Virgin on the Rocks by Leonardo da Vinci

Virgin on the Rocks by Leonardo da Vinci Featured in this gallery are the two versions of The Virgin of the Rocks (also known as The Madonna of the Rocks). These two altarpieces are being showcased in particular in this exhibition because they share a location in the same Milanese church, the San Francesco Grande, and most importantly the same artist (although this has been debated), Leonardo Da Vinci, painted both versions of the altarpiece. Further, another reason why they are being portrayed in this exhibition is due to the debates over their authenticity, even though they are 15 years apart in conception. Additionally, the two pieces share the same subject matter, imagery, iconography and pyramidal composition. In both altarpieces, the subject matter is unusual since the Biblical figures are placed in a mountainous pictorial backdrop; also, both paintings depicted were made for the Confraternity of the Immaculate Conception. These two pieces were further chosen because they incorporate many stylistic features such as s fumatto (blurring of lines) and the exploitation of the gradation of light (chiaroscuro) that the painter had accumulated and learnt from previous experiments, and which he then applied in this peak period of his career. The two versions of the Virgin of the Rocks also represent the artists continuous growth in the art of Italian Renaissance; The Virgin of the Rocks set the base for Leonardo Da Vinci to grow and mature as an artist in his two following infamous commissions, the Last Supper, and the Mona Lisa. The two altarpieces share the same iconography of the plants painted. Leonardo Da Vinci was a botanist just as much as he was an engineer, or an artist. He paid close attention to details; for these paintings, rather than looking at images of the plants, he looked at the plants in real, and painted from there. The plants depicted in the paintings have been chosen because they symbolize and represent religious meanings. According to the biographer, Charles Nicholl: the columbine suggests the dove of the Holy Ghost, the cyclamen below Christ have heart shaped leaves which make it an emblem of love and devotion, and by his knee is a basal rosette of primrose, an emblem of virtue. Kneeling below St. John is the acanthus, considered to be a symbol of the resurrection because of its rapid growth; the hypericum which has small dots of red on yellow petals represents the blood of the martyred St. John. Other hidden symbols are religious in nature: the water, pearls and the crystal, which are used to fasten Marys robe, are symbols of her purity. This would make the connection with the Immaculate Conception of Mary. Further, the stone formations, eroded by natural forces are a metaphor for Mary, pointing towards her unexpected, virtuous fertility. Da Vinci wanted the viewer to feel as if they were seeing material Nature spiritually transmuted. In both versions of the altarpiece, Leonardo Da Vinci portrayed the Virgin together with the infant Christ and St. John, and with an angel. They have been placed amongst a rocky backdrop or a grotto. It is the setting of the Biblical figures against this pictorial background that gives the altarpiece its title, the Virgin of the Rocks. The Virgin has been placed in the center of the composition dressed in a blue garment. By having the Virgin as the focal point, the other figures have been placed in a pyramidal composition. Further, the Biblical figures are interconnected not only via the pyramidal composition but also via subtle glances and gestures. The rocky backdrop has caused some debate, as they are different in the style of the brushstrokes. According to the geologist, Anne Pizzorusso, Da Vinci has not painted the second version of the altarpiece, because the rocks which he would have been familiar with because of his obsession with nature have been painted incongruently in c omparison to the first version. Other than these evident similarities between the two versions of the altarpieces, there are also many significant differences between them. To start, both pieces are not in their original locations anymore. The first version is now in the Louvre in Paris, and the second version is currently in the National Gallery in London. Further differences lay in the iconographic and stylistic details of the paintings, which aid in making them individually significant and unique. Further, these differences in details are what raise the debate about authenticity whether Da Vinci was responsible for either painting, or just the first version currently in the Louvre. To extrapolate, if it were Leonardo Da Vinci who painted both, the altarpieces should share the same stylistic features, such as that of exploiting the use of light, which they do not. This raises the hypothesis of Leonardo not being the sole artist for the second version of the altarpiece. Rather, he most likely got help from his tw o Milanese assistants, the brothers Ambrogio and Evangelista de Predis, as evident in some aspects of the painting. The first version of the altarpiece is generally considered superior as revealing the more mature Leonardo Da Vinci than the second version. Hanging in the Louvre, the first version is thought to be solely by Leonardo Da Vinci, whereas the second is seen as overseen by the artist but having received assistance. Both paintings also share a different mood: where the Louvre version is vibrant, the National Gallery version is more austere; The different mood of the second version may be due to the numerous hands of multiple artists on the painting. Through further analysis of these criteria the symbolic iconography, stylistic techniques and the debate over their authenticity- we will see that although each altarpiece is unique