Influence of Baroque Music to Classical Music free essay sample

Music of any period reflects, in its own way, some of the same influences, tendencies, and generative impulses that are found in the other arts of that time (Donna, 2005). Thus the word baroque, usually used despairingly by eighteenth-century art critics to describe the art and architecture of the seventeenth and early eighteenth centuries, came to be applied also to the music of the seventeenth and early eighteenth centuries. After some years after the death of Johann Sebastian Bach, the ornate, formal and strict form of the High Baroque became old-fashion and lost its favor.Music slowly began to change form the style and forms of the High Baroque to a simpler yet tuneful form around 1750. The period following the Baroque is called the Classical period. The transition to the new styles and forms of Classical music was, like all transitions, rather complicated. The use of the baroque bass figure lost Its taste and became obsolete. We will write a custom essay sample on Influence of Baroque Music to Classical Music or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The preference of a simple structure rather than polyphonic constructions became dominant most especially in secular music. There was also a preference for one clear melodic line without melting with many others.Although arouse music differs greatly from classical music, they have striking similarities as evident in specific styles and forms. Though Classical composers tend to avoid the antiquated Baroque, one cannot fully abandon the styles and forms of the immediate predecessors. Instead, these styles were further developed to form a new meaning and use on the new musical structure. Forms Like the opera and orchestra revolutionized-?the former branching out from serious to variety, and the latter have a complete upheaval. Moreover, on the late Classical period, great composers such s Beethoven and Mozart studied the works of Baroque composers Bach and Handel. The later works of the classical composers were characterized of having Innovative yet powerful polyphony inspired by Bachs masterpieces, and contrapuntal melodic lines imbued with the oratorios and suites of Handel. CHAPTER II DISCUSSION General characteristics of baroque music Baroque composers were united in a common goal: to express or represent a wide range of feelings vividly and vigorously.They sought musical means to express or arouse the affections. Rather than they express their personal feelings, composers anted to represent human emotions in a generic sense (Norton, 2010). The music is regarded for its distinct, formal compositional styles and forms. Style Various styles laid the foundation of baroque music. Expressive and expansive In melody yet deeply rooted In choral harmonies, baroque music is typically highly rhythmical and quite easy to listen to.The comfortable regularity and lively rhythmic qualities of much of baroque music have made it appealing to many modern OFF and stirring melodies, engaging conversation-like dialogues in sound, and rich harmonies and textures (Daniels Wagner, 1975). Modality was replaced by analogy which gave a strong feeling of Joy or lament. In 2008, Ferris explains that composers developed and theoreticians articulated the tonal system, in which every note of the major or minor scale bears a specific relationship to every other note, and all of the pitches are more or less similar to the tonic.Composers at that time recognized and utilized triad chords as an entity, which resulted to meaningful and consonant units of sound. The use of triads most especially the three principle chords (tonic, dominant, and subdivision) paved a stable and harmonic direc tion to tonal music (The Baroque Period). Thus, the tonal system of harmony was wholly adopted during the seventeenth century. In addition, the continuous use of the polyphonic texture during the Early Baroque was revolutionized to form a new texture-?the homophony.Imitative polyphony (more than one melodic line) was an extremely important factor in writing and playing music (The Baroque Era, Examine, 2008). New forms of polyphonic music were developing because baroque composers felt that the art of counterpoint was essential to their artistry. On the other hand, the homophobic method (a musical technique that displays a vast separation amongst he melody line and the accompaniment) was gaining acceptance and use quite rapidly (The Baroque Era).The homophobic musical style played a significant role in opera and solo vocal music because it focused the listeners concentration in the poetic melody of the singer. Most pieces in baroque music have the basso continuo Inch gave way to uniformity and unity. Basso continuo, or figured bass, is an accompaniment which consists of a bass part with numbers which specify the chords to be played above it. Musical works containing a continuo part helped to convey harmonic support of chords under the melodic line (The Baroque Era).Examine (2008) states that basso continuo is usually played by at least two instruments: an organ or harpsichord and low melodic instrument like the cello or bassoon. Examine (2008) also adds that the organist of harpsichordist plays the bass part with the