument e.g. backup  guitar/bass. Other roles include a lighting technician to give the performance visual effect and also a pyro-technician who is in charge of any fireworks or fire during the performance. Backstage managers will make sure acts are ready to go on stage at the correct time; roadies are in charge of moving and packing equipment away for the end of the set or for the next act. Backstage staffs are just as important as the acts themselves, this job needs to be done effectively and communication is key otherwise things could fall apart very quickly. Performance rights When hosting a live performance you need to make sure you are licensed to play music, you must have the correct copyright licenses, having these is a legal requirement. PRS collects royalties for songwriters, publishers and composers and PPL collects royalties for performers and musicians. You also need public liability insurance, and if any DJ’s are performing they will need a ProDub licence; this is needed for when a DJ is transferring music from a vinyl, CD etc. to a digital format. If they do not have this license you may face fines or legal prosecution. Artist management Business and Tour managers Business managers are in charge of all the money to do with the artist, they are usually accountants that have experience with musicians, day to day managers can also take care of finances but they usually have a lot more things to do so it is helpful to have a business manager for this. A tour manager takes care of booking venues, hotels, flights and things like selecting a tour bus etc. Tour managers are important because they get the artist/band from one place to another and make sure things run smoothly, a good tour manager needs to be organised so the band makes it on time to gigs, interviews and recordings. Having managers can be very helpful to an artist; however they will need to be paid so it’s important to decide what mangers you definitely need. 10 Artist and managers rights In the music industry artist and managers rights must be abided by, otherwise you could be brought to court; artist rights include being paid their royalties due to copyright, these are usually songs played on the radio/television etc. Manager’s rights are slightly different they include  being paid fairly and that all contract terms are kept to, if they aren’t it means the manager can terminate the contract at any time. I believe it is very important managers and artists rights are abided by because you may end up in court if contract terms are breached. Sponsorship Sponsorship does not always mean getting free stuff from the company that is sponsoring you, it means when two businesses come together to benefit from the association of one another. Sponsorship deals can be gained by the artist’s manager, it can mean money is offered to an artist and in the return the artist will wear, promote the brand. This is a very good way for an artist to earn income; it also makes artists/bands noticed. Endorsement is slightly different as it means artists can use the companies gear, this is good as it opens the company to a lot of fans and allows the artist to use top of the range equipment. I think sponsorship deals are good as they benefit both parties and can allow a lot of income to the artist and company. Merchandise Merchandise can include clothing, CDs and stickers. The merchandise should include a creative logo that goes with the name of the band, stickers are useful as they can be stuck anywhere and promote your band. Merchandise can be sold after shows and also online which is useful if people cannot get to them at a show, selling merchandise is a great way to make money as people will pay high prices to own a t shirt with their favourite bands name and logo on it. It’s also a good promotion technique, if people are walking the streets with your band name on their t shirt soon your bands name will become familiar to people and they will tempted to listen to your music. However, you need to make sure your designs are effective and not offensive because bad merchandise may put people off of your music. Merchandising is a very popular and important way of earning money and getting your band noticed, I believe it is a very good way to help an artist/band’s success. In this essay I have talked about and explained the four areas of the music industry, I have gained knowledge which will benefit my career as a musician, with this knowledge I now have an understanding about various careers in the music industry also.

The Opera Singer As An Actor Music Essay

The Opera Singer As An Actor Music Essay In this dissertation emphasis will be placed on the marriage of three concepts namely: good voice singing technique, musicality and acting for opera (building the character) in the training of a successful opera singer hereafter referred to as the singer-actor. The purpose of the study was to explore and describe the essential skills that needed to be acquired by the modern opera singer. The rationale therefore, is to provide guidelines for the minimum requirements for the training of the opera singer as singer-actor. Taking into consideration the demands on opera singers when taking part in an opera, the study was guided by the following question: How does the knowledge of good voice (a sound singing technique), musicality and building a character role benefit the opera singers performance? Evolving from the main research question, the following sub questions were formulated: What is a good voice within classical voice training methods? How can musicality contribute to an opera singers performance? What are the demands to build a character role? General and specific aims: The general aim of this study was to determine how the knowledge of a good voice, musicality and building a character role, benefit the opera singers performance. Specific aims: The specific aims of this study are: to define a good voice To define musicality to determine how building a character role contribute to an opera singers performance. Due to the limited nature of this study, only a literature study will be done. As an extension of this study, the researcher would follow an interpretivist paradigm with a qualitative approach which strives to comprehend the important skills an opera singer should have according to contemporary South African opera singers and their view of the importance of acting ability for successful opera. The study will be conceptualised in terms of and based on the following frameworks: The voice Musicality Acting ability Relationship between music and text For opera to retain its artistic relevance to, and impact on, the fabric of arts and culture, it can be argued that there are three fundamental elements to the performance of opera which need to be addressed, and which require academic input (herformulering), discipline regarding musicality as well as focussed tuition and practise (sweeping statement. Wie se so?). In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in). Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167). This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeà «r genoem moet word). The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesà ª) In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron) Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of A Good Voice, Musicianship and Acting Ability in terms applicable to the Singer-Actors optimal performance of Opera. Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer. This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena. An in-depth literature study of relevant and contemporary sources on these topics have been done to guide the research. Method of research The following methods of research were used to answer the research questions: Consulting of the following databases: JSTOR, Google Scholar, Periodical archive online and IIMP; Literature study Interpretation of information and conclusions A study of Largo al factotum from Puccinis Il Barbiere di Seviglia on the basis of the score and recordings, in order to ensure a common understanding of how the study could apply to the aria Before the conceptualized terms will be discussed, a concept clarification of the relevant issues at hand, will be provided. 1.1 Concept clarification The Good Voice / The self-amplified singing voice The good voice can be defined as the ability of the opera singer to project the voice in a way that its heard over and above the full orchestra accompanying the singers. This view correlates with the description of Gilfrey (2007:1) who describes the voice as a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. Four elements are essential to produce a sound, namely a vibrating object, a power source to make the object vibrate, a medium through which the vibrations are transmitted and apparatus to receive the vibrations (McKinney,1999:20). The self-amplified singing voice as described by Gilfrey (2007:1) is the single most important element of opera; the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today). Optimal Acoustic Output Acoustic output refers to the optimal projection of the voice to enhance the correct and optimal usage of the voice as an instrument. According to Titze (2002: 367 376) mean glottal airflow (or, alternatively, glottal resistance) has been a target for optimising vocal output power in voice therapy and singing training. Glottal airflow refers to the space between the vocal cords (the fleshly parts of the air passage inside the throat) which produce the sound of the voice by fast or slow moments, in which this space is repeatedly opened and closed (Longman, 1980:484). Generator / Breath Management / Breath Breathing is a natural process which begins at birth an ends with death. This is a natural process for which no training is acquired. The rate of breathing is governed by the bodys need for oxygen and needs no conscious controls. The essential difference between breathing to live and breathing to sing, lies in the amount of conscious control exerted (McKinney, 1994: 46). In other words, the breathing process is a spontaneous event for the normal person, but a skill that needs to be mastered by the opera singer to optimise breath control and support for the voice. Vibrator The word vibration of the voice refers to The function of the vibrator is to set the column of still air in the throat and also that in the windpipe in vibration. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67). Structure and Function Resonator / Supraglottic Activity The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word resonance can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voic e. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner. Classical Technique (sit nog iets in of haal uit, PL) In popular usage, art or serious music as opposed popular music The Harvard Concise Dictionary of Music and Musicians. CHAPTER 2: The Good Voice in Classical Singing Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term voice box of human sound box as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice. The good voice as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs dont include singing, and vice versa. Acting is becoming increasingly important for the opera singer, but is seldom supported by the prerequisites of theatre voice and movement (Melton Tom, 2003:135). Sà ª nog iets oor hoekom training belangrik is. Singing is both a science and an art. Most teachers have at least some appreciation for a scientific singing method and those who dont often claim to have discovered some long-lost piece of wisdom. This wisdom is generally already incorporated in the teachings of a well-trained singer. There are some fads that come and go but a singer with good technique and access to his or her emotions will please any audience and have a much broader career with greater longevity (Brown, 2004: 97-104). Technique is central to singing opera, but singing is also an art form, and no art form can be realised by the use of technique alone. Merging voice technique, musicality and emotion through competent acting skill is something that must be taught from the very beginning of the Opera Singers development of his/her career. This is because, when occupied in the emotion of the moment, the good voice will acquire nuances that are quintessentially important to conveying the emotional elements of the opera and will thus elevate the singer to a higher level of performance and riveting engagement with the audience. Gebruik onderstaande as daar nog inligting daaroor is, anders voeg saam, PL Every aspect of the voice, used directly of indirectly affects the whole mechanism. For example alignment and breathing are integrally connected to the performers range, resonance and articulation. For this reason, some of the relevant aspects affecting the good voice, will be discussed below. 