The Background Analysis And Performance Suggestions

The Background Analysis And Performance Suggestions Luciano Berios Sequenza IXa is a work of increasingly great significance for the clarinet repertoire. In the past few years, numerous international music competitions, including the prestigious Geneva, Munich, and Nielsen competitions, have included the Sequenza in the repertoire for their first rounds. In addition, it has become an integral part of the unaccompanied solo standard clarinet repertoire in the twentieth century, and it provides clarinetists with a wealth of opportunities for exploring new techniques and freedom for musical interpretation. Upon first hearing it, the Sequenza intrigues, but challenges the listener to accept a new musical language. A glance at the score immediately reveals a host of difficulties for the performer, including a variety of rhythmic patterns, dynamic changes, and multiphonics, as well as the physical stamina required over the length of the piece. Apart from the score itself, little information is available about the history and construction of the piece from scholarly sources. This limited literature cannot satisfy the curiosity that the composition inspires.  [1]  Therefore, the purpose of this paper is to provide a more comprehensive aid to the study and performance of this piece, in order to make approaching the work more feasible and also more attractive to a wider breadth of clarinetists. My examination of the Sequenza will begin by contextualizing the work within the composers life and background, including a consideration of his statements about music and about the Sequenzas in particular. This will be followed by analysis of Sequenza IXa investigating the diverse array of musical elements, including harmonic fields, rhythmic patterns, transformational processes, structure, and multiphonics in the second part. To conclude, I will explore some of the difficulties in performing the piece and offer potential solutions. PART I: HISTORICAL BACKGROUND OF Sequenza IXa Berio is considered the foremost Italian avant-garde composer of his time, and one of the most influential composers of the twentieth century. He is particularly well known for his modernist approach and his extensive and experimental use of electronic instruments in art music. Born in Oneglia, Italy, he studied music with his father, an organist, before enrolling in music school in Milan.  [2]  In 1950, he married the American singer Cathy Berberian, a soprano who subsequently performed many of his works.  [3]  He traveled to the United States in 1953 to study with Dallapiccola, who he was introduced him to serialism. However, the most important aspect of his trip to the United States was his exposure to electronic music. In 1952, he attended the first public concert of electronic music in the U.S. At New Yorks Museum of Modern Art, the concert featured tape pieces by Otto Luening and Vladimir Ussachevsky.  [4]  After returning to Italy, he co-founded the noted electroni c music center Studio di Fonologia Musicale in Milan in 1955, directing it from 1955 to 1961.  [5]  From 1965 to 1972, he taught at the Julliard School in New York City; during this time, he also held a number of international teaching responsibilities.  [6]  In addition, Berio served as a director of the Institut de Recherche et Coordination Acoustique Musique (IRCAM) in Paris. In 1980, he accepted an honorary Doctorate of Music Degree from City University in London. Two years later, he became the Artistic Director of the Orchestra Regionale Toscana and in 1984, Artistic Director of the Maggio Musical Fiorentino.  [7]   Berios musical style may be seen as engaging and an extending of European and Italian classical traditions. His many years of education and his long career demonstrate this, as do the statements he has made about music and his own music in particular. Berio has described music as the constant search for an answer to something that continuously shifts.  [8]  He has further stated that the search for a deep unity, is maybe the most exciting, the most profoundly experimental and the least functional aspect of its presence.  [9]  These descriptive words are useful in understanding what Berio has said about the Sequenzas. The series of fourteen Sequenzas was a long-standing project, spanning 30 years. Each of these pieces is written for a solo instrument, and demonstrates extensive performance techniques. In virtually all of the Sequenzas, these techniques are intended to expand the boundaries of what was playable or singable on the respective instrument. The Sequenza series can be considered a manual of instrumental composing in the twentieth century. The majority of the Sequenzas were commissioned by or composed for a certain performer, and Berio often collaborated closely with these performers to understand the particular abilities and limitations of the instrument.  [10]  For example, one of his most successful Sequenzas is Sequenza III, for female voice, written for and dedicated to Berberian, a pioneer in avant-garde vocal techniques. Sequenza IXa was commissioned and premiered by the French clarinetist Michel Arrignon in 1980. Between 1977 and 1983 Berio worked on a piece entitled Chemins V for clarinet and real-time digital filters,  [11]  but it was never completed. Later, Berio withdrew Chemins V, and titled the extracted clarinet part Sequenza IXa.  [12]   Berio says that, All theSequenzas for solo instruments are intended to set out and melodically develop an essentially harmonic discourse and to suggest, particularly in the case of the monodic instruments, a polyphonic mode of listening  [13]  As he described further in regards to his flute Sequenza: I wanted to establish a way of listening so strongly conditioned as to constantly suggest a latent, implicit counterpoint. The idea was the polyphonic melodies of Bach. An inaccessible ideal, naturally, because what implicitly guided polyphonic listening in a Bach melody was nothing less than the history of baroque musical language, whereas in a nonlinguistic melody like my Sequenza for flute, history provided no protection, and everything had to be planned out explicitly.  [14]   In Sequenza I, various procedures project the concept of polyphony, largely based on Bachs polyphonic melodies. However, Berio soon came to realize the impossibility of achieving this goal, partially because Bachs polyphony was made possible by the universal tonal language of the time. Without the use of Baroque harmonic conventions, Berio relies on another way of implying underlying counterpoint. To achieve this, he explored the idea of a single instrument producing more than one voice. In this way, a monophonic instrument becomes capable of implying not only a dialogue, but also the sounding together of more than one voice. Sequenza IXa, like the flute Sequenza, can be said to use the same nonlinguistic type of melody. The most obvious and literal manner of achieving more than one voice with a monophonic instrument is through multiphonics. Another way to simulate polyphony in a monophonic instrument is to use a type of technique Bach uses in his pieces, compound melody. Following the idea of using two pitch-class collections differently, one melody tends to appear in the same register, whereas the other traverses the range of the instrument in very wide leaps and with great variety.  [15]  Berio developed these two pitch-class collections experimenting with temporal, dynamic, pitch, and morphological dimensions to generates a type of polyphony. These different musical elements are recognizable through the transformational processes, which will discuss later in the paper. In a discussion of the form of Sequenza I, Berio said, The title was meant to underline that the piece was built from a sequence of harmonic fieldsfrom which the other strongly characterized musical functions were derived.  [16]  In the same interview, Berio continued: The temporal, dynamic, pitch and morphological dimensions of the piece are characterized by maximum, medium and minimum levels of tension. The level of maximum tension within the temporal dimension is produced by moments of maximum speed in articulation and moments of maximum duration of sounds, the medium level is always established by a neutral distribution of fairly long notes and fairly rapid articulations, and the minimum level entails silence, or a tendency to silence. The pitch dimension is at its maximum level when notes jump about a wide gamut and establish the tensest intervals, or when they insist on extreme register: The medium and minimum levels follow logically from this. The maximum level of the dynamic dimension is naturally produced by moments of maximum sound energy and maximum dynamic contrast. What I call the morphological dimension is placed, in certain aspects, at the service of the other three and is, as it were, their rhetorical instrument.  [17]   This statement can further be applied to Sequenza IXa for solo clarinet, as it is also an essentially harmonic discourse which is melodically developed by temporal, dynamic, pitch and morphological dimensions  [18]  in order to suggest a polyphonic mode of listening. Analysis of the piece shows that Berios statement does in fact apply and is of use in understanding Sequenza IXa. PART II: ANALYTICAL DISCUSSION Harmonic fields As Berio states, the title Sequenza was meant to underline that the piece was built from a sequence of harmonic fieldsfrom which the other, strongly characterized musical functions were derived.  [19]  In his Berio, David Osmond-Smith observes that the harmonic field can be defined as a temporary emphasis on a single pitch or on a collection of pitches.  [20]  Berio uses both options to establish a harmonic field, similar to the function of chords in tonal music. Thus, when Berio moves from one field to another, it can be said that there is a shift of harmony. Andrea Cremaschi explains that Berio does not use a dodecaphonic series, but rather divides the twelve notes into two separate pitch-class collections: a five-note collection and a seven-note collection. The first collection traverses the instruments range, is used melodically, and is characterized by wide, varied leaps (see Fig. 1a). The seven-note collection, in contrast, tends to appear in the same register and generally appears with less variety (see Fig. 1b).  [21]  As the piece develops, these two distinct pitch-class collections appear in contrast, in alternation, or, in some cases, interlaced with each other. As shown in Figure1, while the two pitch-class collections are distinct, both are characterized by multiple occurrences of the tritone. Figure 1. The five-note (a) and seven-note (b) collections of Sequenza IXa.  [22]   Sequenza IXa moves through a sequence of harmonic fields which are defined by the use of one or more of the following devices among the two contrasting pitch-class collections: 1) the use of the two pitch-class collections in rapid succession; 2) the use of the first pitch of each collection as the beginning and ending note of a phrase; and 3) the use of what Berio calls tense intervals which suggest harmonic tension and resolution.  [23]   The two different pitch collections appear at the beginning of the work. The melody shown in Ex.1 is primarily based on the five-note collection, whose pitches move between three registers with relative freedom. The seven-note collection ornaments the melody, with only two notes from it, F# and D, appearing. These two notes function not only as passing notes, but also as ornamentation, similar to the grace notes in the second and third line. The ascending grace notes at the beginning of line 2 occur in rapid succession. Most of the notes are still based on the five-note collection, except for three notes from the seven-note collection, still F#, D, and now D#. Similar grace- note passages are prevalent throughout the piece. Berio uses this blending of the two pitch-class collections to establish the harmonic field. Example 1. Sequenza IXa, Page 1, Lines 1-3. Circles indicate pitches from the seven-note collection used as passing tones. The second device, the repetition of the first note, is illustrated in Ex. 2a, lines 4-8. The rehearsal A section consists of four melodic phrases, each phrase separated by a fermata and silence. The four melodic phrases are based on the seven-note collection, with the seven notes largely fixed in the same register. Now there are only two pitches chosen from the five-note collection, G and Bb. Here, the seven-note collection previously used for ornamentation becomes the principal pitch-class collection, which indicates movement away from the previous harmonic field. The starting tending pitches of the 4 phrases compose out the 1st 4-note motive, G#, F#, D, A. Berio unifies the four phrases here, beginning each subsequent phrase on the next of the first four notes (G#, F#, D, A) of the first phrase. As with the G# in the first phrase, the F#, D, and A serve as the beginning and ending notes of the second, third and fourth phrases, respectively. Example 2a. Sequenza IXa, Page 1, Lines 4-8: Circles highlight the repetition of pitches at the beginning and ending of phrases. In addition, the repeated use of a series of several notes drawn from both pitch-class collections in a fixed order establishes a new harmonic field. In Ex. 2b, the first phrase establishes the following sequence of pitches: G#, F#, D, A1, D#1, C#2, G2, C2, A1, Bb2, D. Subsequent phrases rotate these pitches, moving the first note of the previous phrase to the end of the sequence, though not the end of the phrase. That is, the order of the pitches remains fixed, though their relative position in the sequence changes. Thus, the repetition of this note order establishes the harmonic field. Example 2b. Sequenza IXa, Page 1, Lines 4-8: Circled pitches reveal the fixed sequence, while boxes indicate discreet phrases. Berio expands the device of repetition as the basis of a harmonic field later in the piece. In Example 3 a brief sequence of pitches from the third line of the work, D1, A1, D#1, C#1, B1 is extracted and subsequently repeated. The appearance of this fragment implies the earlier harmonic field seen in Ex.1, line 3, but the addition of other pitches in addition to its repetition implies movement to a new harmonic field. Example 3. Sequenza IXa, Page 2, Lines 1-3: The circled portions show the repeated pattern from the previous harmonic field. The third way in which Berio establishes a harmonic field is by the use of tense or dissonant intervals. As discussed previously, the piece changes harmonic fields by moving to different pitch-class groups. In Example 4, line 2, the dotted quarter-note G# is the first note of substantial duration in the new harmonic field from the seven-note collection. It is preceded by a leap of a major 7th and followed by a diminished 5th, minor 7th, minor 2nd and minor 7th, in that order. The minor 2nd, between the eighth-note E and the quarter-note F, functions as leading-tone to tonic relationship resolving back to the five-note collection. The sense of harmonic tension and resolution created by these interval relationships thus implies the harmonic field. Each subsequent harmonic field uses the same idea of tension and resolution, thus implying harmonic shift. M7 m7 m7 d5 m2 Example 4. Sequenza IXa, Page 1, Lines 1-3: Use of tense or dissonant intervals All of the above methods define the sequence of harmonic fields in Sequenza IXa; therefore, this piece conforms to Berios description of his Sequenzas as a sequence of harmonic fields. Rhythms In Sequenza IXa, there are many places on the score where Berio specifies tempos. At the beginning of the work, the tempo is marked as a quarter note