After reviewing the results and noting only one sufficient...

After reviewing the results and noting only one sufficient correlation, the discussion regarding intent and future behavior then arises. There are so many negative repercussions that alcohol is associated with so one cannot doubt the need for further research regarding this topic. Researchers have been further examining alcohol usage by utilizing the theory of planned behavior (TPB). The theory of planned behavior further examines behavioral cues and examines one’s perceived behavioral control, intentions, attitudes and subjective norms to try and predict future behavior. (Johnston White, 2003) The theory of planned behavior applied to the existing correlation between prior belief and social desirability would lead to an effective†¦show more content†¦It is a well known fact that the consumption of alcohol leads to dehydration and headaches the next morning and having prior knowledge about preventable measures to negate these effects would be beneficial to anyone who plans on doing so. With that being said, the attempt to make drinking water in between drinks more socially desirable would be beneficial to the whole community. Alcohol is one of the top reasons for preventable mortality in Western societies and one of the main causes of violence, traffic accidents, social problems and chronic diseases. In theory, taking time to drink water in between drinks takes time away from drinking alcohol which leads to less alcohol consumption, which finally ends with people being less intoxicated overall. In regards to the results posted, there is a high negative correlation between social desirability and prior belief. This means that the more likely someone believes that they would get teased for this behavior the less likely one is to perform this behavior. This is directly related to the social norms construct within the theory of planned behavior mentioned above. Directing the proposed campaign towards making drinking water in between drinks more s ocially acceptable among the focus population would be the most effective way to get them to perform the desired action. Thus, a campaign that focuses on providing useful knowledge and removing theShow MoreRelatedEssay about Bullying Research Study2838 Words   |  12 Pagesbeen conducted regarding one teacher’s attempt at providing a safe learning environment using these resources. As well, no current studies have confirmed which separate elements of these approaches can offer an educator success. Design The researcher will study this particular phenomenon by observing and reviewing all of the complexities of child behavior. A mixed methods study will be conducted that combines elements of qualitative and quantitative research that studies one teacher throughoutRead MoreMr Zhang42340 Words   |  170 Pagesfor classroom discussion, and to help with student research on these questions. 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Management of Parkinson’s Disease Free Essays

The disease that I will be discussing in this paper is â€Å"Parkinson’s Disease†. It is a disease where the brain has a progressive disorder concerning body movements such as walking, talking, writing, and swallowing. The causes of Parkinson’s Disease aren’t really known but scientists think it results from the deficiency of the dopamine, a chemical that sends messages across the nervous system. We will write a custom essay sample on Management of Parkinson’s Disease or any similar topic only for you Order Now That deficiency affects brain cells from performing their normal functions within the central nervous system. Most signs and symptoms are muscle rigidity, akinesia, and uncontrollable tremors, which usually begin in the fingers. Other symptoms are when the voice becomes weak and high pitched, an awkward walk, and a loss of facial expression. Management Some general measures to cope with it are to find ways to remain active and useful because the disease may cause social withdrawal. Also a person might want to try to comply with a treatment program such as diet, exercise, counseling (to help relieve depression) and medications. Another thing to do is accidentproof their home to prevent falls and injuries. Finally they should wear a bracelet or neck tag to indicate your medical problem. Prevention Unfortunately there is no real way to prevent Parkinson’s Disease. Most dangers are that the muscle rigidity, akinesia, and involuntary tremors will progress for an average of 10 years at which that time pneumonia or some other infection may occur and then eventually death. Other complications that will occur are dementia, severe constipation, urine retention (caused by medication), and falls and fractures caused by the inability to walk straight. Help and Support First you may want to go to a doctor and see if you have the disease if you are seeing symptoms of it. Then if you have it he will put you on a medication. You then may want to go into physical therapy to help to work with the disease and also counseling for depression. You also may want to get onto a healthy diet program and exercise regularly just to keep active and useful. If the symptoms get worse you may want to check into the American Parkinson’s Disease Association, Inc. or the National Parkinson Foundation. How to cite Management of Parkinson’s Disease, Essay examples

