Thomas Morton Essay Example for Free

Thomas Morton Essay (1). What was the cause of the enmity that developed between Thomas Morton and his group and the Pilgrams at Plymouth? What was his major offense? The harsh reaction of the Pilgrims to Morton was explained only in part by their abhorrence of the Maypole incident. They also were offended by his open ridicule of their society and his practice of conducting Anglican services at Merry Mount. Perhaps of even greater concern was the fact that Morton traded firearms for furs with the local Indians — a practice that the Pilgrims believed was their exclusive preserve. In 1628, Plymouth authorities dispatched Miles Standish to deal with their troublesome neighbor. Morton and his associates were too drunk to resist; he was taken into custody and exiled to a small nearby island to await transportation back to England. There he was supplied with provisions by sympathetic Indians and managed to escape on his own and return to England. He reappeared in Plymouth the following year and promptly ran into difficulties with the officials. His property was confiscated and he was again sent home. Demonstrating life-long persistence, Morton returned to Massachusetts in 1643 and was promptly imprisoned in Boston. Following his release, he was exiled to Maine, where he remained for the rest of his life. (2) Morton was sent back to England to be punished, but each time he escaped punishment. Why? Thomas Morton values, and relations to the more familiar swashbuckling Cavaliers of Europe need to be carefully explained. According to his own self-description, Morton was the university-educated son of a soldier, devoted to the British crown and old English ways, and a staunch supporter of the Church of England, its liturgy, and its holy days. His portrait of the Indians and attempt to show how, despite their uncivilized state, share many values with the traditional Englishmen whom he had taken to be his audience. The Indians personal modesty, hospitality to strangers, respect for authority, and even religious views mirror those of England, and their contentment surpasses that of the English because of their greater closeness to nature. This was the reason behind escape from punishment of Morton in England. Resources: http://www.u-s-history.com

Viscosity Science Lab Essay Example for Free

Viscosity Science Lab Essay Purpose: To determine of changing the viscosity will affect the time it takes for a marble to flow through a liquid. Hypothesis: If a marble is dropped into dish soap and corn syrup, than I predict that the marble in the dish soap will travel faster than the marble in the corn syrup because I know that the viscosity of the corn syrup is thicker than then the viscosity of the dish soap. Also, the particles in the corn syrup are more compact than those in the dish soap. This makes the marble sink faster in the dish soap than the corn syrup. Apparatus: * 2 identical marbles * 250 Graduated Cylinders of 250mL * 250mL of dish soap * 250mL of corn syrup * 1 timer/stopwatch Procedure: 1. Drop one marble in the graduated cylinder of corn syrup and begin timing 2. Continue timing until the marble hits to the bottom and stop the timer 3. Record the time result in the qualitative chart 4. Record all observations in the quantitative chart 5. Repeat all steps from 1-4 fir the graduated cylinder of the dish soap 6. Clean up the work area Observations: Qualitative Observations Dish Soap| Corn Syrup| * Green * Quick * Pungent * Bubbles * Translucent * Level rose * Bright * Not Viscous| * Level Rose * Very Slow * Bubbles *  Translucent * Pungent * Viscous * Muted * Dark| Quantitative Observations: Dish Soap| Corn Syrup| 7.24 seconds| 87.25 seconds| Data: See graph attached at the end of this lab. Conclusion: Yes, my hypothesis was correct. I discovered that a marble travels approximately 7 seconds in 250mL of dish soap and approximately 87 seconds in corn syrup. Also, I found that the corn syrup is more viscous than the dish soap which is what caused the slow and fast sinking. This result occurred because the particles in the corn syrup are much larger than normal particles. These large particles within the corn syrup take up more space. Since the particles take up so much space, they tend to block each other and not let them pass through. It is very difficult for large particles to move past each other unlike small, tiny particles, like those in the dish soap. The particles in the dish soap are very small and can move more freely and quickly. In the dish soap, the particles are very small and can move past each other easily when compared to the particles in the corn syrup. Another reason also contributed to the result of this experiment. Attraction. Some types of particles tend to attract more than others and that is exactly what happened in the corn syrup. The particles in the corn syrup attracted more than the dish soap. The large particles in the corn syrup held tightly to each other, that when the marble fell in that it made it hard for the marble to pass through more than one particle at a time. IN the dish soap, the particles did not attract as much as the corn syrup which let the marble move easily and quickly through the liquid. The strength of attraction as well as the particle size is important in determining a fluid’s viscosity. Application: This viscosity experiment can be used in real-life when making sun-tan lotion as well as other cosmetic products. It is important for the lotion to be viscous because the lotion could not be applied and spread around the  body if the cream was not viscous enough to suit its use. It would drip all over you! It wouldn’t dry or stay in one place. Many well-known businesses hire highly educated scientists to calculate the right viscosity level and if it is not correct nobody would buy the product. People who once thought highly of the product would think that it has gone bad and useless. Profits would go down for the business and since nobody would by it, the business would have to be shut down. Many jobs would be lost and many businesses would have to be shut down. Jobs from the factory, the transport services, the marketers, and the retail stores would be lost and many people left with nothing but a pension. Viscosity is seen all around the world and it is very important for the measurement of viscosity to be pin-point and accurate.