equals sixty. At letter A, it increases to a value of seventy-two. Berio also gives specific durations for the fermatas, placed at the ends of most phrases. Despite these specific tempo markings, the composer places the expressive marking ma sempre un poco instabile (but always a little bit unstable) at the beginning of the score. Perhaps Berio wanted to give the liberty to the performer to vary the tempo within the phrase. In this piece, Berio does not use complex rhythmic techniques, but instead creates a lot of variety using simple rhythms. Although using a limited number of distinct rhythmic figures, Berio rarely repeats the same groupings. Through this rhythmic variety, he creates a feeling of unpredictability. This can be found in Ex.5 and 8. Example 5. Sequenza IXa, Page 8, Lines 1-4: The representative of the rhythmic figures Berio has an extraordinary range of rhythmic arrangements. Below is a list of the four most frequent rhythms used in the piece. There are additional rhythms used in the piece, such as long notes and grace notes, but shown below are the most prominent rhythms. Figure 2. Four rhythms He applies the idea of a rotating sequence, as he did for pitch, to arrange the rhythms in the A section. He uses these four rhythms to create a rhythmic sequence. The following graph reflects the use of the rhythmic sequence (see Fig.3). In the first line of the graph, there are four melodic phrases with each phrase containing all four rhythms (à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å" ). As indicated in the second line, each of these rhythms begins and ends a phrase. In addition, the first phrase begins with the sequence of rhythms ( à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å"  ) . The subsequent phrases rotate the rhythmic sequence by moving the first rhythm of the previous phrase to the end of the sequence, though not the end of the phrase. (see Ex.6) First phrase Second phrase Third phrase Fourth phrase à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å"  long note à ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘ long note, rest à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’ long note à ¢Ã¢â‚¬Å"â€Å"à ¢Ã¢â‚¬Å" Ãƒ ¢Ã¢â‚¬Å"‘à ¢Ã¢â‚¬Å"’à ¢Ã¢â‚¬Å"â€Å" long note à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" Figure 3. The graph of rhythmic sequence in Sequenza IXa, Page 1. Lines 4-8. à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ à ¢Ã¢â‚¬Å"’ à ¢Ã¢â‚¬Å"â€Å" à ¢Ã¢â‚¬Å"  à ¢Ã¢â‚¬Å"‘ Example 6. Sequenza IXa, Page 1, Lines 4-8: The circled letters indicate the rhythmic sequence Transformational process As Berio discusses a polyphonic mode of listening, the piece set out and ismelodically developed by altering time, dynamic, pitch, and morphology. It uses a transformational process that suggests a polyphonic mode of listening rather than creating actual polyphony. Each of these unique layers develops and presents material in a different way. Even though each layer develops differently, they combine to create a unified whole. This is the way to understand a polyphonic mode of listening, in Berios concept. The first stylistic feature is the tempo at the highest level of intensity, when there are passages with either very rapid articulations or very long notes. Ex. 1, line 1, at the fermata, shows the temporal dimension at a very high level of intensity because of the length of the held note. Ex.7 shows an example of the temporal dimension at a high level of intensity that is transformed from the held note into a passage of ascending and descending, rapid, staccato articulation, which eventually becomes an extended chromatic passage lasting fifteen seconds at letter E. From example 1. Sequenza IXa , Page 1, Line 1. Example 7. Sequenza IXa, Page 3, Lines 3-9: the transformation of the tempo. The transformation of pitch, the second stylistic feature, can be heard in ascending grace-note figures such as at the beginning of line 2 in Ex. 1. The grace- note figures transform at the end of the same line, altered by the removal of the last two notes, which is pitches G1 and B1. This feature is seen again in line 3 of Ex 1, where the pitches are altered to imply a new harmonic field. The transformation of the dynamics, the third stylistic feature, is demonstrated by the staccato grace notes seen in Ex. 8. In the first line, the first staccato grace note is a G# and the next is a D. Both are played piano in the midst of a fortissimo, which interrupts the dynamic level with a very short and quiet note. This feature is used several times in Ex. 8. At the beginning of line 5 in Ex.8, this feature is seen in the p grace notes continuing to interrupt the ff dynamic level. As the piece develops, this feature transforms when the grace notes becomes a mezzo forte interruption of a pianissimo dynamic level. (See Ex.8) Example from Sequenza Ixa, Page 4 line 1-6 Example 8. Sequenza IXa, Page 6, Lines 7 : The transformation of the dynamics The rapid 32nd -note figure in Bb shown in Ex. 8, lines 2-7, appears four times. In the final pages, when Bb recurs, it transforms into a fermata with a specific duration. Although the Bb does not belong to the main harmonic field here, it plays an important role in the final pages. The tritone effect between Bb and the ending E is almost directionless, in a way that seems to recall the opening of piece.  [24]  (see Ex. 9) Example 9. Sequenza IXa, Page 10, Lines 4-8: The tritone effect between Bb and the ending E. The last stylistic feature is morphological tension, which is demonstrated in the multiphonics and microtones within the trills and tremolos of Ex 11, the C1 to C1-multiphonic passage. This relationship of C1to B is explored by a trill from B to C1 two notes. The use of multiphonics and micronotes is especially significant because they create the greatest pitch and morphological tension in the trill. The multiphonic passage shown in Ex 10 is transformed rhythmically and dynamically by becoming more active when it returns. Like the other stylistic techniques, multiphonics and micronotes are transformed by each recurrence. Example 10a from Sequenza IXa, Page 2, Line 3. Example 10b. Sequenza IXa, Page 10, Lines 4-8: The transformation of morphology Structure chart of Sequence IXa Just like most classical works, this piece also includes an exposition, development and ending à ¢Ã¢â€š ¬Ã¢â‚¬ ¢ three major parts. However, the process of this whole piece creates a sequence of harmonic fields by alternating, blending, and transformational processes among the two contrasting pitch-class collections. The chart below clearly shows how Berio uses these pitch-class collections as a motivation throughout the whole piece. Beginningà ¢Ã¢â€š ¬Ã¢â‚¬ ¢A Two pitch-class collections appear: a five-note collection and a seven-note collection Exposition B Transition Transition C Primarily based on a five-note collection with a wide range, activated rhythm, and big leaps to start transformation and development Development I D Primarily based on a seven-note collection with rapid grace notes gradually transforming to a passage of thirty-second notes E Primarily based on a five-note collection, similar to the C section; Bb appears as a thirty-second note to foreshadow the climax Fà ¢Ã¢â€š ¬Ã¢â‚¬ ¢G Two pitch-class collections alternating and blending with each other. The rhythm becomes more agitated, to further indicate the climax is coming Transition H Transition, similar to the B section Transition I Primarily based on a seven-note collection. The rhythm figure is similar to the Fà ¢Ã¢â€š ¬Ã¢â‚¬ ¢G section Development II Jà ¢Ã¢â€š ¬Ã¢â‚¬ ¢L Multiphonics, two pitch-collections further develop and blend with each other. Transition to next section Transition Mà ¢Ã¢â€š ¬Ã¢â‚¬ ¢Q Cadenza, two pitch-class collections alternating with each other as a preparation for the climax of the piece Development III (Climax of the piece) Rà ¢Ã¢â€š ¬Ã¢â‚¬ ¢V Climax of the piece, two pitch-class collections present at different ranges, dynamics, and rhythms, which alternate between calm and frenzied phrases Wà ¢Ã¢â€š ¬Ã¢â‚¬ ¢Z Epilogue, ending Ending Figure 3: The structure of Seuquenza IXa Solutions to problems of performing multiphonics Sequenza IXa Clarinetists who use an instrument without an Eb key will have a difficult time performing this piece, since there are some multiphonics that appeared on page 6, lines 4, 5 and 6 (see Ex.11) playable only on a clarinet with an Eb key. For those without the Eb key, there are a few techniques to recreate these multiphonics. One may be the use of the performers voice to sing one of the desired pitches. This solution might change the idea of the solo work, but the notes can be produced and the piece would be complete. Another way is the use of a tube to extend the length of the clarinet, effecting an instrument very similar in pitch to one with an Eb key. With regard to the multiphonic fingering applied to the two-note chords in the section around K, the player could use a low E fingering (without the thumb key in the left hand) plus the throat G# key in the left hand for the first multiphonic at line 6. The low E fingering (without the thumb key in the left hand) plus the throat A key in the left hand for the second multiphonic at line 7. The problems with this solution are, first, the tone of the clarinet will be different; second, the player must quickly insert and remove the tube during the performance, which could be clumsy and awkward; and third, the player would have to use an alternative fingering for the B natural at line 4. However, the most difficult thing is getting the chords to speak reliably à ¢Ã¢â€š ¬Ã¢â‚¬ ¢ this will require practice. A final solution could be the substitution of other multiphonics which are playable on the performers instrument. However, the problem with this alternative is at least one of the pitches must be transposed, resulting in changing the piece somewhat. Example 11. Sequenza IXa, Page 6, Lines 4-6: The fingering for the multiphonics After hearing and seeing several clarinetists perform this piece, it seems that switching to the alternate multiphonics is preferable because this does not interfere with the natural sound quality of the clarinet. On the other hand, Berio specified different fingerings on the music, and he did not provide an alternate version of multiphonics in subsequent editions since the piece was written 20 years ago. Maybe Berio did not consider this a major issue, and wanted to give the clarinetist the freedom to imagine ways of solving the problem.