Claudio Monteverdi free essay sample

Monteverdi letters do provide great insight into his life, but the fact remains that the most important biographical documents and dates are missing (Redline, 1-2). Even information on his ancestors and immediate family is sparse because most of them are unknown, the exact dates of his father and mothers birth and death are even unknown (Redline, 2-3). The most startling secret of Monteverdi existence Is that his body is lost; his remains are known to be In a public tomb of the Chapel of Santa Imbroglio In the del FranChurch, but no one can identify his remains from the remains of all the other people that were put to rest there (Moldier, 386). While much of Monteverdi biographical information may be lost, his letters and influential music provide a wealth of information on his life (Redline, Examine). Monteverdi life is known to have begun In Ceremony, Italy, but the exact date of the birth Is not known (Kamala, 1 17-118; Raddled, 4). His birth has been established to be In the early part of May 1567. And the baptismal records at the Church of S. Nazarene and S.Cellos in Ceremony confirm this time. The church records reveal Monteverdi birth date to be May 15, 1567 (Redline, 4). While the Church register of baptisms does provide a birth date for Monteverdi, also creates confusion about the spelling of Classify last name (Redline, 4). The church records provide the spelling Monteverdi, which contradicts the spelling: Monteverdi that Is present on all of the Orlando 121 letters (Raddled, 4). The confusion about the name Is completed by the spelling that Is In printed collective editions of his works, which reads Monteverdi (Redline, 4).The spelling Monteverdi takes precedence because Claudio as known to have not overseen all the printed editions (Redline, 4). While Monteverdi name and life was a confusing composition of secrets, his familys lives were not any more revealing. Monteverdi was the flirts born of five children, and biographers only mention one of the siblings, Gigolo Cesar, as having any significant presence In his life (Raddled, 3). Monteverdi was probably the closest with his brother that was six years younger than him because they shared the ambition to have musical careers (Redline, 3).Cesar first appeared in 1607 as the publisher of Monteverdi Scherzo Musical and as the tutor of the Decorations, which was strongly influenced by Monteverdi (Redline, 3). The relationship between Monteverdi and Cesar Is implied to be a happy one, which can be Illustrated by Monteverdi Inclusion of two small original compositions of Castellated, and he was later Maestro did Chapel at Solo Cathedral in 1612 (Redline, 3-4). He seems to have had an intimate relationship with Monteverdi during the Manhunt period of Claudio life, yet he is not mentioned after the year 1612.His parents are completely different in the amount of information that is known about hem; his mothers maiden name and Christian name are unknown, and she is mentioned very little in any sources on the topic of Monteverdi life (Redline, 1-2). Alders, Monteverdi fa ther, is much more evident in Claudio life (Redline, 3); Alders was a doctor, which provided his family with a comfortable lifestyle and his Children with a classical education under the best teachers (Redline, 3).The teacher that Ballades chose for his sons (Claudio Monteverdi) musical ;education was Marc Antonio Engineer; Ballades was a cultured man with the means to provide the best for his son (Redline, 4). Engineer was without a doubt the most important musician within the boundaries of Ceremony (Redline, 4). Claudio was a pupil of Engineers for ten years, which can be illustrated by Monteverdi mention of him on the title-pages of Monteverdi compositions during that time period, 1580-1590 (Redline, 5).There was a three-year gap between Monteverdi books of madrigals at that time, but the sub-title of the later publication that mentions Engineer implies that the master and pupil were together (Redline, 5). Under the guidance of Engineer, Claudio composed Continually at the age of fifteen; the work wowed the pupils complete understanding of the three-part vocal writing style Bedevil, 5). Monteverdi