and mysterious it is still intertwined with the other. Leonardo Da Vinci, Virgin of the Rocks, 1452-1519, oil on wood/panel transferred to canvas, 78in x 48.5in In the early 1480s, artists in Milan were beginning to finally prosper and were coming into the city from the rest of Italy due to its growing wealth and Ludovico Sforzas encouragement. Numerous artists were attempting to get commissions from the court; at the time, the most prominent artist and painter was Donato Bramante, who achieved success with his design of St. Peters Basilica in Rome. He was crowned as an architect of the court after he secured his architectural commission for the Basilica. Even though Bramante secured his position as the courts architect, Da Vinci did not give up and continued to toil in his early years in Milan to receive the title of the courts painter. Five or six years elapsed before the Sforza court recognized Da Vincis talent. It was with his first employment at court that Da Vincis career as a painter in Milan started off; the confraternity of the Immaculate Conception commissioned him for the Virgin of the Rocks, making this altarpiece his first artwo rk in Milan. With this altarpiece, Da Vinci took risks that worked to his benefit, by attempting to incorporate new ideas, and by introducing new themes to the art field. Before this altarpiece, the Virgin and Child were usually placed within an interior setting of a church or a chapel. Therefore, the altarpiece is emblematic of the flourishing of his career, as placing the Virgin and Child amongst a natural setting was a new theme in Italian Renaissance art. As with all other altarpieces, Da Vinci had to agree to a contract for the altarpiece, which was dated at April 25, 1483. According to the contract, the patrons asked for a triptych with the Virgin and Child in the midst of a host of angels attended by two prophets, while the side panels were to feature four angels each, singing or playing musical instruments. Although contracts are written in stone, and followed, Da Vinci diverged from the clients specifications. Apart from the Virgin and Child, none of the other requirements are met. The composition is comprised of the Virgin, the infant Christ, one angel, no prophets, and an unstipulated infant St. John, a divine quartet organized by a pyramidal structure with the Virgins head at the vertex; the side panels are also deficient, having only one angel each. The Virgins right arm is draped over the shoulder of St. John, and her left hand poised over the figure of the infant Christ. On the lower right portion of the panel, the kneelin g angel is pointing toward St. John. Other than the subject matter, the contract also specified details concerning the composition and choice of colours, which Da Vinci did not completely adhere to: Our Lady is at the center, her cloak [is to] be of gold brocade and ultramarine blueà ¢Ã¢â€š ¬Ã‚ ¦the gownà ¢Ã¢â€š ¬Ã‚ ¦gold brocade and crimson lake, in oilà ¢Ã¢â€š ¬Ã‚ ¦the lining of the cloakà ¢Ã¢â€š ¬Ã‚ ¦gold brocade and green, in oilà ¢Ã¢â€š ¬Ã‚ ¦Also, the seraphim done in sgrafitto workà ¢Ã¢â€š ¬Ã‚ ¦Also God the Father [is] to have a cloak of gold brocade and ultramarine blue. The mountains and rocks shall be worked in oil, in a colourful manner. A possible reason for this may be that Da Vinci was already working on some kind of painting, and just carried on with the composition regardless of the details of the contract. This may be because the deadline allowed them only 9 months, so to save time; Da Vinci may have taken this path to complete the painting on time. The Virgin is depicted as a young woman in this version of the altarpiece. The introspective solemnity that Da Vinci used to express the Madonna in his earlier works (The Adoration of the Magi, The Benois Madonna) develops delicately and gracefully, making evident Da Vincis concern with the intermingling of spiritual and devotional qualities with human feelings of tenderness in the Virgin in this altarpiece. Although there are inconsistencies with the Virgins face, such as in the bulging slanted eyes, the outline of the face of the Virgin has been regularized and lengthened (in comparison to his previous attempts to drawing Virgins), giving Her a more naturally unified appearance. A stylistic feature that develops from this starting point is the artists new treatment of light. In the present altarpiece, light exists and an independent and mobile part of nature. The surfaces of the painting vibrate gently through the subtle interpenetration and gradation of lights and shadows. Therefo re, by using the technique he used to exploit the quality of light, he was able to achieve the tranquil, fluent, delicate, and tender emotions conveyed by the Virgins face. The angel in the painting is compelling and looks out at the viewer. The goal of placing the angel in such a way was to use the angel to catch the viewers attention, and to draw it to the center of the painting specifically towards St. John- by means of pointing his finger. The pointing of the finger has many other functions other than to point out the infant St. John: it fills the interval and clarifies the vertical accent that result from the foreshortened hand of the Virgin, which she extends to crown the Christ Child. This helps to reestablish the prominence that Christ is in danger of losing by his subordinate location in the composition. Leonardo Da Vinci was highly influenced by Verrocchio, his trainer, and by Flemish styles and techniques. These influences are evident in the infant Christ and St. John, whom are in round and fleshy forms. The infants have been directly taken from Donatello and Verrocchios sculptural style. Da Vinci continued to take from his early predecessors and teachers, and apply their stylistic forms to his