Work psychology Essay Example | Topics and Well Written Essays - 1500 words

Work psychology - Essay Example Most previous work on function portion has stressed on human-machine relations major from a micro ergonomic perspective, to the exclusion of wider organizational and environmental concerns. As noted by Hendrick, connections among the human, machine, organizational, and environmental portion of a system need to be considered by including a more macro ergonomic frame of reference. The major aim of this new way is to help those who are involved in the design of new systems and find possible portion options and decide which are the most suitable. A second plan is that the method should not only address portion between humans and machines, on which previous function portion methods have tended to contemplate, but also inspect in detail the portion of functions between humans. Third, the method aims to make clear design decisions that may otherwise be made implicitly, unobserved, or decided upon by default. One way of facilitating explicit reflection of design options and alternatives is to include a general guideline for its use - namely, that individuals from all disciplines involved in the design, management, and use of the system should be mixed up in using the method (e.g., in a workshop setting). Finally, the scheme is planned to act as an aid to informed discussion, finding many options for evaluation. If we Re-exam the eight analysis articles on organizational behaviour that have been shown in the Annual Review of Psychology since 1979 a person cannot help but get amazed about their accomplishment in passing over a remarkable degree of simplicity as well as construction in discussing a generally ill-defined field. This review stresses on universal features of organizational behaviour, as well as structures and processes in and of organizations. Most probably, this kind of approach places this review creatively more into the macro than the micro camp of surmised organizational behaviour. Trying to find a proper angle of review is further

Differences in Competencies between ADN vs. BSN Essay Example for Free

Differences in Competencies between ADN vs. BSN Essay According to the society of Human Resources Management, competency means the knowledge and skills required to perform a job, which all contributes a positive outcome. Even though the competency among ADN and BSN are almost similar, there are slight variations based on the departments where the nurse work, such as management level of care and neonatal department. Good start of an introduction. Consider a topic sentence here that states: this paper will describe†¦Ã¢â‚¬ ¦.. An Associate Degree Nurse is one who completed the 2 year program or 3 year diploma this is not true, these 2 are different course by a school of nursing, community, or junior college. They demonstrate competencies in various aspect of patient care. ADNs are competent to perform assessment by collection of patient’s health history, including past medical and surgical history. They perform the physical assessment by gathering information, such as height and weight, vital signs, and head to foot assessment, including all body system. They are also competent to perform cognitive, psychosocial, spiritual, and functional level assessment. After assessing the patient, they find out the nursing diagnosis using their knowledge, skills, and experience. The ADN analyzes the patient’s condition using their age, cultural diversity, and risk factor. He/she then formulates and plans the care by prioritizing the patient’s need based on Maslow’s hierarchy needs, in which patient’s safety is the first importance. They formulate the plan of care by critical thinking, reflection, and problem solving skills. Before they implement the treatment regimen, they let the patient make health care choices by providing accurate and reliable information. The ADN are competent to delegate the patient care to other authorized health care personnel by giving relevant instructions and supervisions. They implement the treatment within his/her accepted professional nursing practice in a different clinical setting. They also make sure to give teaching about the treatment, which includes the effects and side effects of drugs and expected outcome. These all help the patient to alleviate their anxiety about the health status. Finally, they evaluate the outcome and effectiveness by reassessing and continuous monitoring. Moreover, ADNs provide physical competencies like gross and motor skills, strength, and mobility by moving and positioning the patient by using proper body mechanism. Their sensory perception provides a safe environment. They are competent in life saving practices, such as cardiac monitoring and airway management. They provide patient care by giving I.V, oral medications, blood transfusions and wound care. They demonstrate care and respectful behavior towards the patient, family, and other co-workers. Need to reference data within the text Bachelor of Science Degree in Nursing is a 4 year bachelor program accredited by a college or university. A BSN has the same medicalbedside nursing skills of an ADN. He/she provides the same patient care by assessment, diagnosis, planning, implementation, and evaluation. They also have physical competencies and sensory perception. Apart from that, they do their clinical judgment by using their critical and analytic thinking, which they earned through researches and evidence based practices. They have sufficient emotional stability to be responsible and accountable during a highly stressful event. They know how to deal with unexpected and changing environment. They show interpersonal skills and communication skills by interacting positively with patient, family, and large communities both in verbal and written form. Their logical and analytic