2.1 Vowel modification Vowel Modification and Primal Sound Christy (1961) means that an important criteria for good singing habits is the homogenic shaping of vowels, in other words, they should sound as if they fit together, the vowels must be consistent with each other. Many professional singers never master the art of even vocal production. This can be ascribed to vocal coaches not fully grasping the concept of vowel placement. When this concept is fully understood it is impossible for a singer to not produce vowels freely and comfortably. In the first volume Christy states that once a single vowel is mastered the singer must focus on uniting the remaining vowels in accordance with that of the first. He means that the different vowels should attain a similar sound without losing its distinctive character. à ¢Ã¢â€š ¬Ã‚ ¦this is another way of saying vowels have to be equalized by having a common, fundamental tonal characteristic. The fundamental tone of the human voice is the huh sound. According to Christy this sound should be considered the basic reference to vowel placing because the uh sound is the most natural sound that can be produced, as the pharynx is relaxed and in its natural position. Oren C. Brown concurs with Christy, but describes the uh sound as the primal sound: Primal sounds are involuntary. They are the sounds you were born with. In Beijing , Basel or Boston, a babys cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the babys cry. He labeled the initial sound as a schwa [Éâ„ ¢], (uh as in about), which linked the cry to a babys first word, mama [mÉâ„ ¢mÉâ„ ¢]. Mama is the first word spoken by babies throughout the whole world. In Korea the word is ama, with the vowel preceding the consonant. (Brown 1998) p. 1 The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the huh sound in a short repetitive sequence (as if laughing), or a long relaxed sustained huh (like a sigh). He also suggests sliding the huh up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voices natural inclinations. Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that they are pure. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these pure vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing say, it becomes sayee or kind becomes kieend. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated. 2.2 Breath management Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing. According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat. 2.3 The vibrator 2.4 The resonator 2.5 The articulator Classical Opera training and singing versus Singing pop or secular music The single most important element of opera, the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today), is the self-amplified singing voice. This is a voice produced with a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. The learning of the singing technique this voice requires, takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies. CHAPTER 3: Musicianship How the Classical Singer Accesses Demonstrates Musicianship To acquire musicianship a high level of artistic interpretation of songs and knowledge of repertoire is required through years of training. One can not over emphasize the importance of musicianship. It is simply not suffice for a musician to have a musical ear, theoretical and musical knowledge, play an instrument or respond emotionally to music. The artist must be a musician i.e. a singer (Christy Vol 1: 7). According to Miller (Principles of singing p1) a singer can acquire musicianship through classes, studying an instrument (ex. Piano), performing in choirs or through private study and the self-exploration of music. Even though a singer that has exceptional vocal talent, he should receive professional music training and the participation in solo or choral ensembles especially in the first year of study. Many vocal teachers might disagree with this statementà ¢Ã¢â€š ¬Ã‚ ¦ A singer with a natural talent and an ear for music must be able to imitate sounds and pitches and not just h ear this internally, for example; in a singing lesson the student listens to the vocal teacher and then imitates the vocal sound of the teacher. The same principle applies with rhythm. A sound inner sense of rhythm will contribute to the holistic musicianship of the singer. Besides musicianship, there is also the interpretation of music. According to Christy (1961: Vol 2:110) Interpretation is the emotional and artistic portrayal; the summation of all music. According to Christy (1961:Vol2:110) Musicianship is the science of music and interpretation . A good singer should be familiar with all styles of music and song literature. The singer must be trained in a style and in the interpretation of songs in a particular style. A song has a style that must be established and followed through to the end. It is possible for a singer to become comfortable with a particular style that he can do well in, but he will not realise that what he steers clear of could be very valuable for his musical development. Therefore the teacher should analyse, guide and discuss the songs with the singer, in order to identify the accompanying details of expression. (Christy 1961:Vol2:110-111). The basis of musicianship include the abilities to read and interpret rhythms and intervals, playing the piano accompaniments, acquiring knowledge of the basics of theory and harmony, music and musicians in terms of vocal and instrumental style, schools and song literature. (Christy 1961:Vol1:7) According to Christy 1961:Vol:109, (quoting Curt Atler in the art of accompanying and coaching: 1965: 219) interpretation may be defined as the singers act of expressing and communicating meaning, mood and epic, a comedy, or just an expression set to music all in capsule form. To interpret music is to express or reproduce it intrinsically by the singer, in the score. Due to the limitations in music notation, it is the responsibility of the singer to interpret and express the fine distinction between tonal colour, tempo and intensity of the composers interpretation. The expression can be found in the text and in the setting. According to Christy 1961:Vol2:112, when the same song is sung by two sensitive artists, it is highly unlikely that the general style, tone, colour and mood will be markedly different; however, dynamics, tempo, word accentuation, and innumerable details often are. Thus, the keys must be studied by the singer in order to express and keep the interpretation on trac k. The two requirements for interpretation include the fidelity to the composers intent and that it must contain an essentially creative element of the interpreters own making, illuminating the subject with fresh light. (Christy 1961:Vol1:190). Furthermore, the expression must be honest, sincere, simple and direct, which means that nothing must be added or placed over the music that will distract attention from the work itself. Also, the singer must reproduce the music with insight, imagination and vitality in his own unique way it must not be copied from others. Interpretation has four main factors including appropriate and fervent mood or emotion, eloquent diction, adequate technique and a natural, sincere stage presence. (Christy 1961:Vol1:190). EMBELLISHMENTS Embellishments comprise of, but are not limited to the appoggiatura, acciaccatura, mordent, gruppetto or turn, trill and the portamento. These are techniques that are of vital importance in the interpretation of music. In the appoggiatura, the singer usually has to apply his own taste due to its indeterminate value. There are some accented notes in a melody that form the bass of the intervals since they lean on the next note to which they descend. The appoggiatura was used by singers long before it was written down, because of the enjoyable sound and is often absent in the score. (Shakespeare: 115). The acciaccatura and mordent is different