works. Version 2: The second version of the Virgin of the Rocks is the painting that had to be created due to a lawsuit against the previous version of the altarpiece. The patrons bestowed a lawsuit on the previous altarpiece because it had not been completed within the timeframe given to them of 9 months. While the lawsuit was in progress (lasted for 10 years), the Confraternity asked for another painting, which would follow the same contract; thus the second version of the Virgin of the Rocks was born. The fact that Da Vinci was not able to complete the first version was not surprising, because he had difficulties meeting deadlines a childhood problem that matured with him into his adulthood. The second version was commissioned to be painted for the same chapel of San Francesco Grande in Milan. Due to many inconsistencies throughout the painting, there have been debates on whether Da Vinci painted the altarpiece wholly. Many scholars believe that due to the lack of attention paid to the exploitatio n of light, the different moods and due to the changes in the softness of lines, Da Vinci received help from his assistants Ambrogio and Evangelista de Predis. The Virgin of the second version of the Virgin of the Rocks is in most ways facial features, arrangement of hair, and set of her head similar to the previous version in the Louvre. Although Da Vinci usually does not repeat himself in this way, it may have been necessary because the London painting was meant to replace the Paris painting in the ancona of the Confraternity. The Virgin in the second version of the altarpiece looks older because her facial forms are heavier and larger, and she has a serious expression. The Virgin in this altarpiece is also much more voluminous, occupying a greater area of the panel; lacks crispness and spontaneity in execution. Further, the Virgins drab and lusterless hair and sharp-edged forms, the mechanical way light and shade are distributed in separate areas, the loss of radiance in the light and the loss of the atmospheric veil suggest that the Virgin was not painting by Da Vinci, but by Ambrogio de Predis. The head of the angel may be the only part of the altarpiece where Da Vincis artistic hand is evident, although it was not solely him responsible for it. It has some of his vivacity and sensitivity of handling, and the spotted light over the delicate curls in the angels hair is surely his invention. Ambrogio de Predis hand is evident in the head of the angel as well, as there is a lack of crispness in the facial expression. In this altarpiece, the angel is no longer pointing to the infant St. John. This collaboration between the two artists is clearly identifiable and comparable to the first version in which Da Vinci was the single artist.

Drunken Santa :: essays papers

Drunken Santa Drunken Santa is a work that creates a miracle of equilibrium. What seemed like a clash of an opposite spectrum's colors became the unlikely harmony in this painting. Jaisini's artistic vision here is formed from two components of physical and emotional states of being. Freezing and heating serve as a symbol to a human need for warming up from the chill of solitude by means known to people at all times. The artist pursues his art philosophical quest for worldly knowledge that had left its traces in many of his works. A line of composition literally ignites the painting's surface with the movement. The color of this work is "phosphorescent," and it create the different planes if the subtle color nature. The warm color of purple supports the hot color of Santa's figure and an exotic fish above Santa. This hot color may represent the so-called material universe, the world of the gross senses that can be observed in a sober state. The cold, arctic blue color represents the unknown, the world of a deep state of drunkenness where real is unreal and otherwise. The only hard reality is the self, which never changes in any state. And maybe that is why Jaisini favors the painting's main hero, Santa, to possess the vivacious color of fire. Jaisini chooses this color of fire to manifest the self and the cold cerulean, cobalt and ultramarine to renounce self as a mortal entity surrounded by the eternal unknown. While Santa drinks his feelings of frigid loneliness vanish. And so, he gets a company of some almost hallucinatory nature. A shark, a ghostly image, a profile of another prototypical drunk who is not accidentally situated in a horizontal position. An amalgam of the several female figures that consists of a woman in stockings, a nun, a big-breasted silhouette that create a shadow between. A heat can be sensed around the hot colored Santa who has lost his beard and is holding a glass of red wine. He shows his thumb that may be just a polite substitution for the middle finger sign. The colors of the work are balanced by a virtuoso composition of a cubist character. The picture's space is divided endlessly. More images start to appear. The world of "

Formative assessment Essay