thinking in patient management will help them to acquire higher education. Moreover, they creatively respond to continuously changing health system. Good review of BSN competencies. Again, need to reference within the text. An ADN acquired knowledge and skills from years of experience in clinical practice. They work with patients in a relatively short time. However, a BSN has knowledge and skills based on their researches, evidence based practice, leadership, and management. Their skills help them to provide a better patient care in a short time period. For an ADN, the nursing is a job and have little commitment to the work. Without considering the long term results, they move from one job to another. However, BSN is a career, which is a life time dedication that requires development and on-going learning. They can function at high intellectual levels and carry a strong professional identity and follow code of ethics. They are more accountable, independent, and responsible. Nursing care and approaches to decision-making are different based upon the educational preparations. For example, we had a 50 year old patient in our floor that came with left hip fracture. The patient underwent an open reduction and internal fixation of left hip. After 4 hours of post anesthesia care, the patient came to the floor. The ADN, who is the primary care nurse, assesses the patient and carried out all post-op orders. The patient was drowsy and was on morphine PCA. After 2 hours, the patient suddenly woke-up with pain in the left hip. The ADN gave more pain medicine and monitored the respiratory status. All of a sudden patient complained of shortness of breath. The nurse found the patient’s oxygen saturation dropped to 82 percent. She stopped the PCA pump and put the patient on 2 liters of oxygen yet the patient was complaining about severe pain in her hip. Apparently, the patient continued to complained of chest pain and her oxygen level continued the same. The RN called the charge nurse, who is a BSN. She assessed the patient and went through the patient history. Suddenly, she called the rapid response team; meanwhile, she ordered a stat chest x-ray by thinking that patient had a pulmonary embolism and transferred the patient to ICU. Later, we came to know the patient had pulmonary embolism. In this situation, the RN gave the basic treatments according to the knowledge from her experience. On the other hand, the BSN treated the patient from her critical thinking and high level of knowledge, which saved the patient’s life. Good patient care scenario The ADN can handle the critical patient situation very minimally by using her basic knowledge, skills, and experience with the help of other person. However, the BSN can handle the same situation independently with his/her critical thinking. Different level nurses have different roles in a hospital, even though they have same preliminary education about providing forthe patient care. The job expectations, patient interactions and contact are different in perspective of the RN’s and BSN’s duty. Good conclusion . . References Catalano, J.T. (2003).Nursing now: Today’s issues, tomorrow’s trends. Philadelphia: F.A. Davis. Need to put title into italics Competencies and Performance Standards Essential for Nursing Practice.( 2011) St Louis University. Retrieved from http://www.slu.edu/x19905.xml Hollis, Forster, RN (2011) ADN vs. BSN Retrieved from need to include date of retrieval http://nursinglink.monster.com/education/articles/3842-adn-vs-bsn

Gay, Lesbian and Bisexual Issues - Homosexuals Should be Allowed Same-Sex Marriage :: Argumentative Persuasive Essays

Free Argumentative Essays - Homosexuals Should be Allowed to Marry A gay California man, whose partner died in the September 11 terrorist attacks has become "legally vulnerable in ways (he) could never imagine"(Urges 1). Keith Brodowski lost his life partner, Jeff Coleman, to American Airlines flight 11, which was the first plane to hit the World Trade Center. Coleman was a flight attendant. Brodowski is now battling the state and the nation for survivors' benefits, granted to the widows of those who died. It took the powerful words of Brodowski's testimony to move legislation to grant partial inheritance rights for registered domestic partners in California(Lambda 1). Married couples had to go through nothing of this caliper for their benefits. Marcye and Karen Nicholson-McFadden have a child. When the baby was born, they faced a hospital full of staff who refused to acknowledge them as a couple. Now, two years later, they are expecting another child and do not want to face the same trials again. Marital rights would protect their children, their jointly owned business, and their hospital care. Marcye asks "How do we let our children know that our family is as valuable as traditional families even though the government doesn't think so?"(Staiton 1). These are only two examples of troubles facing homosexuals today. In a survey conducted by Partners Task Force for Gay and Lesbian Couples, over fifty percent of lesbians and forty percent of gay men had faced problems obtaining employment benefits, lower tax rates, and insurance breaks because civil unions are not recognized as a legal marriage. Other discriminations included employment, housing, hotels, hospital visitation, adoption, and many more. (Partners 3) These problems could have been eliminated if the couple had been legally recognized as married. In their own eyes, 88% of the women and 56% of the men considered themselves married (Partners 7). Their relationships need to be recognized in the eyes of the law! When a married person dies, his or her spouse is considered the next of kin. This A homosexual's surviving partner does not have that right. Even in cases where wills are present, family members have sued for burial rights, property etc.