Wall Street Essay -- essays research papers

In 1938, and in the teeth of the longest and fiercest depression that the United States had ever known, capital spending hit an all time high. That’s right! In 1938 the men who owned America began to pour millions of Dollars into new plant and equipment as if there was no tomorrow. We don’t think much about it today, because it has been a long time since the United States has experienced a real bone jolting economic slowdown. The fact is, however, that the very best time for the industrialist to invest in new technologies is in the middle of a depression. This is because it is at such times that labor, raw materials, and new equipment can be purchased at rock bottom prices. Henry Ford may have jumped the gun a bit. He shut down his River Rouge plant for two years starting in 1932 so that it could be completely rebuilt. Being a bit of a genius, Ford used his time and money to redesign the plant to create one of the most powerful little engines ever built: the Ford V8. Th is engine was so good that it was modified only slightly to equip certain aircraft for use in World War II. It also powered a series of red hot Ford cars all the way through the 1950s. At the same time that Ford was rebuilding his River Rouge plant, Joseph Alois Schumpeter, an Austrian economist who had migrated to Harvard University, was hard at work on a book that would explain the paradox suggested above, namely the timing of business cycles and technological change. In this all but forgotten work one of our most famous economists spelled out the secrets of the business cycle, that is the same old pattern of boom and bust that may be coming back to haunt us now. Many, if not most, American college students know Schumpeter's name because of his work in defense of free enterprise called Capitalism, Socialism, and Democracy. This was not, however, the book that Schumpeter was working on as America slogged through the mean and hungry 1930s. The book published by Schumpeter in 1939 is called " Business Cycles: A Theoretical, Historical, and Statistical Analysis of the Capitalist Process. " Not only is Schumpeter's definitive two volume study of the business cycle not on college reading lists today, but, indeed, it continues to languish in its first edition. The embarrassing truth is that Schumpeter's real masterpiece remains almost unread. The present writer checked out this forgo... ...sions , as Schumpeter explains in Business Cycles, is the long term movement of prices generated by long waves of technological change. What goes up has to come back down. There are those who believe that Greenspan would bring down this bull market gently if he could. Certainly he has tried. It is unlikely that Greenspan’s gentle jawboning will do this, however, since, as Kindleberger points out, when investors are going hog wild in an inflationary stock market they are simply not willing to listen to reason from the lips of central bankers and their like. From Schumpeter's point of view, the underlying cause of the next market crash, would simply be that the long wave of prosperity that began in 1938 is now over. According to Kindleberger's careful history mentioned above the speculative bubble in many past economic crises has often burst as the result of some purely exogenous event. If an army somewhere loses a battle, for example, markets crash as investors run for the exits. The IBD closes its' provocative article mentioned above by suggesting that the infamous Y2K bug might just play the role of the required exogenous force here. Letâ€℠¢s hope that they are wrong for once!

Essays --

Ratliff 1 Kohlten C. Ratliff Mrs. Bralock British Literature 12 December 2013 The Game of Baseball When you think about the game of baseball, you think about the most remembered baseball player Jackie Robinson because he stole more bases than I stole hearts. The game of baseball was created sometime in the 1800’s and has been played ever since. Baseball is a major sport and it is apart of a lot of the cultures in the world. The United States of America and Cuba are two of the top 2 countries that have a lot of players go to the MLB. The game of baseball was first played on sandlot and now is being played in huge stadiums that have large capacities. Baseball is a sport that can be watched for fun and doesn’t necessarily have to be played. There have been many names for baseball like Goal ball, Round ball, Fletch-ball, and Stool ball. Baseball is a cousin to Cricket because it involves two teams that alternate on offense and defense. Alexander Cartwright invented the modern baseball stadium in 1845 and he was from New York. New York is where a game called Town ball was created, traces show that it was a game similar to baseball. Cartwright got the idea of making money from people coming to watch players play on a field other than the street form Town ball. Alexander Cartwright is known as the founder of baseball because of his idea of turning Town ball into an organized sport. Ratliff 2 Traces of a game played with a bat and a ball dates back 2,000 years ago in ancient Egypt. Egyptians were crafty people and craved a stick out of stone and hit rocks with it. That game was a pharaoh’s favorite game to play and he was buried with it in his tome. When some researchers with into the pharaohs tome they found a... ...rough at him. When Jackie first went to the major league they call him names while he was playing and the pitchers where trying to hit him with the ball. When the American people saw how good a black man could play, more and more black people were allowed to join the major league. In conclusion baseball has become a big part to the society not only does it bring people together, but the people who actually love baseball enjoys to watch it. Baseball became an entertainment sport to people around the world and has many types like softball for girls. Some of the greatest minds are people who play baseball because you always have to think when playing it. There have been many legends in baseball that people look up to and inspire young people in the world today to want to learn about the game. Everyone can play it whether they play it professional or amateur.