from the appoggiatura as it is written with a stroke through the stem and tail. This does not have an affect on the value of the next note but it is sung much quicker. The acciaccatura is usually a small note where as the appoggiatura is written as a whole note. (Shakespeare: 115). The gruppetto or turn is a group of three or four notes. If the higher interval is a tone, the lower tone is a semitone and if both intervals are semitones it is known as a chromatic turn. (Shakespeare: 115). Sung in rapid alternation with the note of the scale above it, the trill is an embellishment that has a principle note that belongs to the harmony of the composition. A trill is usually finished with a turn. (Shakespeare: 115). The portamento carries the voice from one interval to the next, then passing lightly through the intervening tones. It also indicates a phrase and the Legato rendering of a passage. (Behnke: The technique of singing: 99) Legato Slur Intonation Colour in the voice timbre (emotion) Following the conductor Discuss the concept of DISCIPLINE Technical aspects According to Hayward (see 1994:205) style can be interpreted in many different ways. Interpretation can be defined as communicating understanding. Interpretation can best be expressed in a persons own language according to James Nolan in his book Interpretation, Techniques and exercises. Expression and conveying of meaning, feeling and idea through sound can be defined as interpretation (Christy 1967:109). CHAPTER 4: Acting Within the South African context, this integration of The Good Voice, Musicianship and Acting is deficient. There are various reasons for this lack of attention given to the development of acting skills with singer-actors. One is that there are not many qualified tutors in South African institutions that combine the field of acting and musical performance. Another reason is the absence of appropriate development programs and relevant material in curriculums. As a result, there is less interest from students to pursue a career as a singer-actor. In support of this argument, Knobel and Steinert (2002:155) claim that the acting teacher should be just as important to you as your singing teacher and can be of great help to you throughout your singing career. Interestingly enough, contrary to this understanding are the arguments of authors such as Bean, Goldovsky and Balk, who posit that acting classes à ¢Ã¢â€š ¬Ã‚ ¦ are very often of little benefit to the singing actor Bean (2007:167). These two opposing views illustrate that there are no consensus among academics about the importance of acting skills (al dan nie) of the opera singer. This statement is underpinned by the neglect of some higher education institutions offering voice training, where little or no training in acting is provided. In the quotation below, Bandelj truly captures the spontaneous physiological, psychological and emotional reactions which authentic acting can bring about in the actors performance. When a singer acts and sings in a mechanical way, it often comes across as disjointed or in some cases ridiculous. It is the emotion that breathes life into the song and makes it relevant, connecting with the audience and transcending facial contortions (Bandelj, 2003:393-394). To avoid that, an actor should utilise the all the involuntary muscle contractions that emotions evoke in the body, either by recalling their own past experiences or imagining themselves personally going through what the character is experiencing. This makes the whole action more believable. Gilfrey, Bonavia agrees that the ability to act, though considerably under-estimated, is not the only or the most necessary qualification for the operatic stage. Acting in opera is a comparatively modern accomplishment (Bonavia, 1915:79). This observation, by Bonavia, pays homage to the deeply rooted tradition of well-respected opera singers being famous for their magnificence of voice; but of their skill in acting there is hardly any mention to be found anywhere (Bonavia, 1915:79). ( Dink hier aan enige ou opera wat opgevoer is en waar daar slegs aandag aan die sang gegee is) Ultimately, Bonavia contradicts (to some extent) the previous argument by identifying an exception. That is Chaliapin who, according to Bonavia, provides the audience with ever-changing shades of facial expression à ¢Ã¢â€š ¬Ã‚ ¦ the whole character left vividly impressed à ¢Ã¢â€š ¬Ã‚ ¦ Chaliapin is the ideal actor (Bonavia, 1915:80). In terms of the attempts made at acting within the Opera world, there is a history and tradition of operatic gesture and the surprising persistence of melodramatic effects and gestural overstatement (Smart, 2004:26). While this is certainly applicable to the Nineteenth Century, we need to be cognisant of how this tradition of gestural overstatement may be (erroneously) assumed to be the only acting required of the singer actor in the twenty-first Century. That is, even in the times of Verdi, the role of gesture à ¢Ã¢â€š ¬Ã‚ ¦ (grew) à ¢Ã¢â€š ¬Ã‚ ¦ as formal conventions loosened (Smart, 2004:136). The appropriate question therefore is, to what extent have formal conventions loosened further, particularly in a world hallmarked by electronic media and social networking? As indicated in the introduction, Television and DVDs, have provided unrestricted access to Opera to an ever-increasing sophisticated and demanding audience in the entertainment space. This view is further reinforced by the writing of RePass (1953:10-18) who states that à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦(PL). Building the Character The creation of a character role by the singer-actor is the basis and starting-point of the combination of singing and acting. While it cannot be doubted that an excellent singing technique à ¢Ã¢â€š ¬Ã‚ ¦ (viz., The Good Voice and Musicianship) à ¢Ã¢â€š ¬Ã‚ ¦ is essential to the success of any opera singer, other skills required for a convincing performance, among them acting, are often given less attention by singers and their teachers (Gilfrey, 2007:1). Innate talent is not the sole factor as the ability of a singer-actor to create a character role is severely impacted by the cultural beliefs of what acting is and also how it is measured. When keeping this in mind it becomes evident that the creation of a character, especially in the case of singer-actors, are based on the teachings of Konstantin Stanislavsky better known as the method acting technique. The method acting technique is an approach that the Russian actor developed to whose approach stresses the internal preparation of actors (Bandelj, 2003:393). This focus differs from that of the other schools of acting namely The English School of Acting, The Bertold Brechts epic theatre and Japanese Noh Drama. The interaction experienced by the singer-actors on stage and the director with the constant feedback assures a more lifelike portrayal. The fundamental driver of method acting is the wish to reproduce reality. All (acted) behaviours and interactions need to be seen to be psychologically, emotionally and socially authentic and plausible, while concurrently acting as an integrating mechanism to the plot and to the other cast members. Drawing on his/her own experiences and observations the actor needs to appear spontaneous while using objects in both a symbolic (or metaphorical way) and a literal way (Bandelj, 2003:393). This, and the additional use of props to facilitate the portrayal of the situation, are all tied together by the passion of the actor and the pursuit of truth as art imitates life or indeed verisimilitude (Bandelj, 2003:394). The quality of the voice has much more to do with the correct training and technique, rather than the singers natural endowment, especially later in life as the singer ages. *The W questions to build a character role (also mentioned in the PowerPoint) Who? What? Where? When? Why? And HOW? Contributing Elements to Building a