Gillian by Laurel Oke Logan :: Gillian

Gillian by Laurel Oke Logan      Ã‚  Ã‚  Ã‚   The book I read was Gillian, written by Laurel Oke Logan. This book is about a girl who has just graduated from high school and is in the process of looking for a job.      Ã‚  Ã‚  Ã‚   Gillian has just graduated from high school.   She is so thrilled to go to college and can not wait.   Well the day comes when she is to leave for college.   She and her friends are going to have so much fun.      Ã‚  Ã‚  Ã‚   As the years pass by she is doing very well in her classes, and before she knows it, it is time for her to graduate from college.      Ã‚  Ã‚  Ã‚   After graduation Gillian went home to her parents house.   She was a little upset because she couldn't find a job and all of her friends had found jobs.   When Gillian told her father how she felt he told her that there was a woman who called him to see if she (Gillian) would be able and willing to work at this camp in Canada in the kitchen.   At first Gillian was very excited but when she began to think about it the whole idea scared her to death. Going off to a place outside of the United States where she had never been and leaving her family behind, she just didn't know if she could go through with it.      Ã‚  Ã‚  Ã‚   A few days after debating about going she called the lady and got more information about it and she decided she would give it a try.   Gillian was to leave in about five days so her mother and she went to go buy the right clothes to wear in Canada and some other things she would need.   The day finally came for Gillian to leave. As Gillian, her family and friends went to her gate at the airport Gillian began to feel really nervous.   She said good-bye to her family and friends and then she went off.   The flight to Canada was very pleasant.      Ã‚  Ã‚  Ã‚   When Gillian arrived at the camp she met some very interesting people. Jake was an older man and when Gillian started to get to know everybody and

Define Self-Esteem, Including Contingencies of Self-Worth

Definitions Jennifer Crandall PSY/220 November 17, 2012 Professor Sheats Definitions Define self-esteem, including contingencies of self-worth. When might the pursuit of self-esteem be harmful to individuals? When might threats to self-esteem be helpful? Self-Esteem refers to the evaluative component of self-concept ( Baumeister, 1998; Coopersmith, 1967). This is the feelings that one gets when doing self-evaluations.It is how a person sees themselves and judges themselves. The contingencies of self-worth may be a favorable view of themselves, thinking that they are competent, likable, attractive and successful may help them to believe they are worthy and increase levels of self-esteem. Self-esteem may also be influenced by the expectations of others. The approval of others is one example of the contingencies of self-esteem.Other examples of the contingencies of self-esteem are: appearance, competition, academic competence, family support, virtue and God’s love. There is a dar ker side to self-esteem, people that constantly pursue elevated levels of self-esteem have traits that are similar to those that are associated with materialism. People that make choices based on others perceptions of them rather than what makes they happy are depriving themselves of well-being.They give up their own autonomy, intrinsic motivation, and personally expressive actions. Threats to self-esteem can also be helpful. While experience threats to self-esteem people may learn to come up with better coping skills than they may have previously possessed. By experiencing these threats, they learn to overcome obstacles in turn, they may actually boost their self-esteem by learning that they are capable of overcoming these challenges.