Formative Assessment: raising standards inside the classroom Black. , P. (1998), provides a brief overview of the evidence, both qualitative and quantitative about the quality of teacher’s classroom assessment practices, about the effectiveness of good formative assessment in promoting pupil’s learning and the features of classroom assessment that enhances students learning. Paul Black carried out two practical inquiries in various schools. The first experiment involved twelve classes of thirty pupils each in two schools. This experiment work was structured around pupil’s tools of systematic and reasoned inquiry and greatly emphasized on student’s communication skills and peer assessment. The students were required to carry out a science group project which involved experimentation. The results showed that the students who had the best assessment process achieved the highest scores. This was only possible where students were able to communicate effectively with each other and were able to evaluate their own understanding of the concept being taught. Thus, the author showed that self- and peer assessment can be achieved by giving pupil’s opportunities to reflect their learning. Similarly, the second experiment involved forty eight eleven year old Israeli pupils from twelve classes across four schools where half of those selected being in the top quartile of their class on tests of mathematics and language and other half being in the lower quartile. They were taught materials not directly related to their normal curriculum, and given written tasks to be tackled individually under supervision, with an oral introduction and supervision. Then the pupil’s were divided into three groups and feedbacks were provided. The first group was given comments only, the second group was given grades only and the third group was given comments with grades. The research showed that for ‘comments only’ showed an increase in the performance of the students while the other two groups showed a significant decline in the scores across the three sessions. Therefore, this research article tries to show that if feedback comments are in principle, it is operationally helpful for a pupil’s work, and literature also indicates that ‘task-involving’ feedback is more effective than ‘ego-involving’ feedback. Likewise, the reports studied by Paul Black and his colleagues showed that formative assessment helps to enhance feedback between the students and the teacher as it increases new modes of pedagogy and will cause a significant changes in the classroom practices. Similarly, formative assessment increases pupil participation in the classroom and can help affect motivation and self-esteem of pupils. Therefore, effective teaching must be carried out in a classroom that will enhance students learning. However, posing of questions is a natural and direct way of checking on learning, but is often unproductive. It becomes important for teachers to generate good questions and this can be obtained from outside sources such as internet and library sources. Thus, teachers should ask themselves that: Do I really know enough about the understanding of my pupils to be able to help each of them? Therefore, what seems both obvious and problematic is that the whole area is at the heart of pedagogy and may have been appraised and shaped further in terms of a theory of larger scope to encompass school learning comprehensively. One of the limitations of this article is that this has not been attempted, so that what is here needs the discipline of a broader context. Thus, a classroom must be implemented that focuses on the policy for raising standards that will help improve formative assessment. (Black. , P. 1998. Formative assessment: raising standards inside the classroom. School Science Review.

Save the Music Programs

Save the Music Programs Free Online Research Papers Schools across the nation are tightening their school budgets, making them cut certain programs. However, when these budget cuts come along, one of the first things that is cut is the music program to enable the school district to make room for â€Å"necessary† classes. But why cut the music program when it has been shown that music helps develop better social skills, leadership qualities, and improve academics? All over the country, school districts are facing tight budgets that are causing the districts to cut non-academic programs. These non-academic programs that are being cut are mainly the music programs in public schools across the nation. According to studies by the Gallup industry, â€Å"Budget cuts and shifting priorities have placed the music programs in more danger than ever. Already, up to 28 million American students do not receive an adequate music education, and cuts in education funding are either pending or have been enacted in more than half the states nationwide† (Salvestrini). School districts are looking at what subjects they consider to be â€Å"core subjects,† and in most school districts the music program is not fitting their definition, which is why the music program is one of the first subjects to be cut. The school districts are looking to build more classrooms for science and math courses, as well as decrease class sizes. In order to do this without having to add on to the school building, the school districts look for what they find to be a beneficial class. Therefore, the music education program is an area where the school district can achieve their goals by cutting that progr am out. Studies have shown that the music education program is very beneficial to students. This is why schools across the nation should save the music, so the future students have the opportunity to be involved, improvement in the students’ academics, students having more self-discipline, and the development of the students’ social skills. Because of these benefits, organizations outside of the school are trying to save the music, such as, VH1 and supportmusic.com. These budget cuts are not only affecting the students of today, but they also have a huge effect on the future students who may not even have the option of participating in a music program. In one of the recent National Assessment of Educational Progress (NAEP) reports, â€Å"only 25 percent of eighth graders nationwide had the opportunity to take a music class† (Music). Now these budget cuts are not allowing the school district to decide, but the voters have the say in what goes on in the school district by way of their tax money. Elizabeth Nesoff, an author for the Christian Science Monitor, wrote an article about the budget