Kite Runner Reflection Essay

Narrated by Amir, a novelist living in California, The Kite Runner by Khaled Hosseini tells the riveting story of a young friendship destroyed by jealousy, fear, and the kind of ongoing evil that develops at some point during politics. A parallel joining the loss and redemption in this novel is the story of today’s inhospitable environments in Afghanistan and of Amir’s guilt-ridden relationship with the rundown city of his birth. â€Å"If you went from the Shar-e-Nau section to Kerteh-Parwan to buy a carpet, you risked getting shot by a sniper or getting blown up by a rocket-if you got past all the checkpoints, that was. You practically needed a visa to go from one neighborhood to the other. So people just stayed put, prayed the next rocket wouldn’t hit their home.† (Hosseini 256). In the modern world, Afghanistan is just as it is portrayed in this novel. The climates have not changed and the community acceptance has diminished. The Kite Runner begins in the final days of an Afghan king’s 40-year reign and traces the country’s fall from a loving community to a tasteless, inhospitable environment controlled by the Russians, followed by the trigger-happy Taliban. When Amir returns to Kabul to rescue Hassan’s orphaned child, the personal and the political get tangled together. Today’s laws are based for majority on past ones. Laws and regulations in Afghanistan have merely gotten worse over the past few decades and there doesn’t seem to be any hope for any betterment in the future. It’s very heart wrenching when I see on television pictures of children, much younger than us, that have significantly nothing compared to what we have today. It makes me think and appreciate everything that’s been given to me in my lifetime. I know it is much more than most and I am very appreciative of it. There are a few similarities between Canada and the Middle East, but very few. There are laws; yes, however the severity of the punishment only worsens. In this novel, we see that when the Taliban are ruling Kabul, they are very persistent when it comes to abiding the law. If you look at them the wrong way, your life could be taken very easily without them thinking twice. They will never regret it. In the novel they are monsters who thrive on the punishment of others. No regrets hang over them. No matter what, it will always be that way.

Function of Storytelling Essay

The novel atonement by Ian MCewan and the short composition The Things They Carried by Tom OBrien both utilisation storytelling as a form of repurchase. This is achieved in apiece text through the bank clerks freedom to manipulate the mental ability and truth of the narrative in ready to amend past wrongs and to imagine a more comforting, demasculinizenate reality. In Atonement, the teller , bryony uses her literal imagination to alter the story of her life in intrust to seek buyback for past actions with bully consequence, while the bank clerk in Tim OBriens The Things They Carried tells and retells his version of the memory board to supporter it commence real. Both narratives show storytelling to be a possible healing process.P1-First whole step to buyback is to admit the reason for your deception. A novels allows narrator to confess the motive commode his/her sin.Briony initial stage towards redemption is by confessing the dangers of reading. quotation mark- To herreading a prison term and understanding it were the same thing as with the crooking of a finger, nonhing between them. in that location was no gap during which symbols were unravelled(37) -quote shows Brionys belief in the ease of interpretation which leads her to jump to conclusions she buns never change. The inculpation for the tragedy is not only overdue to Brionys misinterpretation of events , still the misguided nature of interperation provided by books.The Things They Carried -The narrator describes the difficult conditions of war by describing the aroused and physical baggage they carry. Lieutenant open up Cross carried the love letters from Martha. These wretched conditions forced Lieutenant cross to twenty-four hours dream about Martha which lead to Ted lilac-coloreds finale. -quotetold they carry pocket knives, heating plant tabs, wristwatchesand two or three tin canteens of body of water which weigh between 15 and 20 pounds(241). -quote allows the r eader to feel the overwhelming cargo of being a soldier, which words cant simply explain. The narrator demonstrates the debate for Lieutenant crosss revery as a way to consort from chaos of Vietnam war.P2-Using storytelling another step towards redemption is taken by characters revealing repentance by wakeless themselves for their wrong doing (reveal repentance/remorse) -briony becomes a wet-nurse and turns away Cambridge. She writes about the hard put to work she does as a nurse. quote any(prenominal) skivvying or humble nursing she did and merely well or hard she did it, some(prenominal) illumination in tutorial she had give up ,or life condemnation moment on a college lawn, she would never undo the damage. She was unforgivable-Lieutenant appreciate burns Marthas letter and pictures, consequently destroying his distracting fantasy in rove to become a true soldier -quote lilac-colored was dead. You couldnt burn the blame-Something is absent in explanation. How can I run in that acts of remorse both did not desexualize amends.P3-Novel is attempt by narrators to score out the wrong he/she did. The outcome of redemption differs for each narrator. -Briony alters the ending of the ending of the story in hope to seek redemption but does not achieve it because quote The problem of these fifty-nine years has been thishow can a novelist achieve atonement when, with her despotic power of deciding outcomes, she is also god? There is no one , no entity of higher form that she can assembling to, or be reconciled with, or that can forgive her -No matter how legion(predicate) times she rewrites the story she will never receive Robbie and Ceciles forgiveness. She cant achieve self forgiveness because no alternate ending that she imagines will interchange the true ending. -The only way Briony will end her guilt is when her memory fails and she dies. (disease)-Narrator for The Things They Carried achieves redemption for Ted chromatics death because story telling allows the memories of Ted Lavender to stay alive. -Storytelling enables the narrators memories to be shaped and rearranged in order to make sense of past events and make them real -The narrator achieves redemption for Ted Lavenders death by storytelling because each time the story is told or retold the soldiers in the Alpha guild are being given a new life each time by the reader. -quoteAt first, we canvass he was shot and killed outside Than Khe (OBrien 241) and gradually learn Ted Lavender was shot in the tribal chief on his way back from peeing (OBrien 246).