left hand which is also played by the cellist or bassoonist. With the right hand, the keyboard player improvises chords or melodic line by following the numbers. Because the numbers only indicate a basic chord, the performer has a wide field of freedom. With continuity of rhythm and melody, baroque music also features continuity of dynamic bevel.This means that the volume stays the same for a period of time, and then there is a sudden shift to a different dynamic level. There are no gradual changes in dynamics (such as a crescendo or decrescendo). Terraced dynamics were used as the main keyboard instrument was the harpsichord, which could only be played in two modes, either forte (loud) or piano (soft), precluding the ability to accomplish crescendos or decrescendos (Examine, 2008). Moreover, baroque composers fashion their work with different kinds of ornamentation.For Baroque musicians, ornamentation is not merely decoration that as no intrinsic value but rather the chief way of moving affections. One should, therefore, try in his ornamentation, as in all other aspects of his interpretation, to effectively communicate the sense of the music. In a lyrical movement, baroque performers intensify the expressiveness through the use of smooth melodic ornaments, and in a movement that seems complete, add almost nothing besides essential accidental trills (www. Masquerade. FRR). Eventually, both vocalists and instrumentalists recognized the principal ways of ornamenting a melodic line.First, brief formulas called ornaments-?such as trills, turns, postgraduate, and rodents-?were added to certain notes to emphasize accents, cadences, and other significant points in the melody (Norton, 2010). Second, more extended embellishments-?such as scale and arpeggio passages, and other types of flourishes-?were added to create a free and elaborate paraphrase of the written line (Norton, 2010). Forms In 1 573, a group of musicians and intellectuals came together to discuss various subjects, especially the desire to revive Greek drama.This group of individuals is known as the Florentine Cameras, they wanted lines to be sung instead of simply being spoken (Styles of the Baroque Period). The group developed a new vocal style based on the music of the ancient Greek tragedy. This new style followed the rhythms and pitch fluctuations of speech. It was sung by a soloist with only a simple choral accompaniment and was, thus, homophobic; the Cameras rejected polyphony because it would obscure the all-important text (Examine, 2008). Together with the opera, the oratorio stands as a major development in baroque local music.Like opera, the oratorio is a large-scale composition for chorus, vocal soloists, and orchestra usually performed during the Lenten season in the oratory, room which its name was derived; it is usually set to a narrative text. Oratorio differs from opera in that it has no acting, scenery, or costumes. Most oratorios are based on biblical stories, but usually they are not intended for religious services (Devote, 1956) The genre reached its heights in the late baroque period in the works of George Frederic Handel such as the Messiah with its well-known chorus of continuous praise of Hallelujah.Likewise, the baroque mass is an instrumentally a ccompanied vocal music tended to be a conservative musical form. As the seventeenth century progressed, masses Egan to incorporate concerto style and to have instrumental accompaniments. These developments led to the five masses of J. S. Bach, whose B Minor Mass is one of the towering monuments of Western music (Daniels ; Wagner, 1975). One of the most significant aspects of the Baroque period was the emergence of independent instrumental music. Its development was not entirely what the Florentine composers had intended; the new forms, Kittens (1966) stated, were by-products of reform. He use of the modal system was broken down, and establishment of the major- minor tonality were considered. But, the old contrapuntal style was not abolished entirely. The known form of during the Baroque is the fugue. According to Examine (2008), a fugue, written for a group of instruments or voices, or for a single instrument, is a polyphonic composition which is based on one theme called subject. Composers rote fugues both as independent pieces and as sections within preludes or toccatas Norton 2010). Throughout a fugue, different melodic lines, or voices, imitate the subject.Fugue subjects usually have a clearly defined character and a lively rhythm. And became a type of independent instrumental music. The baroque suite is a set of dance-inspired movements, all in the same key but different in tempo, meter and character. It is performed by a solo instrument, a small group of instruments, or an orchestra (Wright, 2008). The movements of a suite are usually in BABY form. The section A, which starts from the tonic key then shifts to the dominant, is balanced by the section B, which starts from dominant then shifts to the tonic (Examine, 2008, p. 03). Moreover, the orchestra during the baroque period was a performing group on instruments of the violin family. The baroque orchestra was consisted of ten to thirty r forty players. At its core were the basso continuo and upper strings. The