Arcangelo Corelli: the Period, Life, and Works

Brianna Hunter MUL1110-3060 Professor Kranz February 20, 2013 Arcangelo Corelli: The Period, Life, and Works Music was discovered thousands of years ago and has only progressively gotten better with the invention of instruments and the development of musical dynamics. During the baroque period, in which Arcangelo Corelli lived and died, music was beginning to evolve into a more diverse musical experience. Arcangelo Corelli was one of the few violin and musical composer pioneers that helped shape music and create some of the most recognized compositions of his era.According to Baroque Music, Corelli not only shared his musical knowledge with fellow musicians, but was known as the â€Å"founder of modern violin technique,† the â€Å"world’s first great violinist,† and the â€Å"father of concerto grosso. † The period, life, and works in which the great Arcangelo Corelli lived will be discussed in greater detail as the paper progresses. To begin, the baroque period, also known as the â€Å"age of absolutism,† is classified by the years 1600, in which opera began, to the death of Johann Sebastian Bach in 1750 (Kamien 99).Opera was birthed in Italy within the baroque period and provided the people a show of â€Å"magnificent extravagance† with more emphasis on the words than the music (Kamien 118-19). Furthermore, the baroque styled opera marked the entrance of castrato singers. These singers were males who had been castrated before they hit puberty to ensure the lung power of men and the vocal range of women. â€Å"By combining virtuosity, nobility, and extravagance, baroque opera perfectly expressed the spirit of a grand age† (Kamien 120).As well as the start of opera, the texture of the music was imperative during the baroque period. In the early baroque period, from 1600 to 1640, musicians favored the homophonic texture of music. Early baroque composers thought the only way to clearly project the lyrics of the so ngs was to have a main, constant melody with stressed contrasting sounds by singers against a chorus or using voices against instruments. On the contrast, during the late baroque period, 1690-1750, the favored texture was polyphonic, just as it had been during the renaissance period (Kamien 102).According to NAU, â€Å"polyphonic texture contains two or more active melodies†¦ with emphasis placed upon the interplay between lines, rather than on a single melody or a stream of chord sounds† (par 1). In addition, the layering of voices shares importance with the polyphonic texture of the baroque period. â€Å"Layering is when two or more voices move at different but closely related levels of rhythmic activity, similar to different parts of a machine moving at different but related speeds† (â€Å"Polyphonic† par 2).Although homophonic texture paved a way for music of the baroque period, most of the baroque compositions that are well-known used the polyphonic te xture which helped â€Å"instrumental music become as important as vocal music for the first time† (Kamien 102) In addition, the form of the music in the baroque period was also important. The musical forms varied from sonatas to concerto grosso to the most basic forms. For instance, the two basic musical forms are ternary form, which is a three-part A B A sequence, and binary form, which is a two-part A B sequence.The most commonly used basic form of the baroque period was the ternary form, which had sounds that mirrored â€Å"a statement, a contrast or departure, and a return,† hinting an A B A sequence (Kamien 49-50). Next, the concerto grosso was very essential for late baroque. The concerto grosso, â€Å"a small group of soloists pitted against a larger group of players called the tutti (all),† was used by orchestras in upper-class palaces that provided the soloists with â€Å"brilliant and fanciful melodic lines† (Kamien 108).Finally, the sonatas we re popular in the baroque period for churches, performances, and for leisure. A sonata is â€Å"a composition in several movements for one to eight instruments. † In the same way, the trio sonata gained popularity with composers because they were composing for three melodic lines (Kamien 125). With that in mind, Arcangelo Corelli composed a trio sonata in 1689 for stringed instruments called the Trio Sonata in A Minor, Op. 3, No. 10 with four movements (Kamien 126). Although the trio onata would appear to have three parts, the trio sonata in fact has four instrumentalists, with two high instruments and two instruments for the lower basso continuo (Kamien 125). Relatively, tempo was an important development of the baroque era. Before the seventeenth century, tempo was indicated by notations. Conversely, the baroque period was the beginning of using terms to describe tempo which originated in Italy and quickly spread throughout Europe. Consequently, the terms still used today t o describe tempo are in Italian.For example, allegro means a fast tempo, accelerando means becoming faster, and largo means a very slow tempo. Even though the terms were created, some composers still had confusion about the many different meanings that the words could denote. In correlation, â€Å"the invention of the metronome allowed composers to become very precise with their tempo markings, however most conductors and performers still tend to regard tempo as a matter of interpretation† (Miller par 4). In Fusignano, Italy, on February 17, 1653, over 360 years ago, Italian violinist Arcangelo Corelli was born to a prosperous family.Santa and Arcangelo Corelli Sr. had five children together, including Arcangelo— Ippolito, Domenico, Giovanna and Giacinto. Corelli was named after his father who unfortunately died a month before his birth and as a result, he was raised by his single mother, Santa Corelli (Talbot 181). Corelli’s initial musical studies were with th e local clergy near Faenza, Italy and then finally studied in Bologna, Italy in 1666. â€Å"His studies there were with Giovanni Benvenuti and Leonardo Brugnoli, the former representing the disciplined style of the Accademia filarmonica (to which Corelli was admitted in 1670)† (Whent par 1).According to Padre Martini, Arcangelo Corelli took his first violin lessons at Bologna from Benvenuti and then later Brugnoli (Talbot 181). In the mid 1670’s, Corelli established himself in Rome, Italy where he found himself in the service of Queen Christina of Sweden in 1679 (â€Å"Arcangelo† par 1). Prior to meeting Queen Christina, Corelli â€Å"appeared as a violinist in the orchestra that recruited for a series of Lenten oratorios at S. Giovanni dei Fiorentini† in 1676 (Talbot 182). In 1681, Arcangelo dedicated his Opus1 to the Queen of Sweden which he escribed as the â€Å"first fruits of his studies† (Talbot 183-84). In 1684, Corelli began to regularly pe rform at musical functions for an employer named Cardinal Pamphili. Shortly after beginning his services for Pamphili, Corelli dedicated his Opus 2 to him in 1685 (Talbot 185). Correspondingly, â€Å"on July 9, 1687 Cardinal Pamphili engaged Corelli as his music master at a monthly salary of ten Florentine piasters† (Talbot 186). At this time, Corelli and his pupil, Matteo Fornari, moved into Pamphili’s palace to serve their talents.Sadly, Pamphili moved out of Rome in 1690, which left Corelli to find a new patron. Fortunately, Corelli quickly found patronage in Cardinal Pietro Ottoboni, to whom he dedicated his Opus 4 to (Kemp par 1). Luckily for