gender roles in marie claire Essay -- essays research papers

One of the most prevalent forms of invisible social control is the creation and perpetuation of stereotypes. Today’s society is filled with stereotypes and the media has proven to be an excellent breeding ground. Research in the stereotype domain indicates that the media can prime stereotypes, and these primed stereotypes do influence how people are later perceived. Also the research on media priming of stereotypes generally increases confidence in the generality of the media as a prime. Television, movies, newspapers and magazines contain millions of images that feature individuals portrayed in stereotypical ways. This paper will examine the February issue of Marie Claire and the gender and racial stereotypes that are evident within the advertisements and articles. For many years society has embraced the idea that the differences between men and women are biologically determined and certain roles, behaviors and attitudes constructed by society assign and control how men and women behave and are perceived. Sex is determined by genetics while our gender is programmed by social customs. Some theories interpret that a women is tender and a loving mother while on the other hand men are aggressive hunters and are the dominant one of the family. Gender roles prescribe norms, which instruct people to pursue specific careers and lifestyles. Marie Claire, a typical trashy magazine geared towards women, regularly features stories focused on how to make women beautiful, thin, and desirable to men. Its pages are also full of advice regarding who your Prince Charming will be and how he should and shouldn’t treat you. The writers and editors lure women by strategically placing beautiful images on glossy covers amongst articles that focus on body image, style, and relationships. The advertisements and articles in Marie Claire help fuel assumptions made about the specific roles and abilities of men and women. Simply glancing at the magazine section, while waiting in the checkout line, any individual, man or woman, is able to make their own assumptions about how they are perceived and how they are supposed to behave from article headlines, such as those in February’s Marie Claire which included: â€Å"Fire up His Desire†, â€Å"Sexy or Skanky?†, â€Å"Best Beauty Bargains Ever†, â€Å"What his Cell Phone Style says about him†, and more advice related to fashion and health. These headlines give... ...â€Å"the glam goddess,† and â€Å"the classic cutie.† However, the black woman was labeled â€Å"the tropical temptress† and was dressed in very exotic clothing and jewelry. This article appeared to be drawing some kind of division between the African-American and the rest of the women by making her stand out in her clothes and makeup. One of the African-American males in the magazine was featured as â€Å"this month’s half-naked hunk.† It shows him without a shirt and includes a couple trivial facts, such as his age, height, hometown, and zodiac sign. There is nothing that gives any evidence of him as being anything more than a sex symbol, as opposed to when some of the white males were shown there was information about their occupation or they were portrayed doing some kind of positive act. Although, there was not much racial stereotyping in the issue of Marie Claire; there was not much representation of racial minorities. This magazine is full of white middle class women, because that’s what society says is right. Society creates these stereotypes and we fall into them. The media spreads these memes and they multiply. Society must rise above these petty differences and expel these stereotypes.

From Playwright to Production: the Process of Recreating Shakespeare :: William Shakespeare Essays

From Playwright to Production: the Process of Recreating Shakespeare Works Cited Missing A full understanding of Shakespeare's plays is arrived at through the process of imaginatively recreating them. Reading a play, or watching a production, or being involved in a production, or reading what someone else has to say is not enough fully grasp any given play. All of these things must be done to achieve a deeper comprehension. On the following pages I will try to organize my ten week Shakespearean experience by drawing parallels between my own experience and the experience of the rude mechanicals and royal audience of A Midsummer Night's Dream. Origin of a Shakespearean Production: The Bard Himself Any representation of a Shakespearean work must necessarily begin with Shakespeare himself. He is the creator and the genius behind the dramatic works that hold a revered place in our literary and theatrical culture. Part of what makes Shakespeare great is his consciousness of the enduring role of the poet and a playwright. As a result, he wrote not only for his own age but, in Ben Jonson's words, 'for all time.'; Shakespeare focuses not on what was popular and relevant in his contemporary world, but on the themes that would be enduring beyond his death. Shakespeare's musings on the function of the poet and playwright are included as themes of many of his plays. In A Midsummer Night's Dream, Theseus speaks for Shakespeare at the beginning of Act Five: the poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes, and gives to airy nothing A local habitation and a name. (Act V.i.12-17) The poet is a visionary and his main tool is his imagination. Through his imagination he looks at heaven and earth and sees what the average person does not. The imagination gives 'bodies'; to and brings forth what cannot be seen by the naked eye. The poet is given insight into a world beyond what is seen every day of the surface of the world. He is like Bottom, who when awakening after his adventures with Titania says: I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was....The e ye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was.