use of Nodding, brass and percussion instruments are variable depending on the demand of the piece to be played. An aria (in English works sometimes called an air) signifies melody apart from the harmony, but especially a musical composition for single vice or instrument, with an accompaniment of other voices or instruments.The aria n Bachs suites is a short binary movement in a flowing rhythm in not very slow common or duple meter (Devote, 1956). Influence of baroque music to classical music In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and the arts, generally known as Classicism, which sought to emulate the ideals of Classical antiquity and especially those of Classical Greece. Changes in musical perception on style and form are likely caused by a sum of economic, religious, sociological and political factors.It is interesting to examine the music created within the hazy boundaries between the periods. Style Norton (2010) believes that at its best, Classical music reached a consistently high tankard and possessed the qualities of a noble simplicity, balance, perfection of form, diversity within unity, seriousness of purpose, and use of ornamentation. The transition to the new style was rather complicated. There was a general relaxation of formality, and for a while nothing much to take its place (Daniels ; Wagner, 1975).The relaxation in the court life favored the Rococo (derived from the French word Rockville referring to the artificial rework), a reaction to the formalism, rigidity, and seriousness that had become characteristics of the Baroque, and a decorative style hat was lighter, smaller in scale, and wittier than the Baroque (Daniels ; nagger, 1975, Kittens, 1966). The melody most typically consisted of a series of a series of short motives, repeated several times and cast in four or eight measure phrases.The melody is also generously supplied with a variety of trills, mo rdents, and the like. Classical music is basically homophobic. It seemed a proper alternative to the heavy polyphonic textures of the High Baroque. However, texture is treated as flexibly as rhythm. Pieces shift smoothly or suddenly from one texture to another. A work may begin myopically with a melody and simple accompaniment but then change to a more complex polyphonic texture that features two simultaneous melodies or melodic fragments imitated among the various instruments.In addition, polyphony Nas piously maintained when it came to church music. It was used for intensification, contrast, and development in the late works of Haydn and Beethoven part dance form of the Baroque, through a gradual enlargement and refinement, to the sonata-form of the Classical period. The end result was a form that remained in a dominant position in the field of instrumental music for almost two hundred years Exists, 1966). Indeed, it is a marvel of structural flexibility, capable of the greatest conceivable variety of expressive content.By the beginning of the eighteenth century, it was generally cast in a form consisting of three movements arranged in fast-slow- fast sequence. In sonatas and other pieces for violin, gradual increases and decreases of dynamics had long been employed; a theorist addressed the problem of crescendo and decrescendo receiving considerable attention. The Italian opera orchestra, too, had been familiar with swelling of tone. The solution is the borrowing baroque style. Terraced dynamics had provided composers with one means of achieving contrast.Operas employing this device were widely performed throughout Europe. Form ere practice of the baroque era was the standard against which new forms was measured, and there came to be a division between sacred works, which held more closely to the Baroque style from secular works, which were in the new style. A new orchestra developed during the classical period. It was a standard group of four sections: strings, woodwinds, brass, and percussion unlike the baroque which could Larry from piece to piece.The number of musicians in a classical orchestra was greater than in a baroque group. Classical composers exploited timbres of each instruments. Unlike baroque composers, they did not treat instruments interchangeably. The Classical composers were the first to orchestrate for instruments like clarinet, trombone, and piccolo (Daniels, Wagner, et al, 1975). According to Examine (2008), the classical orchestra had developed into a flexible and colorful instrument to which composers could entrust their most powerful and dramatic musical conceptions. The mass continued to be an important form for Mozart, Haydn, and Beethoven. During the Classical period, masses involved orchestra, soloists, and choir in a fully integrated work, using organizational principles derived from instrumental forms (The Classical Period). The majority of Mozart masses were in Missal bribes type, the simultaneous setting of several lines of text, or the omission of certain sections of the mass, because the Archbishop Colored of Syllabus had no patience with long Masses.Effects of the influences of baroque music Long after the Baroque era ended, and their music was all but forgotten, both Handel ND Bach were rediscovered in the Classical era. All great Classical composers like Mozart and