Corelli, Ottoboni viewed him more as friend than a servant and allowed Corelli to live the rest of his life in his palace (Kemp par 2). Furthermore, Corelli directed opera pieces at the Cancelleria and the Tordinona theatre. In â€Å"Naples, Italy on May 1, 1702, Corelli played Scarlatti’s Tiberio, imperator d’ Oriente† (Talbot 188).With his evidently superior skills, â€Å"in 1706 Corelli was elected as one of only a handful of musicians to the select the artistic circle known as the Accademia degli Arcadi† (Kemp par 2). Regrettably, after 1708, Arcangelo Corelli discharged himself from the public’s eye, and â€Å"busied himself with the composition of concerti grosso† (Talbot 189). A few years later, in December of 1712, his health began to deteriorate. Consequently, Corelli wrote his will on January 5, 1713, in which he left â€Å"all his violins, his manuscripts, the plates of his Opus 4, and his future Opus 6† to his pupil, Matteo Fornari.Three days later, Arcangelo Corelli, at the age of 59, died in Rome, Italy (Talbot 189) and was buried in the Pantheon, near Raphael Sanzio da Urbino, a famous painter (Kemp par 3). â€Å"The anniversary of his death was marked for several years afterwards by solemn performances of his concertos in the Pantheon† (Talbot 190). In relation to Corelli’s musical success, his musical style was revolutionary. â€Å"Corelli popularized certain rhythmical stereotypes, in particular the ‘walking’ or ‘running’ bass in which an inessential note is interposed between two harmony notes† (Talbot 196). His allegros are characterized by rapid changes of harmony underlining the metrical structure, repeated notes, widely ranging themes, idiomatic violin writing†¦ and a mechanically progressive rhythm† (Whent par 6). Even though Arcangelo Corelli was an innovator of sorts, the only device he is named after is the ‘Corelli clash’ (â€Å"where the late resolution on to the leading note at a cadence coincides with the anticipation of the tonic note in the companion upper part†) which was popular in 1680’s dance music (Talbot 196).According to Talbot, â€Å"in formal matters, Corelli is often credited with the clearest exposition of the difference between the ‘church’ and ‘chamber’ varieties of sonata, and the establishment of four movements as the norm in both† (196). â€Å"Few composers achieved so much so quickly, and with such economical means, as Corelli† (200). Undoubtedly, Arcangelo Corelli created many masterpieces that received much praise during and after his lifetime. His Opus 1, to whom he dedicated to Queen Christina of Sweden, is twelve church trio-sonatas. (â€Å"Arcangelo† par 8).Opus 1 (Opera Prima) was written for â€Å"two violins and Violone or Archlute with organ bass and in a somewhat serious contrapuntal style† (Deas 7). Admittedly, Opus 1 has been reprinted â€Å"through 35 known editions between 1681 and 1785† (Talbot 193). Following Opus 1 and 2, Corelli created Opus 3 (Opera Terza), which is a set of twelve trio-sonatas in dedication to the Duke of Modena in 1689 (Deas 6). According to Deas, in Opus 3 â€Å"there is plenty of vigorous independent part-writing in the many fugal movements and, in the slow introductions and middle movements, a poise and dignity that might be called Handelian† (7).In fact, Johann Sebastian Bach â€Å"borrowed the subject of the second movement of Opus 3 No. 4 for an organ fugue† ( Talbot 193). Not before long, Arcangelo Corelli was back at it again with his composition of Opus 5, the most popular opus of his career with 42 editions being reprinted by 1800 (Talbot 193). Opus 5 is a set of twelve violin and bass sonatas that were dedicated to Sophia Charlotte, Electress of Brandenburg with no clear date of creation (Deas 6). Corelli’s Opus 5 