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

Will the European Union Survive? Essay -- European Union Essays

"Europe must prevent Greece from becoming an out-and-out catastrophe and make sure that the same fiscal 'remedy' is not applied to other weak economies" -- Franziska Brantner Europe is a powerhouse of Western culture and science. It possesses an economy with an annual Gross Domestic Product of over sixteen trillion dollars.1 Europe’s global economic connections are worth billions to developing countries and even the United States of America.2 Regrettably for the global economy, the European Union may collapse very soon, the cost of allowing incompetent politicians to run an economy on bad policy.3 A fiscal union is necessary to prevent the destruction of the Eurozone. The whole objective of the initiation of the European Union was to create a European economy, a greater European stability and society, all with a greater altruistic attitude.4 This may all have been for naught if the Europeans cannot adopt a preservative tendency. All sides of the table agree that a solution must be met. After all, to do nothing could risk the contagion of the primarily Greek, Portuguese, Spanish, and Italian crises to more internationally relevant economies, like France and Germany.5 However, the four most affected countries, Greece, Portugal, Italy, and Spain; known collectively under an umbrella pejorative â€Å"the PIGS†, already combine for 24.5% of the entire European economy.6 This means a loss of these states from the economy could already amount to sizeable damages. In spite of the potential for such a negative outcome, the sovereigns simply cannot agree to what this solution might look like, and all the solutions thus proposed have appeared to be unsatisfactory.7 Debt is a long term problem and accordingly, it makes sense to employ... ...Dec. 2011. . 14. "Why E.U. collapse is more likely than the fall of the euro - The Washington Post." Washington Post: Breaking News, World, US, DC News & Analysis. N.p., n.d. Web. 11 Dec. 2011. . 15. "ECB: ECB decides on measures to address severe tensions in financial markets." ECB: European Central Bank home page. N.p., n.d. Web. 11 Dec. 2011. . 16. "European fiscal union: what the experts say | Business | guardian.co.uk ." Latest US and world news, sport and comment from the Guardian | guardiannews.com | The Guardian . N.p., n.d. Web. 11 Dec. 2011. .