Beethoven, after Bach and Handel, studied their works and learned from them in grasping and further developing Bachs and Handels science of baroque composition in such a way, that something entirely new emerged, pointing into the future.Proficient Knolling Amadeus Mozart ere works of Bach, such as the a-minor Mass and the six motets, and Handel, for example, the Messiah had deeply influenced the works of Mozart in his last years of Meriting music. Mozart was thoroughly familiar with the music of Handel. During his never lost his taste for it. One can hear Handels influence in some of Mozart early Narks, such as The Solemn Vespers, and in later works such as the Great Mass and the Requiem Mass in D minor.In fact, the opening page of Mozart Requiem, beautiful as it is, is merely a reworking of the opening choral movement of Handels funeral music for Queen Caroline (Longish, 2008). At the age of thirty, Mozart, visiting the SST. Thomas Church in Leipzig, upon hearing a Bach motet for the first time, exclaimed Now there is music from which a man can learn something. Then, the harbormaster at Leipzig gave Mozart a copy of the score to all six of the Bach motets. They were a profound influence on his late style.In the last two years of his life, Mozart counterpoint became even more exquisite and complex than before Longish, 2008). Moreover, Mozart was attracted to the main genres in which Bach excelled-?keyboard sonatas, keyboard concertos, symphonies and operas. Bachs singing-style themes, tasteful use of expressive motives, suspenseful harmonic ambiguities, and consistent thematic contrasts became permanent features of Mozart writing (Portraits). Ludwig van Beethoven Having Mozart as his model for his compositional styles, Beethoven had been familiar to the styles of the works of Bach and Handel.He continuously borrowed ideas, techniques and texture of the music of the baroque in his latter musical career. In his later years, wanting to compose certain pieces in a more contrapuntal style, thieving worked hard at mastering counterpoint. He studied the music of Bach, Handel, and even of Palestinian. In his late music, he developed a style of counterpoint that is more reminiscent of Handel than Bach. His fugues in his late period are very Hitachi in nature and quite unique in the history of music (Longish, 2008). Beethoven showed his constant concern with the work of J.S. Bach. He constantly requested copies of newly published editions, for example, a copy of the a-minor Mass, from the well-known publishers in Leipzig and Z;rich. In Beethovens sketchbooks, interspersed among work on his own compositions, there are numerous entries of short or long passages from Bachs works, among them, the Chromatic Fantasy, and fugues from The Well-Tempered Clavier and The Art of the Fugue Cramer, 2001). For Beethoven, the sense and aim of the study of his predecessors, Nas indeed his own further development, toward new ideas.Beethoven described this very clearly in a letter to the Archbishop Rudolph, in which he clearly names each and Handel as the only true geniuses, among his predecessors: The aim of the Normal of art, as indeed in the whole creation, is freedom, progress; if we moderns have not the same firmness as our ancestors, yet the refinement of our manners has in many ways enlarged our sphere of action. Pieces Great Mass in C Minor (K. 427) by Mozart Mozart wrote his Mass soon after his friend Baron Gottfried van Sweeten loaned him the works of Bach and Handel.These had a profound effect on the young composer, a nd his own Mass setting shows the influence of his baroque predecessors peppered, 2006). Mozart has been actually moved to create this Mass in reaction to his first exposure to Bach and Handel. He imitated Handels dotted rhythms (the Kings. The Mass draws considerably on Mozart study of the Baroque masters the influence of Bach and Hneed are evident in the great choral movements and the Domino Dues and Quondam recall Alexandra Scarlatti and Pergolas respectively.In 1959, Burk mentions, for only the second time in his life, and profiting by the example of Handel, he used a double chorus. Furthermore, London (1990) adds, the Influence of J. S. Bach and Handel has been noticed in its choral writing, especially that of the highly chromatic Quiz tolls, and in the double fugue of the Hosanna; the lavish, Italianize Et incarnates est. is a coloratura aria with showy cadenza. According to Paul Massacres, The C minor Mass is Mozart at his most baroque.He is clearly looking backwards, at least in the choral movements, sever of which might have been written 20 or 30 years earlier. So you get this fascinating Juxtaposition: on the one hand, the flexibility, the eave sensuality of the solo vocal passages, with, for the sopranos, that fresh, agile, quasi-instrumental writing that Mozart loved so much; and on the other, the colossal, almost baroque choral movements with their static chords and often quite slow moving harmonies. String Quartet No. 15, pop. 32 by Beethoven each (1738) wrote, The original cause of finish and end of all music, also of the thorough-bass (basso continuo), should be nothing other than to be for the worship of God and recreation of the spirit. Where this is not taken into consideration, is