continued to be performed and used as teaching pieces before and after his death (Zaslaw par 2).In fact, according to Zaslaw, â€Å"no other set of works enjoyed a comparable reception in the 18th century† more than Corelli’s Opus 5 (par 1). Before his untimely death, Corelli started, but never finished Opus 6 (Opus Sesta). Opus 6, dedicated to John William, Elector Palatine, was finally finished and published in 1714 (Edwards 526) with help from Corelli’s former pupil Matteo Fornari (Talbot 189). In Corelli's Opus 6 concerto grosso, â€Å"the smaller group consists of two violins and a cello, and the larger of a string orchestra† (â€Å"Arcangelo† par 5).Although Corelli did not invent concerto grosso, â€Å"it was he who proved the potentialities of the form, popularized it, and wrote the first great music for it† and if not for him as a model, â€Å"it would have been impossible for Vivaldi, Handel, and Bach to have given us their concerto grosso masterpieces† (Arcangelo† par 4). Corelli â€Å"reached his creative peak and climaxed all his musical contributions† with the publication of his concerto grosso (â€Å"Arcangelo† par 3). In final consideration, Arcangelo Corelli, Italian violinist, was a heavy hitter of his time p eriod.Corelli had many pupils that included Francesco Geminiani and Antonio Vivaldi who later went on to influence the famous Johann Sebastian Bach (â€Å"Arcangelo† par 9). â€Å"His contributions can be divided three ways, a violinist, composer, and teacher. It was his skill on the new instrument known as the violin and his extensive and very popular concert tours throughout Europe which did most to give that instrument its prominent place in music† (â€Å"Arcangelo† par 2). â€Å"As a violinist, he was one of Europe’s most sought-after teachers, exerting an influence on instrumental technique which spread well into the 18th century† (Kemp par 3).Point in fact, according to Kemp, â€Å"his 48 published trio sonatas, 12 solo violin sonatas and 12 concerti grossi were quickly recognized as offering supreme models of their kind† (par 3). â€Å"As a composer he was the first to become famous based solely on instrumental composition, the first composer whose reputation was directly influenced by music publishers, and the first to produce instrumental works that would become classics† (Cole par 1). Arcangelo Corelli â€Å"has taken a place among the immortal musicians of all time, and he maintains that exalted position today† and will forever remain a pioneer for baroque music (â€Å"Arcangelo† par 10).Works Cited â€Å"Arcangelo Corelli. † Baroque Music. Internet Arton Publications, n. d. Web. 15 Feb. 2013. Cole, Richard. , et al. â€Å"Arcangelo Corelli. †Ã‚  Virginia Tech Multimedia Music Dictionary. Virginia Tech Department of Music, n. d. Web. 15 Feb. 2013 Deas, Stewart. â€Å"Arcangelo Corelli. † Music & Letters Jan. 1953, Vol. 34, No. 1: 1-10. JSTOR. Web. 15 Feb. 2013. Edwards, Owain. â€Å"Corelli and The Violin. †Ã‚  History Today  26. 8 (1976): 525-531. Academic Search Complete. Web. 15 Feb. 2013. Kamien, Roger. Music: An Appreciation. 7th ed. New York: McGraw-Hi ll, 2011. Print. Kemp, Lindsay. Arcangelo Corelli. † BBC News. BBC, 2003. Web. 15 Feb. 2013. Miller, R. J. â€Å"The Baroque Era. †Ã‚  clem. mscd. Appassionata Music Pub. , 2002. Web. 15 Feb. 2013. â€Å"Polyphonic Texture and Genres. †Ã‚  NAU. N. p. , n. d. Web. 15 Feb. 2013. Talbot, Michael. â€Å"Arcangelo Corelli. † Italian Baroque Masters. Ed. Stanley Sadie. New York, London: W. W. Norton & Company, 1984. Print. Whent, Chris. â€Å"Arcangelo Corelli. †Ã‚  HOASM. N. p. , n. d. Web. 15 Feb. 2013. Zaslaw, Neal. â€Å"Ornaments for Corelli's Violin Sonatas, Op. 5. †Ã‚  Oxford Journals. Oxford University Press, 1996. Web. 15 Feb. 2013.