La Cancion de mi Corazon :: essays research papers

Memories to me are songs that play over and over again in my head. My heart keeps the beat and notes fall from my breath. After awhile not even the physical self exists. My soul is squashed between bars and lines. Sometimes I’m running, other times I’m resting. I see images flash by in four-four time then three-four time then six-eight time†¦there is no pattern. Erratic sharps lift me up and make me smile only to become flat again and drop me back into confusion. Confusion is the endless melody that carries on in my blood. The music stops only when I think of him, my lost harmony, my Che†¦   Ã‚  Ã‚  Ã‚  Ã‚  My father would hold me on his lap and tell me that the wind whispered of change. He said the sun was beginning to light the way to a new path for Cuba. He’d tell me the water was stirring in anticipation of underground action. These things bounced off me and rolled into unswept corners of my mind. When my father spoke to me each day I was too preoccupied chasing chickens (add more detail bit about chasing chickens). Now that I think back to those times I realise my father spoke more to reassure him self than me that the country would find its glory.   Ã‚  Ã‚  Ã‚  Ã‚  My mother was less optimistic about the future improvement of Cuba. Perhaps this was due to the realities of our current standard of living. My mother’s bitterness splashed down upon us as she complained of the lack of a morsel of meat in the house. She complained of our scrawny chickens and how my father sold their eggs. Many times as a child I would hear her say to my father â€Å"How can I raise our children to be strong when you sell our eggs and bring home no meat?† My father would sigh and in a tired voice would reply â€Å"Tomorrow will be better.† But it never seemed to be. I suppose though that no matter how destitute a child’s life is one’s imagination can serve as a comfort. I would stave off hunger by flipping through my recollections of life beyond the rural land of Mantanzas. The city of Havana, despite the crime and corruption, held me firmly fixed in fascination. The last time the city came into my sight my mother was buying a new dress. She seldom bought machine made, market quality clothes.

Pipeline Hydraulics Design Basis Engineering Essay

It includes the pipe and flow features of the transported fluid under specified operating conditions as established in the design footing.SpeedThe grapevine has to be laid for the distance of 770km between Portland and Montreal, the fluid in the pipe is Light Crude Oil. Speed of flow in a grapevine is the mean speed based on the pipe diameter and liquid flow rate. Its choice is first measure in the scheming process of our undertaking. The flow speed can hold both advantages and drawbacks. High speeds can do turbulency, and the contact of the fluid on the walls of the pipe which will do harm to the pipes and finally gnaw away the pipe, while low speed on the other manus can do the deposition of particulates in the line and cleanliness of the fluid will be compromised. Therefore, to avoid these problemsliquid lines are usually sized to keep a speed sufficient to maintain the solid atoms from lodging and besides to forestall the eroding of the pipe. Under these considerations the recommended speed is in the scope of 3ft/s to 8ft/s. From this selected scope of speed we have to choose a individual speed. The speed we have selected for our line is 5ft/s. This is the intermediate speed from the recommended scope and all the farther computations will be done on this speed.Velocity SelectionThe scope as mentioned above is taken every bit 3ft/s to 5ft/s. The following measure is to choose a individual speed from this scope. We have selected 5ft/s for our line. The ground for this speed choice is the tradeoff between pipe diameter and figure of pump Stationss. Harmonizing to continuity equation if we increase the speed, the corresponding diameter will cut down but the force per unit area loss will increase due to which a higher figure of pump Stationss are required. Similarly if we decrease the speed, the figure of pump Stationss will cut down but the diameter will increase for a given flow rate. Since the grapevine is laid over a long distance, the grapevine cost holds the major portion of the capital investing hence increasing the diameter will adversely impact the economic sciences of grapevine. This tradeoff is seeable in the computations shown in appendix A. The other ground for taking this speed is that if the flow rate fluctuates in the hereafter for any ground the diameter selected from this intermediate speed will be able to suit those fluctuations without impacting our system.Diameter CalculationCalculation of the diameter is the nucleus of the hydraulic designing.The diameter selected should be able to back up the emphasiss on the pipe, the capacity of the fluid and minimise the force per unit area losingss. Under given flow rate and false speeds, we can cipher the pipe diameter utilizing continuity equation:V=Q/AVolt: Flow speed Q: Volume flow rate A: Cross sectional country The flow rate is given as 109,000bbl/day or 7.1ft^3/s. The diameters are calculated at 3, 4, 5ft/s speeds and the several diameters are 20.83 † , 18.04 † and 16.14 † .Choice of DiameterAs mentioned above 5ft/s is selected as the recommended speed and the corresponding internal diameter ( ID ) is 16.14in.Nominal Pipe SizeFor the internal diameter later we have to cipher the nominal pipe size. To cipher the nominal diameter we refer to the â€Å" Pipe Data † provided for the Carbon Steel. From the tabular array shown in appendix B, it is found out that attendant nominal pipe size will be 18in.Features of FlowDifferent flow belongingss are calculated to find the government of flow, losingss in the pipes. The nature of the flow can be laminal or turbulent.There are two types