not music, but rather a diabolical bawling and mindless singsong. Perhaps, Beethovens embodiment of this idea is most apparent in the third movement of his String Quartet No. 15, pop. 132, entitled Hillier Danknesss nines Geneses an die tithe, in deer latencies Tonal (Holy Song of Thanksgiving, by a convalescent to the Divinity, in Lydia Mode).The Hillier Danknesss introduces a simple, four-voice Chorale, with a short introduction and short contrapuntal interludes, redefined in the further development purely inspired by the fugal works of Bach. After the first strophe of the chorale, a new element, a second subject, is introduced into the imposition, a part in D-major: Nine Kraft if;Helen (Feeling new strength), which makes it a double fugue and which initially appears to be in great contrast to the Chorale (Cramer, 2001). Indeed, Beethoven had constructed a clash of tonalities by combining various scales which exceeded beyond the Classical tradition.In a period in which his compositions show his deepest levels of self-pondering, Beethoven turned to the Baroque, and particularly to Bach, for support and insight. And in these thoughts, he shows a bold adherence to the Baroque tradition, with its forms and practices close to his heart and mind (Examine, 2008). Perhaps, more than any other Norm of Beethoven, the Healing Danknesss shows an appreciation and reverence for the past. CHAPTER Ill CONCLUSION This study has presented that the Late Baroque characteristics, indeed, had greatly influenced the musical styles and forms used by composers of the Classical Period.Though the main reception to the Baroque period was away from it, Classical music uncanny similarity of both classical and baroque music. The tonality was the basic foundation which was utterly the same. The freely ornamented trills and mordents of melodic lines, the entity of the contrapuntal polyphony in church masses, the great entrant of the terraced dynamics, and the dramatic movements of the sonata-form are all but a few influences of the High Baroque. Classical forms such as the orchestra, oratorio, and the mass are merely rev olutionized and developed of the forms of those of baroque. The oratorio became a versatile form; the orchestra was elaborated into a bigger yet systematical group of instruments, and the mass extended its variety to different forms. Classical composers such as Mozart and Beethoven had a turning point of their traditional Classical styles in the later period of their compositional styles. They were feely influenced by the baroque composers contrapuntal and fugal works for they studied extensively the works of the well-known baroque composers Bach and Handel.One can deduce that Classical musicians had different ways of reacting towards the end of the baroque: others seem to incorporate new medium while others retained yet innovated some baroque entities. However, we can say that the predecessor had certainly been a major influence amongst all Classical musicians. Future researchers who would research further the influences of the Baroque can be aided by this paper. Researchers who would focus on musical styles and forms must now advanced music theory for them to completely understand the concept that Mould be discussed.

Wild Geese by Martha Ostenso essays

Wild Geese by Martha Ostenso essays A lot of great Canadian authors base their books on the prairie or land and its inhabitants. Wild Geese by Martha Ostenso is a wonderful example of this. Throughout the novel, many references are made to natural elements and also animals. Three very noticeable references could be picked out. These references were made to Judith, who is seen as a wild horse, to the wild geese that always move to new places, and also to the weather and how the family's attitudes and emotions, especially Caleb's, are changed by it. Wild Geese are talked about quite frequently throughout this novel. There are many references to people who are compared to the wild goose, along with what they symbolize. Lind Archer, the schoolteacher, is considered the wild goose for the first while. She came from a large municipality, "to a region beyond human warmth...beyond even human isolation..." (Ostenso, p.34). Mark Jordan is also compared to a wild goose for fundamentally the same reasons as Lind. When he first meets Lind, she thinks that his cry seems to be a, "smote cry upon the heart like the loneliness of the universe..." (Ostenso, p.53). Both Mark and Lind can be compared here, because they are both lonely and isolated. The wild goose symbolizes moving, loneliness, and isolation. Moving is shown when Mark and Lind come from their large municipalities to move up north to a very cold and unfriendly place. Loneliness is shown again through Mark and Lind and how they both miss their life before. They have ver y few friends and are moderately secluded to a very little area. Isolation is also shown by the fact that they are secluded and also that they are in the middle of nowhere with no one within a close distance to talk to. They feel isolated form society because the farms are so spread apart. In the end Mark and Lind move together to go back to the large municipality and wild geese are referred to again. They moved back to where they came f ...