falling in the August 2003 edition. She goes into greater depth, than the article about music education by implying that, â€Å"A lack of cohesive community concern for education and a greater focus on individual interests as part of the problem, namely that people without children are not always interested in funding school programs. It’s g etting much more difficult to convince people that music†¦ for some people is as important as tax relief for a lot of people†(Nesoff). Parents that have children in the music program should do what it takes to keep the program going, so that the future students can have the same opportunity. â€Å"Music education programs get cut because decent people are trying to make tough decisions in hard times. If people want ongoing music education in school, they have to let the policymakers know how much music education programs contribute to their kids every day of the school year† (Nesoff). These budget cuts have a big impact on the educational opportunities of the children of today and the children of tomorrow. â€Å"You can’t cut music without cutting something important out of our kids’ lives. It doesn’t take a brain surgeon to see that where there’s no quality of education, there’s probably not a music program† (Nesoff) . Therefore, the district shouldn’t cut the music program for the students today or tomorrow. Being an active participant in a music program helps students greatly with their academic studies. Nesoff implies that â€Å"Without music education, many fear a bleak future for children. The real issue is that we will have a society that is impoverished, that doesn’t have the cultural roots or the educational and discipline benefits that come from music education†(Nesoff). This quote states that without music education our society may lack academic improvement. Even the fundamentals of music have been proven to improve a child’s knowledge. An article called â€Å"Fun with Languages Responds to the Need for Music Education at Home and In the Classroom† backs up what Nesoff had to say by stating the fundamentals that music may improve in the students’ skills in our society. â€Å"Music helps children to learn math. When children learn rhythm, they are learning ratios, fractions, and proportions† (Fun). The music program not only improves the students’ math skills, but also their verbal skills. Students can learn from different foreign languages and cultural difference by the variety of music piece the instructor chooses. These skills help out on the verbal part of academics. Along with improving a child’s knowledge and understanding of their school subjects, members of the music program that have taken the SAT or ACT have scored higher than those students not in a music program. According to supportmusic.com, a public service to help out the music education implies that, â€Å"Students with coursework/experience in music performance and music appreciation scored higher on the SAT: students in music performance scored 57 points higher on the verbal and 41 points higher on the math, and students in music appreciation scored 63 points higher on the verbal and 44 points higher on the math, than did students with no arts participation† (Support Music). This quote shows that students who are pa rt of a music program have a big advantage over those students who do not participate in the music program, mostly in the Math and English classes. The long-term benefits of these advantages is that the participate can carry these math and reading skills with them in the future, because it is important to know how to read and do math skills in life, such as the work place, finances, and everyday life situations. Along with having an advantage in classes, students that are a part of the music program tend to be more disciplined. An article by VH1 Save the Music states, â€Å"Researchers have found that children involved with music education are more likely to graduate from high school and attend college, and are less likely to be involved with gangs and substance abuse†(VH1). Not only do students in the music program stay in school, graduate, and stay out of trouble, but skills that are learned through the music program do not just apply to school, but when they are older and out of school. Salvestrini backs up VH1 by stating, â€Å"The new findings come on the heels of a decade of scientific research linking active participation in music with improved mental capacity in young children, students, and the elderly†(Salvestrini). This shows that students in the music program tend to more disciplined at that time and in their future. Students in the music program tend to be mor e disciplined, because the program teaches the students time management by being on time for practices and rehearsals. Some music students also play to relieve stress, which is better then doing some harmful act. The music program promotes better standards, because it allows the participates to stay actively involved in an activity and shows that they can be dedicated to one thing, therefore staying out of other harmful things, such as gangs. Along with self-discipline students can gain important social skills. In an article called â€Å"Inclusion in the Community,† Sonia Blandford states, â€Å"An inclusive approach to community music outside the classroom develops both technical and social skills of participating students† (Blandford). As a part of the music program students have to communicate with each other and form common bonds with other members of the music program, which allows groups of friends to develop. Within a group, students have to learn the social skill of leadership by taking a role and improving the groups’ ability. Also within a group, students learn the skill of problem solving, by giving each other feedback and making group