Essay on Gregor as Catalyst for Metamorphosis -- Metamorphosis essays

Gregor as Catalyst for Metamorphosis of the Family    In Franz Kafka’s The Metamorphosis, Gregor is not the only presence that undergoes a complete transformation. Sometimes a change in one area of life will give way to changes in other areas, but the ensuing changes would not have come about without the first change that set things in motion. This is the case with Gregor and his family. Gregor’s family was in dire need of change, and Gregor’s condition became a powerful catalyst for that change. Gregor’s metamorphosis facilitates the change of his entire family, proving that oftentimes an outside source is needed to pull people out of a rut and get them on their feet again. Before Gregor turned into a giant bug, his entire family relied heavily on him in more ways than one. After his father’s business failed, Gregor became the main breadwinner of the household. He got a steady job and the entire family was happy, because a steady job accompanies steady income and a steady supply of food, as well. Over time, "they had simply got used to it, both the family and Gregor; the money was gratefully accepted and gladly given, but there was no special uprush of warm feeling" (95). Each member of the family becomes accustomed to an easy life in which needs and wants are provided for. This routine causes the individuals in the family to stagnate and live unproductively. The family begins to follow a path of exis... ...ometimes it is only through the changes of another, in this case Gregor, that people themselves begin to transform. The sacrifice of Gregor allows his family to leave its protective cove and journey out into the world, discovering what life has to offer. Works Cited Eggenschwiler, David. "'The Metamorphosis', Freud, and the Chains of Odysseus". Franz Kafka: Modern Critical Views. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 199-219. Emrich, Wilhelm. Franz Kafka: A Critical Study of His Writings. New York: Ungar, 1968. Kafka, Franz. Metamorphosis. Trans. A.L. Lloyd. New York: Vanguard Press, Inc., 1946. Pawel, Ernst. The Nightmare of Reason. New York: Vintage Books, 1984. Essay on Gregor as Catalyst for Metamorphosis -- Metamorphosis essays Gregor as Catalyst for Metamorphosis of the Family    In Franz Kafka’s The Metamorphosis, Gregor is not the only presence that undergoes a complete transformation. Sometimes a change in one area of life will give way to changes in other areas, but the ensuing changes would not have come about without the first change that set things in motion. This is the case with Gregor and his family. Gregor’s family was in dire need of change, and Gregor’s condition became a powerful catalyst for that change. Gregor’s metamorphosis facilitates the change of his entire family, proving that oftentimes an outside source is needed to pull people out of a rut and get them on their feet again. Before Gregor turned into a giant bug, his entire family relied heavily on him in more ways than one. After his father’s business failed, Gregor became the main breadwinner of the household. He got a steady job and the entire family was happy, because a steady job accompanies steady income and a steady supply of food, as well. Over time, "they had simply got used to it, both the family and Gregor; the money was gratefully accepted and gladly given, but there was no special uprush of warm feeling" (95). Each member of the family becomes accustomed to an easy life in which needs and wants are provided for. This routine causes the individuals in the family to stagnate and live unproductively. The family begins to follow a path of exis... ...ometimes it is only through the changes of another, in this case Gregor, that people themselves begin to transform. The sacrifice of Gregor allows his family to leave its protective cove and journey out into the world, discovering what life has to offer. Works Cited Eggenschwiler, David. "'The Metamorphosis', Freud, and the Chains of Odysseus". Franz Kafka: Modern Critical Views. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 199-219. Emrich, Wilhelm. Franz Kafka: A Critical Study of His Writings. New York: Ungar, 1968. Kafka, Franz. Metamorphosis. Trans. A.L. Lloyd. New York: Vanguard Press, Inc., 1946. Pawel, Ernst. The Nightmare of Reason. New York: Vintage Books, 1984.

An investigation into the heat of combustion of five alcohols :: GCSE Chemistry Coursework Investigation

Alcohols : An investigation into the heat of combustion of five alcohols Planning ======== Introduction ------------ I am trying to determine the heat of combustion for the first five alcohols, which are; ethanol, propanol, butanol, pentanol and hexanol. I am trying to determine whether the amount of Carbon atoms on the molecule affects the heat energy given out by the molecule when burned. I believe that as the size of the molecule increases and the chain of carbons grows longer, then the heat energy given out will increase. I think that this is because when the molecule bonds are broken then they take in energy and then when the bonds are being made they give out energy. In a large molecule, more bonds are made so more energy is given out. Apparatus ---------  · Clamp stand  · Clamp  · Copper calorimeter  · Spirit burner  · Matches  · Thermometer  · Ruler  · Metal safety tray  · Top pan balance (digital scales)  · Measuring cylinder Method ------ I will need to collect all of the above apparatus and then put it together like in the diagram below. I will weigh the alcohol I will be burning and then put it under the copper calorimeter. I will use a measuring cylinder to measure out 100cm3 into the copper calorimeter. I will light my Flame, which will be 5cm under the calorimeter. I will use my thermometer to determine the temperature and then go up to 60 °c because that is how much I will change the temperature by. When the water has risen to 60 °c I will then put the lid on the spirit burner to extinguish the flame and then I will weigh the spirit burner again. By taking the new weight from the original weight I can then work out how much of the alcohol has been used. I will then repeat this experiment another four times with the other alcohols until I have done all five. I will repeat this twice to gain another set of results so I can compare them and identify trends and patterns consistent in both sets of results. How I will make my experiment a fair test ----------------------------------------- There is not really that much I can do to help make this experiment a fair test but I will; cool the copper calorimeter completely down by running it under cold water for a few minutes so that the water doesn't get warmed up by being in contact with it. I will also make sure that I have 100cm3 of water each time in the calorimeter. The temperature will always go up to 60 ° each time as well. I will also keep the height of the calorimeter at 5cm each time.