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Hilton Hotels Corporation Marketing Analysis Essay Example for Free

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The chain should pay more attention to the middle-market segment, conventions, and sporting events such as youth tournaments and professional venues. In volume, the more people that move through the doors, the more money there is to be made. With this said, room rates must stay within the $100.00 a night rate with weekend promotions of Thursday through Sunday at a lower rate; perhaps 25% to 35% lower. This would be a novel concept, as the industry generally promotes lower room rates Monday through Thursday. The food and beverage structure should remain the same, as it has proven to be more than adequate and very popular. The increase in competition can be dealt with through better values in room rates, childrens activities, slot machines that pay off more frequently and the most important aspect of the business, service. Hilton could offer something that the other hotels do not: ensuring the employee responses to each customers needs are met with enthusiasm and expedience. People are paying for an experience along with the opportunity to break the house; give them what they are looking for. Word of mouth is far more powerful than any media advertisement. Hilton has entered the gaming industry. Gaming must focus on gambling and hotel must focus on hotel amenities and service. It would be the hotels responsibility to insure the entertainment, promotions and accommodations were settled; leaving the gaming operations to generate gaming interest. Advertising would be a joint effort, but casino operations would focus on the age 21 and older market. The two operations would report to the Chief Executive Officer and his staffs to ensure all objectives are met. It would be the CEO and staffs responsibility to ensure both lines were working hand-in-hand, while maintaining separate operations. The purpose for this suggestion is to keep revenues separate so one function does not bear the full brunt of any losses that may occur. The casino will always show a bigger profit than the hotel, but by having separate bottom lines, profit and losses are easier to control. The hotel/casino is one business, but must have two different mindsets as the casino and hotel does, and will operate much differently. Situational AnalysisThe U.S. based Hilton Hotels Corporation is a multi-billion dollar corporation and a leading brand in the hotel and gaming industry. Conrad Hilton started the company in 1919 with his first hotel purchase. Since then the company has grown to over 2,000 hotels globally, with several brand name acquisitions, including Ballys, Hampton Inn, Doubletree Suites and Homewood Inn. Besides standard hotel service, the Hilton Corporation runs casinos, vacation ownership businesses and luxury hotels, like the Conrad Line. The Hilton Hotels Corporation earned in excess  of $3.8 billion in fiscal year 2003 (Datamonitor, p. 4). External FactorsAccording to the Datamonitor report, the Marriott and Hyatt Corporations are the Hilton Hotel Corporations biggest competitors. Las Vegas is a gaming town, thus every hotel is expected to have gambling casinos within. The Las Vegas Hilton website shows that they also provide live entertainment, including comics and headline musical acts, as well as hosting a million-dollar Blackjack tournament. These factors, along with the attractive room packages and gambling activities, should be enough to maintain the occupancy rate and keep the gambling action constant. According to its website, the Las Vegas Marriott is a hotel with 278 rooms. The Hyatt franchise is located 17 miles away from the Las Vegas strip on Lake Las Vegas, but is a resort, casino and spa. While the Hyatt is a luxury hotel chain, the Marriott is a corporation more in line with Hilton. The Marriott made over $9 billion in fiscal year 2003; more than three times the Hilton Hotel Corporation (Marriott Datamonitor report). To contend with a company of this magnitude is not an easy job for any of their competitors. Hilton Hotels Corporation is an enormous company as mentioned above; so sizable that they had to split the corporation into six main divisions, totaling approximately 100,000 employees worldwide. Hilton Hotels Corporation has been very successful since they were established in 1946. Their diversification profile is significant and ambitious; no matter where you go, there are Hilton hotels there. In addition, Hilton Corporation has been leading in customer service and efficient staffing by utilizing a call center to help them maintain their reputation for hospitality. Hilton Reservations Worldwide handles reservations and information requests for thousands of hotel properties, under their various brands, positioning the company on the top of: †¢ Accurate intraday forecasts†¢ Reduced management costs†¢ Excellent customer service †¢ An edge over the competitionA companys strength does not solely lie in the size of the company but in the management of the company, the employees and their commitment to their customers. Hiltons management promoted brand relevancy within minority markets. Their sales team strategic initiatives are to target the multicultural market. In relation to their employees, Hiltons are some of the finest. They are trained to do their jobs with care and make sure the customers are comfortable and happy. The customer personal profile allows the Hilton employees to treat each customer as a unique and special individual. WeaknessEvery company has weaknesses; Hilton Hotels weakness lied in its inability to recover quickly from the attacks on America in 2001. Although Hilton Hotels is a large company in many locations across the country, they had to reduce their manpower due to the decline in business. Matthew J. Hart (president and CEO) said; we have had a lot of job losses about 2,500 full-time equivalent jobs out of a worldwide workforce of 100,000. But we have no plans for any more, unless business gets worse (Finch, 2001, p.1). The September 11th attacks left the whole nation in awe, in grief, and for many New Yorkers, jobless. The attacks left the airline and hotel industry to recover from lost sales. Another weakness the hotel industry is facing is the evident decline in supply. The below chart shows how the demand to occupy the Hilton hotels has been a declining behavior during the last years:A closer examination of the demand cycle for economy hotels during the past