of the losingss. Major losingss include the losingss due to clash in consecutive pipes and minor losingss due to decompression sicknesss, valves, tees. To cipher these we will be covering with Reynolds figure ( for nature of flow ) , Moody diagram ( for clash factor ) and head loss computations.LosingssAs the fluid flows through the pipe there is clash at the pipe wall and unstable interface in the consecutive parts of the pipe due to interference between the fluid and the walls of the pipe. This clash consequences in consequences in the loss of energy in the lineat the disbursal of liquid force per unit area and the losingss are known as the major losingss. Pipe systems consist of constituents in add-on to consecutive pipes. These include decompression sicknesss, valves, tees etc and add farther to the losingss in the line. These losingss are termed as minor losses.Experimental information is used to cipher these losingss as the theoretical anticipation is complex.Major LosingssThe force per unit area bead due to clash in a grapevine depends on the flow rate, pipe diameter, pipe raggedness, liquid specific gravitation, and viscousness. In add-on, the frictional force per unit area bead depends on the Reynolds figure ( and therefore the flow government ) . Therefore, the fluid in the grapevine will undergo force per unit area losingss as it runs in the line and cut down the operating force per unit area. This loss needs to be recovered and to keep the force per unit area pumps are installed at specific locations harmonizing to the demand ( pumps are discussed in Chapter in front ) . These force per unit area losingss are calculated by ut ilizing the Darcy-Weisbach expressiona?† P = degree Fahrenheit ( L/D ) ( V^2/2 ) I?Where, f=Darcy clash factor, dimensionless, normally a figure between 0.008 and 0.10 L=Pipe length, foot D=Pipe internal diameter, foot The force per unit area loss for speed of 5ft/s comes out to be 9625.15psi. All the relevant computations are shown in appendix A.Minor LosingssReal grapevine systems largely consist of more than consecutive pipes. The extra constituents ( valves, tees and decompression sicknesss ) add to the overall loss of the system. These are termed as minor losingss. In instance of really long pipes, these losingss are normally undistinguished incomparison to theA unstable clash in the length considered. But in caseA of short pipes, these minor losingss may really be major losingss such as inA suction pipe of a pumpwith strainer and pes valves.These losingss represent extra energy dissipation in the flow, normally caused by secondary flows induced by curvature or recirculation. Minor loss in diverging flow is much larger than thatA in meeting flow. Minor lossesgenerally increase with an addition in the geometric deformation of the flow. Thoughminor losingss are normally confined to a veryA short length of way, the effects mayA notdisappear for a considerable distance downstream. ItA is undistinguished in instance ofA laminar flow. The force per unit area bead through valves and adjustments is generallyexpressed in footings of the liquid kinetic energy V2/2g multiplied by a head loss coefficient K. Comparing this with the Darcy-Weisbach equation for caput loss in a pipe, we can see the undermentioned analogy. For a consecutive pipe, the caput loss H is V2/2g multiplied by the factor ( fL/D ) . Therefore, the caput loss coefficient for a consecutive pipe is fL/D. Therefore, the force per unit area bead in a valve or adjustment is calculated as follows:h=K ( V^2 ) /2gWhere, h=Head loss due to valve or suiting, foot K=Head loss coefficient for the valve or adjustment, dimensionless V=Velocity of liquid through valve or adjustment, ft/s g=Acceleration due to gravitation, 32.2 ft/s2 in English units The caput loss coefficient K is, for a given flow geometry, considered practically changeless at high Reynolds figure. K increases with pipe raggedness and with lower Reynolds Numberss. In general the value of K is determined chiefly by the flow geometry or by the form of the pressureloss device. Minor loss is by and large expressed in one ofA the two ways In footings of minor loss factor K. In footings length, tantamount to aA certain length of consecutive pipe, usuallyexpressed in footings of figure of pipe diameter. The minor losingss for our system are calculated and consequence in a really low value and can easy be neglected.Reynolds NumberFlow in a liquid grapevine may be smooth, laminar flow, besides known as syrupy or streamline flow. In this type of flow the liquid flows in beds or laminations without doing Eddies or turbulency. But as the speed increases the flow alterations from laminar to turbulent with Eddies and turbulencies. The of import parametric quantity used in sorting the type of flow in the pipe is called Reynolds Number. Reynolds figure gives us the ratio of inertial forces to syrupy forces and is used to find the nature of flow utilizing the recommended speed and the internal diameter. Reynolds figure is given byRe = I?VD/A µFlow through pipes is classified into three chief flow governments and depending upon the Reynolds figure, flow through pipes will fall in one of the undermentioned three flow governments. 