was an oddity in that he had already published four diverse Norms: trichina, sacred madrigals, cantatas, and secular madrigals before he was twenty years old; this musical foundation was laid by his master, Engineer (Redline, 5).The first time that Engineers name is absent from the title-page is in 1590 when Monteverdi dedicates a book of madrigals to his new master, the Duke of Mantra; this is the last time Engineers name is mentioned in accordance with Monteverdi Bedevil, 6). Monteverdi career at the Court of Mantra began in 1590, but he on probation during this year (Redline, 6). He was only accepted for a permanent position at the beginning of 1591 (Redline, 6); he was hired as a singer and violist (Examine, 117-118).He served there for 21 years (Examine, 117-118), and during this time he was promoted to Cantors, which is basically a music director (Redline, 9). During Monteverdi career at Mantra he created many great works, including his and Mantas first opera, Refer (Shred, 224-225). The opera was performed in 1607, and it was a lavish production (Examine, 119-120). Refer contained star soloists, a chorus, dancers, and a large orchestra of about forty players; the lavish setting of the opera Nas mostly per request of Monteverdi master (Examine, 119-120).Monteverdi master, Vincent I Kananga, was an important part of his life; he was the one that promoted Monteverdi in 1592 (Redline, 6,9), and he was the one that gave approval to Monteverdi choice of bride (Redline, 9). Claudio new wife was Claudia Castanet, the daughter of Monteverdi violist colleague, was a professional singer (Redline, 9). The two were married in the later art of 1594 or early in 1595, while Monteverdi was still serving at the Manhunt Court Bedevil, 9). The couple had two sons during their twelve-year marriage, but they also to 1607, which was also a time of illness for Claudia (Redline, 15).The Monteverdi family moved to Ceremony to live with Ballades, Monteverdi father, who cared for Claudia (Redline, 15). The stress from their debts caused Claudia health condition to Norse, and she died on September 10, 1607 (Redline, 15). She left Claudio a widower at the age of forty (Redline, 39-40) and with two sons: ages seven and two (Redline, 5). After Claudio and Claudia short marriage and her death, Monteverdi went into time of oblivion and chastity (Redline, 42-43; Multiplier, 388).Monteverdi may have not known it during that time of pain for him, but he would be musically active again. He would be considered the bridge between two musical periods (Redline, 35). Monteverdi comprised both the Early Baroque and Venetian periods; he was able to live through the crossover between the two periods (Redline, 35). Each musical period had a part in shaping Monteverdi career. Works of the Baroque period 1600-1750) were known to be extremely emotional; it was a time of lavish and dramatic proportions, especially in music (Examine, 98).The best Baroque music is from the later part of the period, but the early period composers were the most revolutionary; this is the category Monteverdi fit into (Examine, 98). In Italy, especially, music was created or composed with texts that conveyed ultimate emotion; the text Nas the most prominent part of the music (Examine, 98). These reasons led to the creation of opera. Opera was conceived in Italy from the discussions of the Camera, mall group of nobles, poets, composers, and other artists who began to meet regularly in Florence in 1575 (Examine, 116).The Camera wanted to create a new local style based on music of ancient Greek tragedies; it was designed to be midway between melody and speech (Examine, 116). While Monteverdi was not a member of the Camera, his first opera, Refer, followed the ideal the group had set up for opera Mainliner, 393). Monteverdi, like other Early Baroque composers, preferred homophobic texture because he felt the words could be projected more clearly with one main melody and only a choral accompaniment (Examine, 98).Most of the Baroque opera was composed for ceremonial occasions at court and was designed as display of magnificence and splendor (Examine, 116-117). Monteverdi operas and productions at the Court of Mantra are a perfect illustration of this Baroque period characteristic. The subject matter of the Baroque op eras was Greek mythology and ancient history; the aristocratic patrons loved the classical civilizations of Greece and Rome and related to the Greek and Roman divinities and heroes (Examine, 116-117). Monteverdi went along with these ideals because he knew that while opera was a retentive expression, it was also a way to flatter and gain the acceptance of aristocracy :Examine, 1 17). While Monteverdi appreciated the ways of aristocracy as a way to gain success musically, he had a growing