several years reveals a pattern that is not consistent with other hotels. The rate of demand growth in this segment began declining during mid-2000, about nine months before a similar effect was felt industry-wide. In addition, as the industrys demand recovery has begun to accelerate the rate of demand growth, the economy segment has plateaud. Of even more concern is that the number of rooms currently being purchased in this segment is still declining when compared to previous-years levels. (Look Smart Articles, 2004, p.1)OpportunitiesAs mentioned earlier, Hilton Hotels Corporation is known worldwide; with this notoriety their reputation will carry them to expand their hotel empire even further. Their opportunity lies in the growing international market. The company is expecting 4-5% fee growth in 2004 within; new management contracts in Austin, Houston, Omaha and Conrad Miami. The company market overview reveals that recent trends in major markets are:†¢ Strong in New York, D.C., Hawaii†¢ Stable in New Orleans, Boston†¢ Weak in San Francisco, ChicagoThere will always be a demand for hotels and resorts. Currently, Hilton Hotels are working on more room availability; 80% of rooms have been renovated within last five years, and they are expanding into new markets. They also have Best Rates. Guaranteed, Internet easy access with a success rate of utilization from the customers:†¢ 13% of all reservations†¢ 85% through proprietary websites†¢ Self-service kiosksThis kind of service assists in making the experience convenient for the customer. Along with the convenience, Hilton Corporation and their six divisions take pride in making every building fee l like home and ensuring the customer is satisfied and pleased with their accommodations (Hilton Hotels Corporation, 2003, s.3-5). ThreatsA few of the threats for The Hilton are competition, and a declining economy. The competition for The Hilton is not only other hotel companies, but restaurants and other service centers as well. Marriott is the main competitor of The Hilton amongst other hospitality companies. Because Hilton is so grand and reputable, they have more room for error, which also makes them vulnerable. As time passes, the Hilton Hotels continue to strive for excellence and perfection. They make each new hotel or resort better than the last. Because of the continuous growth of this company, it has dealt  with its competition head on (Nairn, 2001, p.3). The second threat is the economic decline of this century. Since the September 11th attacks in New York City, the American economy has been declining in all service industry areas. There was an ominous fear of flying and for quite some time, many people chose not to travel for vacations or long-distance business trips. This reaction to the events of 2001 hurt the hospitality industry, and made difficult rebuilding what they lost in revenue. Fortunately, this trend has started to change and the industry will soon recover from their losses. This is an area that still needs close monitoring from the executives of the corporation. References Datamonitor Hilton Hotels Company Overview August 2004. Datamonitor Marriott International Inc. Overview August 2004. Finch, J. (2001, November 16). Hilton reports impact of September 11. Retrieved October 26, 2004, http://www.union-network.org/unitourism.nsf/2c89b80c011f2519c1256b06002163c2?OpenDocumentHotels Hilton Hotels Corporation. (1998, Fall 1998). Corporate History. Retrieved October 26, 2004, Http://hiltonworldwide.hilton.com/en/ww/company-_info/corporate_history.jhtml;jsessionid=FGTDSXUCGXCGSCSGBIX222QKIYFCXUUCHilton Case Study. https://mycampus.phoenix.edu/secure/resource/resource.asp Retrieved October 23, 2004. Hilton Hotels Corporation (2003, July). Hilton: Great Brands and a Balanced Business Model (presentation). Retrieved October 26, 2004, http://media.corporate-ir.net/media_files/NYS/HLT/Hilton%20Presentation%20February%202004/tsld002.htmhttp://www.lakelasvegas.com/http://www.lv-hilton.com/http://www.vacationclub.com/en-us/vc/about/marriottworld/lasvegas.asp?cookies=trueLook Smart Articles (2004, January 14). Economy segment lags industry in key performance measures Trends Stats. Retrieved October 26, 2004,

The Not-So-Honest Man in The Fifty-Dollar Bill :: Fifty-Dollar Bill Essays

The Not-So-Honest Man in The Fifty-Dollar Bill  Ã‚        Ã‚   The main character in Donald Hall’s "The Fifty-Dollar Bill" has spent most of his life trying to live up to his honest reputation. When he is accused of trying to bribe a person at the Judge Advocate General’s office, he tries to convince himself and everyone else that it was just an "unfortunate coincidence" (Hall 958). However, the evidence shows that it was more than just a coincidence and that his actions were intentional. The narrator goes out of his way to prove to us that he is a honest man. He contrasts himself with other lawyers who "live on intimate terms with dishonesty" (Hall 957). While he prides himself on being honest, the narrator has a deep obsession with his honesty; it seems he will do anything to live up to his reputation. In the first paragraph, he says "I call myself an honest man," not I am an honest man. By his choice of words he demonstrates a lack of confidence in his honesty. You don’t have to be truly honest, in order to call yourself honest. The narrator begins defending his actions long before we know that he did anything wrong. In the second paragraph, he claims "I had no intention of avoiding service to my country and I expected . . . to go into the office of the judge advocate general in June, 1942" (Hall 957). By telling us this early on he gets us on his side. We now are more likely to believe that he would never try to bribe his way out of being drafted. He also makes sure that we know he was in a hurry when he mailed the letter, which makes a mix-up seem more possible. By setting up his defense so early he shows that he has a real need to be defended. Once we know what he did wrong, his defense begins to look like Swiss cheese; it has a lot of holes in it. He and his wife used the $500.00, that they received as a wedding present, during the summer of 1941. They stopped using the money "When school started in the fall," probably close to the beginning of September (Hall 958). It’s hard to believe that in four months a man who had been in college and law school for six years, would actually forget about an envelope that he had used at least nine times over the previous summer—much less an envelope that had money in it.