decisions together. An academic article called â€Å"Role of Music Therapy in Social Skills Development in Children with Moderate Intellectual Disability† goes into greater depth than Blanford by stating the exact social skills that can be taught in a music program. â€Å"Five social skills were targeted for intervention: turn taking, imitation, vocalization, initiation and eye contact† (Duffy). Members of the music program also have a greater self-esteem, because they feel that they are a part of a group and are all striving for a common goal. Along with the students having a close group of friends and an increase in self-esteem, members feel a sense of belonging to the music programs, because they are a member or a part of something. This sense of belonging gives the students who are in the program a sense of pride about the things that they are doing in the program. By working hard for a common goal, and striving for excellence, memorable experiences occur because of the opportunities that the music program provides. In my time spent in the music program I have had many experiences of a lifetime, some experiences I would not have been able to be a part of if I were not an active member of the music program in my school. These experiences range from contests that were hours away, to weeklong trips to Virginia Beach, to a day at amusement parks with fellow members, to parades, to concerts, and the many hours spent practicing to be perfect. People outside of the music program usually don’t know the feeling that a band member gets when their hard work pays off and the group receives a superior rating at a contest. These are the experiences and times that students know that what they are doing means something and matter to people other than them. The music program offers so many opportunities for students to have life long memories that t hey could not get in any other class. Music programs are being cut all over the country to help school districts fit their budget, so who is out there trying to help keep music programs in schools across the nation? In fact, there are multiple organizations that are working toward a common goal: bringing music programs to schools that do not have them. These organizations range from the well-known VH1’s Save the Music, to many more not so well known music help programs such as supportmusic.com. VH1 is one of the top organizations trying to save the music. â€Å"The VH1 Save the Music Foundation is a nonprofit organization dedicated to improve the quality of education in America’s public schools by restoring programs in cities across the country, and raising awareness about the importance of music participation for the nation’s youth†(VH1). With six years of help the VH1 Save the Music program has helped provide over $25 million dollars to many schools so that they have the money to support a music program. In their six years VH1 has put on a variety of concerts and started the â€Å"VH1 Save the Music Week† to help make the money that they donate. One of VH1’s top-rated shows is their annual â€Å"VH1’s Divas Duets,† which features some of today’s hottest music stars such as Beyonce, Lisa Marie Presley, Mary J. Blige, Whitney Houston, Celine Dion, Chaka Kahn, Jewel and Ashanti. VH1 has also teamed up with American Express to create â€Å"Blue and Save the Music,† which helps make donations to â€Å"Save the Music† when people use their American Express card. Even though VH1 Save the Music Foundation is a major part in helping out of music programs in schools, they are not the only group raising money for this cause. Another group that is fighting for the common cause of saving music programs is supportmusic.com. This was a website, which was launched by the Music Education Coalition, to be â€Å"an easy-to-use resource offering information about how parents and community members can work to ensure that music is an integral part of a quality education for all children† (Support Music). This organization is open to anyone who wants to build a case as to why music education needs to be in schools and to help fight the budget cuts that are killing the music programs. Nesoff says, â€Å"By checking a combination of boxes ranging from budget cuts to lack of facilities, advocates can target their school’s problem and create a plan for arguing their points before administrators† (Nesoff). The co-sponsor of supportmusic.com said, â€Å"Music enriches all of our lives. We know that music education increases achievement in school. Programs like supportmusic.com equip teachers wit h yet another tool as we work together to increase achievement in children† (Support Music). This shows that Support Music and VH1 give hope to our future musicians. With all of these organizations helping out the music program, why are music programs still being cut from schools across the nation? The problem, people may think, is that, even though these groups are helping certain schools bring music programs to life, there is just not enough money and support to reverse the effects of budget cuts on every school. But the problem is that there will always be schools that have money problems, and when this happens they will have to cut certain programs to decrease their costs. But, after all the good the music program provides, why cut the music program? The music program may provide more skills and standards than other classes, so why not cut some other class? It also seems like schools are adding some other class or activity to their school district adding more cost to their budget, such as industrial arts, photography, or even drafting classes. On the other hand, with the organizations helping out, schools could rely on these organizatio ns to provide a budget for the music program. This is not fair, because there is a unequal treatment