discomfort with the courts of princes and an increasing skepticism towards aristocratic methods of business (Redline, 44). These feeling became more apparent during Monteverdi Venetian period in his later years, which stems from his sudden and inhumane dismissal from the Manhunt Court (Redline, 44).Monteverdi master at Mantra, Vincent l, died and left his heir, Francesco V, who dismissed Monteverdi without cause (Redline, 44). Even though Monteverdi felt negatively towards some aspects of his society, he was mostly unaffected by them (Multiplier, 393). He was more concerned with creating music of artistic ones (Examine, 118-119). Monteverdi aspirations in the musical world Nerve simply to create t he highest degree of expressionism; he did not want to create new forms, he did not want to please nobles, and he did not want to gain spiritual enlightenment (Multiplier, 393). Even though these were not Monteverdi goals, he still attained them in some way. His relation to religion is the most ironic; he did not seem to be a spiritual man, yet much of the success of his career is based on religious positions he held and spiritual music he created (Multiplier, 392-395). The time period that Monteverdi lived in was the cause of most of his religious works and posts; the earlier portion of Monteverdi lifetime made spiritual music and musicians dominant (Redline, 46-47).Official musical posts were controlled exclusively by ecclesiastical appointments; Monteverdi appointment as Maestro did Chapel did San Marco outweighed any secular post (Redline, 46, 47, 48). He held this position at SST. Marks Church in Venice from 1613 until his death, thirty years (Examine, 118). Even in Monteverdi younger years of composition and training, many of his published works were dedicated to Ceremonies clergy and nobles (Redline, 5). Monteverdi relationship to the church seemed purely traditional (Redline, 43-44), but he was actually Just doing what was necessary to get his music heard (Shred, 247-248).This can be proven by the fact that Monteverdi did not compose sacred or religious music until he was ordered to compose it by his master at the Court of Mantra in 1601 (Shred, 247-248). It was twenty-eight years before he published new sacred music, but his secular or nonreligious music was published regularly (Shred, 247-248). While he did not seem to enjoy his religious works, they, such as: the Amiss and Vespers are considered to be some of his greatest compositions (Redline, 146-147).Claudio was also known to change the words of his secular works to make them into religious works that he was required by his society and his posts to create Mainliner, 393-394). It is obvious that Monteverdi felt constrained by the religious requirements of his era, but change slowly occurred throughout Monteverdi bedtime. Music and the career of the musician changed slowly but drastically during Monteverdi life (1547-1643); colonization became more acceptable Bedevil, 46-47). Even though Monteverdi was required to compose religious music, he was able to create secular music on the side (Examine, 118). Europe, especially Italy, became more of an artistic center; music became even more important for political functions for aristocracy (Redline, 46-47). While it was not Monteverdi intention to create new musical ideals and concepts in his works, he did manage to revolutionize music in many ways (Redline, 39). Monteverdi most dominant purpose in creating music was expressionism; he wanted to illustrate human nature through an artistic dramatic work (Shred, 226-227).He did not view musical forms as permanent or unalterable schemes or patterns for him to follow; Monteverdi used them as a guideline and altered them to achieve the dramatic effect he desired Shred, 227). He compromised his mix of form and improvisation with the terms: Prima Practical and Seconds Practical (Redline, 117). Prima Practical accepted the art of polyphonic composing, and it made the mus ic and words equally important (Redline, 117). Seconds Practical was extremely emotional; it is when the words climax with elemental force (Redline, 117).Monteverdi wanted to extend the previous range of achieved this intensity in his music by using more dissonance than ever before, and he would use new orchestral effects like pizzicato and tremolo to create angry and Nard-like feelings in some of his texts (Examine, 119). Claudio other musical achievements were: the discovery of orchestral color, which is blending the vocal and instrumental tones or timbres into a unique combination of sounds; his evolution of chromatics for expressionistic reasons; and the coining of harmonistic types of motive (Redline, 39).Monteverdi music never followed the same pattern and was unpredictable; he was experimental enough to be considered