Reaction Paper Title Page Essay

â€Å"The music is all around us, all you have to do is listen.† August Rush a 2007 drama film directed by Kirsten Sheridan and written by Paul Castro, Nick Castle, and James V. Hart, and produced by Richard Barton Lewis. Music has been part of our lives since memorable times. Undoubtedly, it has touched us at least once. Most people would agree that music is what helps someone to feel better or just to change one’s mood. In fact, different researches have already found a variety of benefits that it can bring. Advantages in the sensory area as well as in the emotional and cognitive ones are the most interesting topics that this current paper will analyze. Thus, one could understand and give much importance to Music in daily life. The sensory area involves everything related to senses and touch is one of them. According to Forgeard, 2008; Hyde, 2009; Schlaug et al., 2005; â€Å"Music enhances fine motor skills. Motor function is the ability to use small, acute muscle movements to write, use a computer, and perform other physical activities essential for classroom learning. The parts of the brain associated with sensory and motor function are developed through music instruction†. This helps to understand how important is music in the motor skills developing especially in children. One might clearly notice how difficult playing an instrument is; however, with practice it becomes easier. Hence, motor skills are developed. Children would become better in small movements like writing if playing an instrument is in their lives. Let us tackle on another benefit, emotions are part of any body and music may help us to change them depending on the situation. For example, when people want to feel relaxed, one thing they do is just play some music. Some people consider music as a relaxing tool in any area like work, school, home, etc. For instance, Jolkoyski points out that â€Å"Music gives pleasure and expresses nuances of emotional life for which there are no words†. Doubtless; the beat, lyrics, voice, melody or only the sound of any piece of music makes a person feel in a different place where nothing else exists. Then, by listening to music one can enter to an own world. Provided that music moves emotions, it also influences mood. There should be always a song which can change one’s attitude. For this reason; when someone is not calm enough; a soft song like a classical one can move it into relaxation. However, it depends on people’s likes because others could feel calmed with different genre. According to Bridget O’Connell â€Å"The effect of different types of music on mood will largely depend on people’s individual preference and experience† all depends on what people are into or love. Then, music helps a lot when emotions are involved. To the same extend, music plays an important role in the cognitive area. Researches have established that many different processes in the brain can be developed through music. â€Å"There’s some good neuroscience research that children involved in music have larger growth of neural activity than people not in music training. When you’re a musician and you’re playing an instrument, you have to be using more of your brain,† says Dr. Eric Rasmussen, chair of the Early Childhood Music Department at the Peabody Preparatory of The Johns Hopkins University. As a matter of fact, one can easily become good at certain activities if music forms part of his life. Therefore, music should be included in all places so that cognition could wake up in a strong way. By the same token, Professor Nina Kraus, director of the Auditory Neuroscience Laboratory at Northwestern University points out â€Å"To learn to read, you need to have good working memory, the ability to disambiguate speech sounds, make sound-to-meaning connections, each one of these things really seems to be strengthened with active engagement in playing a musical instrument.† Then one can say that music helps our brain and the cognitive area in fact. Consequently, many different aspects in the cognitive development can be improved when music appears. To sum up, music will always form part of our lives. Good advantages could be taken if one notices how useful music is. Good sensory, emotions or cognitive would be the results of it. Thus, music should be in us since we are conscious of it and then anyone can be benefit of it. References http://well.blogs.nytimes.com/2012/09/10/early-music-lessons-have-longtime-benefits/ http://www.sheknows.com/parenting/articles/814331/10-reasons-why-your-child-should-play-a-musical-instrument-1 http://www.netdoctor.co.uk/healthy-living/wellbeing/health-benefits-of-music.htm http://www.pbs.org/parents/education/music-arts/the-benefits-of-music-education/ http://www.aep-arts.org/wp-content/uploads/2012/08/Music-Matters-Final.pdf