of different departments in the school. Due to all the benefits of music, the music program should be treated the same as other classes. In conclusion, I believe that all schools should save the music program by keeping the class in their curriculum. The budget cuts that the school district is taking apart of is not only affecting the students of today, but future students as well. The music program also helps students greatly with their academic studies and the students have more self-discipline. Although there are organizations that are helping the music program, schools shouldn’t rely completely on these organizations. So why not save the music education in schools? Work Cited Blandford, Sonia. â€Å"Inclusion in the Community: A Study of Community Music Centres in England and Portugal, Focusing on the Development of Musical and Social Skills Within Each Centre.† Database: Academic Search Premier June 2004. Duffy, Barbara. â€Å"Role of Music Therapy in Social Skills Development in Children with Moderate Intellectual Disability.† Database: Academic Search Premier 2000. â€Å"Fun with Languages Responds to the Need for Music Education at Home and in the Classroom.† PR Newswire 11 November 2003. â€Å"Music Education May Be â€Å"Left Behind† Under New Federal Requirements.† Press Release. American Music Conference 21 August 2003. 29 March 2005. Nesoff, Elizabeth. â€Å"Sounds of Budget Ax Falling.† The Christian Science Monitor August 2003 edition. Salvestrini, Valerie. â€Å"Americans Overwhelmingly want Music Education in Schools.† Press Release. American Music Conference 21 April 2003. 29 March 2005. â€Å"Support Music† A Public Service of the Music Education Coalition. 1 April 2005. supportmusic.com â€Å"VH1 Save the Music: Who We Are.† VH1 Save the Music. 29 March 2005. vh1.com/partners/save_the_music/who_we_are/index.html Research Papers on Save the Music ProgramsStandardized TestingHip-Hop is ArtEffects of Television Violence on ChildrenWhere Wild and West MeetInfluences of Socio-Economic Status of Married MalesLifes What IfsRelationship between Media Coverage and Social andTwilight of the UAWOpen Architechture a white paperThe Effects of Illegal Immigration

Truman Capotes In Cold Blood Essays - Cinema Of The United States

Truman Capote's In Cold Blood Essays - Cinema Of The United States Truman Capote's In Cold Blood Marianoel Sulgatti November 1997 Life Goes On In the book In Cold Blood, Truman Capote engages in an analysis of both the murderers and the people who surrounded the Clutter family. Capote goes through an intensive breakdown of the characters, clearly showing how each was affected as an individual by the horrendous happenings of November 15, 1959. The Clutter murders jolted the peaceful lives and future outcomes of the residents of Holcomb County. Susan Kidwell, Nancy Clutters best friend, is affected in a very unique way. From the beginning chapters we see how Nancy confides everything with Susan. Susan has certain privilages that no one can come close to having. Capote allows us to feel their closeness as in page 21 we are carried into one of their many conversations where they exchange secrets and dreams. This relationship explains Susans reaction when she finds her best friend dead. When Nancy Ewalt shouts that Nancys dead, Susan turn[s] on her. No, she isnt. And dont you say it. Dont you dare (Capote 60). Her love for her friend does not allow her to realize that Nancy is really dead. She is so overwhelmed with the circumstances that she cannot attend school until a couple of days after the funeral (94). Mr. Ewalt clearly states, Susan never has got over it. Never will, ask me (60). This fact is clear to the reader when in the last section of the book, Al Dewey finds Susan by the graves and she says, Im really happy. . . Nancy and I planned to go to college together. We were going to be roommates. I think about it sometimes. Suddenly, when Im very happy, I think of all the plans we made (349). Although she experienced a tragic event, Susan is able to think back on Nancy and find happiness in the thoughts of the times they spent together. The truth is that she never gets over it because Dewey asks about her, but she cannot go on without including her dear friend in the picture. Bobby Rupp plays a major role in the life of Nancy Clutter. We can see how this is true because of all the pictures that Nancy has of Bobby caught in a dozen actions . . . (56). Bobby feels the same way toward Nancy. He too, like Susan, is unable to attend school for a while. It is very shocking to him to loose Nancy, not only because he has never lost anybody dear to his heart, but bacuse he claims to have loved her (94). A month and a couple of weeks later after the murders, near Christmas time, he still remembers her. . . . At mealtimes he [is] told again and again that he must plese eat. No one comprehend[s] that really he [is] ill, that grief [has] made him so, that grief [has] drawn a circle around him he [cannot] escape from and others [cannot] enter; except possibly Sue (203). For a short while, Susan becomes his only companion, for only she can understand who and what Nancy means to him. After a while though, they [are] forcing each other to mourn and remember what in fact t hey [want] to forget (204). So after that realization, both trying to get on with their lives, stop seeing each other. This helps Bobby grow and years later, leave town and get married (342). Alvin Dewey was affected in both his professional and family life. As soon as he is given the case, he makes it a personal preposition (80). The attitude taken upon the case possesses him. It gets to the point that his mind automatically reject[s] problems not concerned with the Clutter case (148). People ask him if he knows what he is making of himself and he replies by saying that [the Clutter case]s all he thinks about (148). He has become terribly absent-minded. His family life becomes totally controlled by the case. When the phone rings constantly, he promises his wife that he will disconnect it. The hope that he might get another clue though, leads him not to disconnect it. He finds himself lying to his wife, smoking, not getting enough sleep, lacking proper nutrition,