revolutionary and traditional enough to be appreciated by society (Multiplier, 388). In the last phase of Monteverdi life during his Venetian period, he did not settle down as most composers of his time did ( Redline, 37). He was very active musically; he published The Eighth Book of Madrigals in 1638 and Selves Morale e Spirituals in 1640 (Redline, 37). It is also during his older years that Monteverdi started to omission music again; he was seventy-four when he gave operas to the public opera houses (Redline, 48). Monteverdi even wrote for the first public opera house in Europe, San Casinos (Examine, 118); it opened in Venice in 1637 (Redline, 48). Only a short time later, Monteverdi wrote his last opera: Oleomargarine did Poppa (Examine, 118). Monteverdi, along with other Early Baroque composers, was greatly forgotten until the 20th century with the invention of long playing records (Examine, 98). Even Ninth the invention of records, only three of Monteverdi twelve operas are preserved and can be heard (Examine, 1 19).One of the remaining operas that can be listened to is Refer, which is the first opera ever written by Monteverdi (Examine, 119). It is also the first operatic masterpiece to be written by a professional musician Examine, 117). Refer was composed in 1607 for the Manhunt Court, and it was an ornate and lavish production (Examine 119-120). The story of the opera is one of Greek mythology, which is fitting because it was composed for Monteverdi aristocratic court that enjoyed the stories of Greek mythology and related to the characters :Examine 119-120).The myth and opera is about the very gifted musician Orpheus, the on of the god Apollo (Examine, 119-120). Orpheus is very happy after his marriage to Eurydice, but he is extremely depressed when he discovers the death of his new bride due to a poisonous snakebite (Examine, 119-120). Orpheus goes to the underworld or Hades to try and bring Eurydice back, which he able to do because of his musical talent (Examine, 119-120). Orpheus can bring her back to the world on the one condition that he cannot look back at Eurydice as he guides her out of Hades.In moment of hesitation, Orpheus looks back at her, and she vanishes (Examine, 119-120). The opera ends with Apollo pitying Orpheus and allowing him to remain in Heaven eternally where he can gaze on Eurydice radiance in the sun and stars The specific movement that I feel encapsulates Monteverdi Smitten, 119-120). Passion for expressionism and drama is in Act II; it is called Tu SE Mortar (Examine, 120). The translation of the title is: muff are Dead, which is what Orpheus is so intensely singing after the discovery of Eurydice death.This song is haunting because of its text, and its slow tempo and singular accompaniment. It seems as if Orpheus is all alone mourning the loss of his bride; it is a very intimate moment in he opera that made me feel uncomfortable as I listened to it, as if I should not have Mortar is brilliant; it has a vocal line that is rhythmically free with barely any sense of beat or meter, and its phrases are irregular in length (Examine, These aspects of the song make Orpheus pain seem real; the odd rhythm, beat, meter, and phrase length make it sound as if Orpheus cannot contain his grief.This makes the song sound as if it were perfect at one time, technically, and now it is overcome with the pain of a lost love, so it is slightly off and does not sound completely correc t or solved. The songs oddities may also symbolize Orpheus life without Eurydice, Inch is now slightly off and does not seem to be correct. Monteverdi mastery of the past novelty of recitative is seen in Tu SE Mortar; the flexible setting of the text is meant to suggest the passionate speech of an actor declaiming his lines (Examine, 120-121). I definitely felt Orpheus passion as he sang the recitative, which provided the important information. The aria climaxed after the recitative, which made it even more powerful. I especially appreciated how Monteverdi made the word mortar very owe, quiet, and eerie. It was as if Orpheus was whispering to Eurydice that she was dead, and Orpheus would then spiral into the aria, which I think symbolized his rage at the realization that his wife was actually dead.The song also involves lines about Orpheus bringing Eurydice back from the dead; these lines are also very loud and powerful. I think Monteverdi made these lines loud and extreme to show how determined Orpheus was to have his wife back. When Orpheus sings these lines, l Nail bring you back to me to see the stars again it is like he is singing to Eurydice like she is still alive. He sings it with so much emotion that it feels like he is trying to motivate himself to do the most dangerous and impossible things to have Eurydice back again.