J.J. Thomson †Discovery of the Electron

CHE003 Chemistry Individual Assignment J. J. Thomson – Discovery of the electron Table of Contents Introduction2 Biographical information3 Background information4 Experimental information5 Impact6 Conclusion7 J. J. Thomson – Discovery of the electron Introduction The discovery of the electron is affirmative and justly credited to the English physicist Sir Joseph John Thomson (Weinberg, 2003). He had found and identified the electron in Cavendish Laboratory, Cambridge in 1897. From many experiments, Thomson had certified that cathode rays carry negative charge and identified the cathode rays inside vacuum tubes as being electric currents composed of these tiny electrons (Hamblin, 2005). It was the crucial first step in the development of the twentieth-century concept of the atom (Simmons, 1996). In the following paragraphs, I will introduce the Thomson’s life and his important achievements. Biographical information J. J. Thomson was born at Cheetham Hill, a suburb of Manchester, England on December 18, 1856. His father Joseph Thomson was a publisher and book dealer; his mother was Emma Swindles, a housewife. The family’s environment was not good for learned, but he was excellent in study and had an exceptional memory. When Thomson was fourteen in 1870, he enrolled in Owens College and had been taught by the physics professor, Balfour Stewart. Then he entered Trinity College in 1876, as a minor scholar. In 1880, Thomson became a Fellow of Trinity College, when he was Second Wrangler and Second Smith's Prizeman; he remained at Cambridge for the rest of his life, and becoming lecturer in 1883. In 1884, Thomson was named Cavendish Professor of Experimental Physics at an exceptionally young age (Simmons, 1996). On April 30, 1897, was his first time announced preliminary discovery of electron during lecture in Royal Institute, England. In 1903, Thomson published a summary of his work; Conduction of electricity through gases, and he created the â€Å"plum-pudding† model, which is the first model of atom. Thomson won the Nobel Prize for Physics in 1906, a knighthood in 1908, and the Presidency of the Royal Society in 1915. He was also a member of the Board of Investigation and Research, which served Britain in World War One (Weinberg, 2003). After that, he resigned from the Cavendish Laboratory in 1919 to become Master of Trinity College, until died on August 30, 1940 (Hamblin, 2005). In addition, he married with Rose Elisabeth in 1980, they had one son; George Paget Thomson; also won the Nobel Prize for Physics in 1937, and one daughter. Background information In the end of nineteenth century and the beginning of the twentieth century were exciting and revolutionary time for physics (Franklin, 2004). They began to investigate the behavior of electricity in evacuated tubs. The conduction of electricity through a near vacuum appeared to produce a kind of â€Å"ray†, lighting up the inside of the tube. The cathode rays appeared to be like light, and thus some physicists concluded that they were wave but other evidence proofed that the rays were in fact material in nature. During 1894 to 1897, Thomson was investigated the phenomenon of cathode ray, which had been discovered in 1858 (Ne’eman& Kirsh, 1997). In 1897, he made a significant discovery that the â€Å"rays† were indeed built up of particles and that they were the constituents of all atom. Thomson believed that his experimental evidence, by electromagnetic deflection and measuring the kinetic energy of the ray, had proven it. In the first, he did not initially call it electron, but chose the word â€Å"corpuscle† to emphasize the material nature of the particle. Thomson had found the new particle was very much matter, and he believed that it was the fundamental form of matter in atoms (Hamblin, 2005). Moreover, Albert Einstein introduced his special theory of relativity, which fundamentally changed our concepts of space and time in 1905. Follow by this discovered, people also had changed the way to think about nature and formed an integral and important part of the physics of the time (Franklin, 2004). Experimental information The purpose of Thomson’s experiments in 1897 was to investigate the nature of the then recently discovered cathode rays. He was tried to decide between the view that rays were negatively charged, material particles and the view that they were disturbances in the â€Å"Aether†, the medium through which physicists believed that light waves traveled at the time (Franklin, 2004). In the first of several