A Hard Days Night

Music is one of the Great Britain's most marvelous contributions to the world, despite the tendency of musical movements over the last four decades to spawn cultures that appear to morally damage the social norms, especially on the youth. Much of the phenomenon can be attributed to the advent and development of television as a medium of communication, for television has vastly catapulted the career of popular musicians to a whole new level. In a similar magnitude, cinema has also projected negative implications on how common people treat celebrities. Together with television, cinema has dehumanized celebrities in such a way that society and culture, particularly in the west, have eventually nurtured television viewers with mindless conformity to the media as well as a fully developed system of glorifying celebrities and their radical behavior. The tremors of broadcast media and cinema have produced the concept of superficiality and prejudice as a basis for popularity. It is quite evident on how movie stars, musicians, athletes, and commercial models are treated in restaurants and other public places. The motion picture A Hard Day's Night, for instance, exemplifies and tackles the backlash of the demeaning nature of popularity as felt by celebrities in a personal level since they themselves feel the luxury of a normal life gradually departing from them. The context of the film is inclined on the idea that the visual elements provided by cinema and television create a following of a particular artist or group of artists based on appearance and not on talent. In analysis of the growing problem, Kevin Donnelly's British Film Music and Musicals emphasizes the phenomenon of how A Hard Day's Night became the antidote to the venom brought about by cinema and television's visuals in such a way that the focus is more on The Beatles' music as the storyteller instead of the plot or the cast themselves (Donnelly, 2007). Contrary to other films involving music artists such as the legendary Elvis Presley who has been the guinea pig of film makers who did nothing but to exploit his popularity in film. Donnelly writes that the film virtually connects viewers to the band through the musical score which goes hand in hand with the situation and emotions that the film's scenes raise (2007). The songs suggest how the Beatles scorn about the fringe benefits of popularity while dealing with the punishing nature of their duties such as recording and touring. The virtual contact also happens as the motion picture shares the band's brutal torments of having a celebrity life while sacrificing their personal goals and interests. The visual technologies of cinema and film indeed contribute to the actuality that such mediums of communication make deities out of celebrities. In this sense, A Hard Day's Night represents and reflects the the star-making machinery around The Beatles in such a way that it documents of The Beatles' misadventures in the United States during the peak of their career. The band's grasp with commercial success were represented through encounters of pursuit by law enforcers and a horde of fans as well as their appearances on press conferences, endeavors with their agents, and hotel life (Balio, 1987). Therefore, Such circumstances are quite similar to the cases of modern celebrities being sighted and chased on public places or being arrested for driving fast and under the influence of psychoactive substances. A Hard Day's Night, meanwhile celebrates the band's stardom in a different manner, by highlighting the band's versatility as musicians since part of the film captures the band's latest compositions at the time, being played during practice sessions, live performances, and informal set-ups (Balio, 1987). The film's distinct approach to the topic subjects the tendency of visuals such as film and television as career boosters in such a way that the showcase of the band's talent through live performances are shown, unlike traditional musician oriented films which make use of the artist's recorded material. In a corresponding approach, A Hard Day's Night together with the film and television industry serve as a mockery of the star-making machinery around The Beatles as well as other celebrities and popular personalities, primarily because music is an art form which stimulates appreciation through hearing. As such, the dedicated medium of communication for expressing the art of music and recording artists is supposed to be the radio, not television, film, and definitely not print. The motion picture also insults the The Beatles as artists by humorously tackling the problem of pop fame, which the band members experience, through a medium that caused such a plague in the first place (Glynn, 2005). In addition, the polluting nature of television and cinema has once again made its presence felt as the visuals have proven to be useful aids in exploiting artists and promoting the developed system of idolizing celebrities, which is in this case happens to be The Beatles. Furthermore, the visuals provided by television and film entombs true musical talent by taking away the recording artists' musical credibility (Frith, 2002). Simon Frith (2002) however implies that rock is to be understood as a television product. The key elements and features of television and film, for Frith, have configured the manner of how the audience perceive music and musicians. Simon Frith writes that television has become largely responsible in the field of star-making for the reason that television with its emphasis on close-ups of the performer and musical virtuosity, particular types of staging and spectacle has added flavor to musicians as celebrated public figures (2002). Frith also adds that the emergeance of music networks such as Music Television together with several music related television programs such as Top of the Pops have also aided artists in terms of promotion which affects components of stardom such as record sales and chart ratings (Frith, 2002). The advent of technology has indeed influenced the the norms and standards for treatment of celebrities. Visuals, in an unimaginable, have added spice to musicians as attractions to the public eye, with it, the innovation of promotion for recording artists have revolutionized. Regardless if the changes brought about by the television and motion picture industry to the public status of career musicians have positive or negative undertones, the bottom-line still goes down to a particular point, change. A change that has been felt almost half a century after it has long been innovated and practiced.