1. Laminar flow: R & lt ; 2000 2. Critical flow: R & gt ; 2000 and R & lt ; 4000 3. Disruptive flow: R & gt ; 4000Friction FactorFriction Factor is a dimensionless figure required to cipher the force per unit area losingss in the pipe. Trials have shown that degree Fahrenheit is dependent upon Reynolds figure and comparative raggedness of the pipe. Relative raggedness is ratio of absolute pipe wall raggedness I µ to the pipe diameter D. For laminar flow, with Reynolds figure R & lt ; 2000, the Darcy clash factor degree Fahrenheit is calculated from the simple relationshipf=64/RFor laminar flow the clash factor depends merely on the Reynolds figure and is independent of the internal status of the pipe. Therefore, irrespective of whether the pipe is smooth or unsmooth, the clash factor for laminar flow is a figure that varies reciprocally with the Reynolds figure. For turbulent flow, when the Reynolds figure R & gt ; 4000, the clash factor degree Fahrenheit depends non merely on R but besides on the internal raggedness of the pipe. As the pipe raggedness additions, so does the clash factor. Therefore, smooth pipes have a smaller clash factor compared with unsmooth pipes. More significantly, clash factor depends on the comparative raggedness ( I µ/D ) instead than the absolute pipe raggedness I µ . In the disruptive part it can be calculated utilizing either the Colebrook-White equation or the Moody Diagram.Colebrook-White EquationThe Colebrook equation is an inexplicit equation that combines experimental consequences of surveies of turbulent flow in smooth and unsmooth pipe The Colebrook equation is given as:1/a?sf = -2log ( ( I µ/3.7D ) + ( 2.51/Rea?sf ) )But the turbulent flow part ( R & gt ; 4000 ) consists of three separate parts: Turbulent flow in smooth pipes Turbulent flow in to the full unsmooth pipes Passage flow between smooth and unsmooth pipes For disruptive flow in smooth pipes, pipe raggedness has a negligible consequence on the clash factor. Therefore, the clash factor in this part depends merely on the Reynolds figure as follows:1/a?sf = -2log ( 2.51/Rea?sf )For disruptive flow in to the full unsmooth pipes, the clash factor degree Fahrenheit appears to be less dependent on the Reynolds figure as the latter additions in magnitude. It depends merely on the pipe raggedness and diameter. It can be calculated from the undermentioned equation:1/a?sf = -2log ( ( I µ/3.7D )For the passage part between turbulent flow in smooth pipes and turbulent flow in to the full unsmooth pipes, the clash factor degree Fahrenheit is calculated utilizing the Colebrook-White equation given above:1/a?sf = -2log ( ( I µ/3.7D ) + ( 2.51/Rea?sf ) )Moody DiagramThe Colebrook equation is an inexplicit equation and requires test and mistake method to cipher f.To provide the easiness for ciphering f scientists and research workers developed a gra phical method known as Moody diagram.The Moody chart or Moody diagramis a graph that relates the clash factor, Reynolds figure and comparative raggedness for to the full developed flow in a round pipe.In the diagram clash factor is plotted poetries Reynolds figure. The curves are plotted utilizing the experimental information. The Moody diagram represents the complete clash factor map for laminar and all disruptive parts of pipe flows. To utilize the Moody diagram for finding the clash factor degree Fahrenheit we foremost calculate the Reynolds figure R for the flow. Following, we find the location on the horizontal axis of Reynolds figure for the value of R and pull a perpendicular line that intersects with the appropriate comparative raggedness ( e/D ) curve. From this point of intersection on the ( e/D ) curve, we read the value of the clash factor degree Fahrenheit on the perpendicular axis on the left.Other Pressure Drop RelationsHazen-Williams EquationThe Hazen-Williams equation is normally used in the design of waterdistribution lines and in the computation of frictional force per unit area bead inrefined crude oil merchandises such as gasolene and Diesel. This methodinvolves the usage of the Hazen-Williams C-factor alternatively of pipe roughnessor liquid viscousness. The force per unit area bead computation utilizing the Hazen-Williams equation takes into history flow rate, pipe diameter, and specificgravi ty as follows:h=4.73L ( Q/C ) 1.852/D4.87Where, h=Head loss due to clash, foot L=Pipe length, foot D=Pipe internal diameter, foot Q=Flow rate, ft3/s C=Hazen-Williams coefficient or C-factor, dimensionless In customary grapevine units, the Hazen-Williams equation can berewritten as follows in English units:Q=0.1482 ( C ) ( D ) 2.63 ( Pm/Sg ) 0.54Where, Q=Flow rate, bbl/day D=Pipe internal diameter, in. Pm=Frictional force per unit area bead, psi/mile Sg=Liquid specific gravitation Another signifier of Hazen-Williams equation, when the flow rate is in gal/ min and caput loss is measured in pess of liquid per thousand pess of pipe is as follows:GPM=6.7547A-10-3 ( C ) ( D ) 2.63 ( HL ) 0.54Where, GPM=Flow rate, gal/min HL=Friction loss, foot of liquid per 1000 foot of pipe In SI units, the Hazen-Williams equation is as follows:Q=9.0379A-10-8 ( C ) ( D ) 2.63 ( Pkm/Sg ) 0.54Where, Q=Flow rate, m3/hr D=Pipe internal diameter, millimeter Pkm=Frictional force per unit area bead, kPa/km Sg=Liquid specific gravitationShell-MIT EquationThe Shell-MIT equation, sometimes called the MIT equation, is used in the computation of force per unit area bead in heavy petroleum oil and heated liquid grapevines. Using this method, a modified Reynolds figure Rm iscalculated foremost from the Reynolds figure as follows:R=92.24 ( Q ) / ( DI? )Rm=R/ ( 7742 )Where, R=Reynolds figure, dimensionless Rm=Modified Reynolds figure, dimensionless Q=Flow rate, bbl/day D=Pipe internal diameter, in. I?=Kinematic viscousness, Central Time Than depending on the flow ( laminal or turbulent ) , the clash factor is calculated from one of the undermentioned equations:f=0.00207/Rm ( laminal flow )f=0.0018+0.00662 ( 1/Rm ) 0.355 ( disruptive flow )Finally, the force per unit area bead due to clash is calculated utilizing theequationPm=0.241 ( f SgQ2 ) /D5Where, Pm=Frictional force per unit area bead, psi/mile f=Friction factor, dimensionless Sg=Liquid specific gravitation Q=Flow rate, bbl/day D=Pipe internal diameter, in. In SI units the MIT equation is expressed as follows:Pm=6.2191A-1010 ( f SgQ2 ) /D5Where, Pm=Frictional force per unit area bead, kPa/km f=Friction factor, dimensionless Sg=Liquid specific gravitation Q=Flow rate, m3/hr D=Pipe internal diameter, millimeter