experiments, Thomson wanted to proof that the cathode rays carried negative charge. He placed two metal plates, connected to a battery, inside a cathode tube, creating a magnetic filed through which the rays would have to pass (Simmons, 1996). The rays were emitted from the negative electrode â€Å"the cathode† and caused a glow when they impinged on the glass or a plate coated with Zinc Sulphide fixed inside the tube. There is another physicist, William Crookes, has been published that the cathode rays were a stream of particles carrying negative charges substances in 1897 (Ne’eman& Kirsh, 1997). Thomson certified this by showing that the rays could be deflected from their straight path by a magnetic or an electric field, and that their behavior under the influence of these fields was exactly what would be expected of a stream of negatively charged particles. By measuring the deflection of the rays in combined electric and magnetic fields of different strengths he was able to calculate the speed of the particles and the ratio between the charges carried by each particle (e) and its mass (m), but no way could be found to calculating the charge and the mass separately. The ratio e/m of the particle was found to be independent of the type of metal of which the cathode was made or residual gas in the tube. Thomson repeated these experiments and found that the particles, which the light knocked out of the metal surface, were identical to the particles constituting the cathode rays. Thus he got the conclusion that these particles were present in all matter, and that by means of an electric voltage or irradiation with light they could be extracted from certain substances (Ne’eman& Kirsh, 1997). The particles were given the name â€Å"electrons† (corpuscle). Impact Firstly, the electron was not only the first of the basic particles to be clearly identified but also by far the lightest of the elementary particles (Weinberg, 2003). Secondly, as a consequence of its lightness, charge and stability, the electron has a unique importance to physics, biology and chemistry. The heat of our sun is produce by the electrons participate in the nuclear reaction. In addition, every atom in the universe consists of a dense core, was surrounded by a cloud of electrons. For chemistry, the chemical differences between one element and another one, depend almost entirely on the number of electrons in the atom, and the chemical forces that hold atoms together in all substances are due to the attraction of the electrons in each atom for the nuclei of the other atoms (Weinberg, 2003). Lastly, the cathode ray tube that we used in television screen and computer monitor today, was developed from experimental apparatus. It is basic from a glass tube plugged by metal electrodes, with the air evacuated and some specific gas pumped in. When the electrodes are connected to a battery with enough voltage, the cathode rays strike the opposite end of the tube and glow or fluoresce. The rays are streams of electrons, not light rays (Simmons, 1996). Conclusion In conclusion, Thomson had constituted one of the important milestones in physics: Cathode rays consist of particles that are elementary and found in all matter. Because of his famous experiments, the Cavendish Laboratory was already became a paradise for physicists at that moment, and number of his students also won the Nobel Prize. With change through time, there are nearly sixteen types of elementary particles have been known so far, but only one particle type has always remained on the list: the electron (Weinberg, 2003). Therefore, the achievements of J. J. Thomson were still having influence in the world. Bibliography List Dahl, P. F. (1997). Flash of the cathode rays: A history of J J Thomson's electron. USA: Institute of Physics Publishing. Franklin, A. (2004). Are there really neutrinos? : An evidential history. USA: Westview Press. (pp. 17-21). Hamblin, J. D. (2005). Science in the early twentieth century: An encyclopedia. Santa Barbara, CA, USA: ABC-CLIO, Inc. (pp. 18-20, 96-98, 320-321). Hollow, R. & Morgan, A. (1990). History of ideas in physics: Gravitation and atomic structure. Australia: Brooks Waterloo. (pp. 54-56). Ne'eman, Y. & Kirsh, Y. (1996). The particle hunters (2nd ed. ). Cambridge: Cambridge University Press. (pp. 2-5). Simmons, J. (1996). The scientific 100: A ranking of the most influential scientist, past and present. USA: Carol Publishing Group. (pp. 152-155). Weinberg, S. (2003). The discovery of subatomic particles. Cambridge: Cambridge University Press. (pp. 9-11).