Analysis OR Selecting a Windows 7 Edition Essay

The Current dope has 8 Workstations that atomic number 18 running 1GB of memory, rocking an awesome 1.8 gigacycle per second Cpus. The 3 computers regain in the storage warehouse are running doughy when pulling from the price of admission Server located in the Main purpose across town. The smart set needs software get ahead and possible a hardware ascending to restore this run efficiently. The Last 5 Workstation are located by the server and mostly run Windows procedure applications. First thing we have to determine is if the potentiometer would wish to upgrade their hardware. Which in this case sounds like a better option but if they are not willing to upgrade hardware then we will select the Windows System that isnt departure to break them but still able to do what they are intending it to do with minimal cost. In remember the Hardware Meets the minim cravement to run each told 5 Windows 7 versions I would go for Windows try because it has the Additional featu res include support for Multilingual substance abuser Interface (MUI) packages, BitLocker Drive Encryption, and UNIX application support. Not in stock(predicate) through and through retail or OEM channels, this edition is distributed through Microsoft Software Assurance (SA).As a resultant role it includes several SA-only benefits, including a license allowing the operating of diskless nodes (diskless PCs) and activating via VLK. Please with Enterprise you can use it on multiple workstations under one Purchased license. So if the company ever wants toadd more workstation it would not require the purchase of another operating system. And I would flat suggest that even if they did not want to upgrade the server hardware so that could help with the sluggish performance across town in at that place warehouse. When it comes to implementing the Plan I would do a clear-cut wipe of the all the workstations, I would perform backs of all data they need to save I recall that this would the best because it is Windows Enterprise recommends a clean install. I would also do this to help limit the sum of money of possible data corruption that could accrue. But signified Windows 7 Enterprise calls for a clean install. I would do that.

Contrast between Psychodynamic and the behaviorist theory of personality Essay

Psychodynamic is a manner utilise to military service pot dislodge substitute from ablaze trouble unmatchedself which could be as a lead of open(a) appointments of the historic. It is commonly through with(p) verb altogethery. Its found on the appraisal that a military man beings air is determine by know and isolated influences. It aims at work out this previous(prenominal) experiences that could make leftfield invariable traces that could act your egotism wind to nonadaptive patterns of styles. It involves enduring talk of the town and the healer rendition the affected procedures voice communication and carriages (Miller, Luborsky, Jacques and prank, pp 23).Psychodynamic is fundamentally relate nearly mental processes, past experiences, kind-hearted beingity of outlander motivation, ego, superego and excuse mechanisms (Jackson and Beverly, pp 45). behaviourists opening besides attempts to beg off human look still its in conflict with psychodynamic surmisal in ways which human air is developed. The behaviourist believes that civilisation and subculture fetch a role to converge in margin someones fashion and as a return has an picture on the personality.Therapy in a behaviouristic is ground on the principles of education apply all the processes and methods such as training, reinforcing, desensitization, offense therapy, mildew and reproductive memory (Chamorro-Premuzic, and Adrian, pp67). match to Miller, Nancy, Lester, Jacques and conjuration (pp 89), this conjecture has light denote closely either foreign heftiness or oblige in ascertain look. To it, universal behavior comes as a moderate of pleasing conditioning, reinforcing and modeling go deviant behavior comes as a solution of imperfect conditioning, reinforcing and modeling.It is not concerned in the onus of developmental processes on the behavior. In treating the affected role, the therapist has bantam deal t o the patients feelings, thoughts, stimulated experiences or imagination. It is believed that if one apprehends the environs and how to move with it, he bear essentially understand himself and his behavior. The behaviorist believes that behavior is genteel and it dope in any case be uncultured. kit and caboodle Cited Jackson, Leslie C. , and Beverly Greene, eds. mental hygiene with African AmericanWomen Innovations in Psychodynamic Perspectives and Practice. new-sprung(prenominal) York Guilford Press, 2000. Lazarus, Richard S. lambert old age of the research and opening of R. S. Lazarus An synopsis Of historical and everlasting Issues. Mahwah, NJ Lawrence Erlbaum Associates, 1998. Miller, Nancy E. , Lester Luborsky, Jacques P. Barber, and John P. Docherty, eds. Psychodynamic discourse query A vade mecum for clinical Practice. unused York elementary Books, 1993. Chamorro-Premuzic, Tomas, and Adrian Furnham. spirit and reason Competence. Mahwah, NJ Lawrence E rlbaum Associates, 2005. .