California Culture Essay Example | Topics and Well Written Essays - 1250 words

California Culture - Essay Example Surrounding of Frances (Gidget) and Mary Ann varies and it has impacted their psychology, behavioral patterns and life priorities. Gidget is a pretty sixteen-years-old girl, who has never faces serious difficulties and is absolutely inexperienced in love. Gidget is distinguished among her female friends and helpmates, who are keen on male hunting. This imaginary heroine embodied a real life prototype – Kohner’s daughter Kathy Kohner-Zuckerman. The writer described and analyzed his daughter’s summer, spent on the beach of Malibu. The Lawrences can be regarded as an example of usual middle-class American family of 1950th; they are united, happy and self-sufficient. Mary Ann is older than Francie and seems to be more experienced in life. She decided to live her native Cleveland and find a permanent job in San Francisco. On her arrival she rented an apartment at 28 Barbara Lane and suddenly came across socio-cultural diversity and dynamic urban life. Thus, two worlds of Francie and Mary Ann create a sharp contrast between Californian cultural layers. The author placed Frances in sea and sand romance and separated her from temptations and noise of Los Angeles. Major part of the plot developed on the beach in hot Californian summer. To spend summer, vacations or at least weekend in Malibu became popular and fashionable. â€Å"The story, set on the beaches of Malibu, told of the adventures of a young American girl and a group of surfers. The surf-star myth was under way, and, while late-1960s students were up in arms, a whole generation of surfing enthusiasts was crazy to brave the waves.† (Augustin 1998) Thus, story about Gidget and her adventures laid foundation of a new surfing trend in Californian sub-culture. Film with the same name with Sandra Dee made surfing and summer holidays in Malibu or any other beaches of California especially popular.

The Impact of Social Awareness in Reducing Energy Consumption Term Paper

The Impact of Social Awareness in Reducing Energy Consumption - Term Paper Example In this case, it is for the sake of future`s time. The methodology used in this study is internet research in which the writer browses information and pictures that are needed to complete the study. As a result, it can be concluded that building social awareness through many ways like television advertisements to social networks usage can be maximum campaign to achieve the purpose. In this case, how to make a better future by reducing the use of energy consumption. Table of Contents Acknowledgement .....................................................................................................................2 Abstract......................................................................................................................................3 Table of Contents....................................................................................................................4-5 Introduction.................................................................................. ..............................................6 1.The Continuous Growth of Energy Consumption in Kingdom of Saudi Arabia....................7 1.1.Background: Problems of Energy Sustainability........................................................7-8 1.2.The Continuous Growth of Population..........................................................................9 1.3. Dependence to Light Bulbs on Decoration..............................................................9-10 1.4. The Unnecessary Over Use of Electricity...................................................................10 1.5. Lack of People Awareness..........................................................................................11 2. Developing Social... This study aims at analysing the facts happen in Kingdom of Saudi Arabia about its use of energy consumption. It has been found that the trend of the use has increased as time goes by. The energy that has become main concerns are oil, gas and electricity. According to the paper findings as there are matters occur after the trend of using energy increases, the writer decides to enlighten the readers with solutions of building social awareness to reduce the energy consumption. The purpose of this study is to remind people that it is crucial to minimize the consumption of energy. In this case, it is for the sake of future`s time. The methodology used in this study is internet research in which the writer browses information and pictures that are needed to complete the study. As a result, it can be concluded that building social awareness through many ways like television advertisements to social networks usage can be maximum campaign to achieve the purpose. In this case, how to make a better future by reducing the use of energy consumption. Energy is one of the factors of the movements in this life. Many aspects need energy in order to survive; a life without energy could be terrible situation especially to our modern society. Can you im agine several conditions such as; offices and houses without electricity, daily activities without transportation facilities, There are no planes or ships to reach other cities and countries, cellular phones without battery, or even no energy to support internet connection.