Semantics Essay Example | Topics and Well Written Essays - 1000 words

Semantics - Essay Example For example, the sentence Annie saw individuals wearing glasses can imply that Annie was taking a gander at individuals who were wearing glasses themselves, or it can imply that Annie was wearing glasses while taking a gander at individuals. These two unique implications have an extremely huge effect on the adequacy of the sentence. Identified with vagueness is the connection between sentence importance and articulation meaning. Set forth plainly, sentence significance is autonomous of setting, and articulation importance is needy upon setting (Lyons 38). In any case, the connection between the two is not really basic, and numerous instances of uncertainty are an aftereffect of the contrasts between the two: â€Å"Perceived inconsistencies between sentence importance and articulation significance offer ascent to the every now and again posed inquiry What did s/he mean when s/he said that? (Allan 43). It would not be suitable to endeavor to decide if one was a higher priority than th e other on the grounds that they are utilized for two distinct circumstances. One should ask in the case of having a specific circumstance or not having a setting was increasingly critical to the investigation of semantics. As expressed, sentence significance is free of setting, however there is a whole other world to the definition that should be thought of. For example, the grouping of words clearly must be conceivable in a given language, and it must be finished from a given perspective. There would be no reason for endeavoring to look at the importance of a sentence, for example, Chomsky’s model. The importance of the sentence England is an island is anything but difficult to observe. Britain, as a nation, is a recognizable substance, and the idea of an island being a land-mass totally encompassed by water is likewise notable. Taking a gander at any guide, the way that England is a land-mass that is totally encircled by water is definitely not a troublesome idea to get a handle on. Expression importance is utilized by a talking on a specific event and is reliant upon the setting of the circumstance. John Lyons once expressed that â€Å"utterances are one of a kind

Winner free essay sample

Sweat dribbled down her back; butterflies assembled in her stomach as she bit her fingernails and strolled down her long limited square. When she showed up home, her sister Rani requested to see her test. She gradually and mindfully took out the folded bit of paper that she was so anxious about and which decided her future. Out of nowhere, inside a squint of an eye, her sister Rani smacked her. â€Å"What is this?† (Pointing at the test paper) Rani Screamed She had no answer. It was quiet for a second. The main clamor that originated from her was the sound of her tears. â€Å"How and for what reason did you get a 80? Where are the other 20 points?† Rani Demanded â€Å"UmUm† She muttered â€Å"Next time I better observe a 100† Rani screamed She remained there crying, tears moving down her face as quick downpour tumbles down a precarious slope. Numerous years cruised by, and inside this time her evaluations started to improve. We will compose a custom exposition test on Victor or then again any comparable point explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page She now joyfully and enthusiastically gave her test papers to her sister Rani. One day â€Å"Wow† Rani Exclaimed. â€Å"You’ve been getting 100’s on your previous few tests† Rani said with help. â€Å"Yeah, I know, yet you don’t appear to be glad, what’s the matter?† She addressed. â€Å"Well I am glad, I am very cheerful that I am nearly relieved† Rani said with a grin. †What do you mean?† She addressed. â€Å"As you realize I dropped out of secondary school. I guaranteed myself and mother and father that I could never let any other individual submit a similar error I did. I lament dropping out.† Rani said as her grin gradually blurred away. â€Å"It’s alright, I know, it’s not your fault† She says with support. â€Å"Do you ever know why I smacked you when each time you got grades lower than a 100? I didn't need you to experience something very similar I didTell me you will never give u p.† She said with trust. â€Å"I guarantee I will never surrender. I likewise guarantee to push ahead and accomplish my goals.† She said cheerfully. A couple of years cruise by; she effectively moves on from basic and center school. She is right now in secondary school. Moreover she has developed scholastically, inwardly, and intellectually. Solid, empowered, and valiant she has figured out how to settle on choices dependent on profound quality and not detest and shame. On the off chance that snags strike in school she won't quit, rather she’ll proceed onward and one day will be the champ.

6 Tips to Improve Your Self-Control (and Feeling Happy)

6 Tips to Improve Your Self-Control (and Feeling Happy) Self-control has been the subject of philosophy and psychology, but we’ve also included it in our most famous books and even wrote songs about it! It’s obvious we’re obsessed with hacking self-control.In a world where treats are plenty and all sorts of things are possible, practicing self-control can seem like an impossible task. © Shutterstock.com | fizkesIn this guide, we’ll explain to you why you should care about self-control and the many benefits you can achieve with higher levels of self-control. We’ll then provide you six tips on improving your self-control.WHY FOCUS ON SELF-CONTROL?The first step towards improving self-control is about understanding what the term means and how it affects your life. What is self-control? According to the dictionary definition, self-control is “control over your feelings or actions” and “restraint exercised over one’s own impulses, emotions, or desires”.The first problem people encounter with self-control is to mix it up with the term total abstinence. Improving self-control isn’t the same as stopping yourself from doing something completely, but rather the ability to find a healthy balance between your desires and urges.For example, instead of eating a chocolate bar every time you feel like it, you might work towards only eating one once a week. The go al is not often to completely remove the desire (although this might be your goal, e.g. to stop smoking), but rather to ensure the desire isn’t harmful or limiting to your true desires or goals.The good news regarding self-control is the fact it can be improved. Self-control isn’t a set trait we either have or don’t have, but we can all enhance it at any stage in life. Just like you can build up your muscles, you can also increase your self-control.Why does it matter?One of the best examples of the importance of self-control came from a study in the late 1960s. Walter Mischel, a psychologist at Stanford, began studying children’s ability to delay gratification by presenting them with the famous ‘marshmallow dilemma’.Children were introduced to a situation where they could either eat a single marshmallow immediately or sit and wait while the tester comes back with another marshmallow, giving the child two of these treats.Mischel later noticed an interesting phenomenon wit hin the children he had studied and conducted a follow-up study.The children who had better self-control (waited for the second marshmallow) were performing better in high school, while the low self-control children (who ate the treat immediately) ended up suffering from problems related to self-regulation and coping with stress.Watch this cute video below of a modern re-creation of the classic test: Further studies have resulted in similar results. A study in New Zealand in the 1970s concluded that self-control from ages three to eleven was closely associated with success at the age of 32.According to the study, higher self-control reduced the likelihood of the person becoming a criminal or a substance abuser in adulthood. Obviously, other factors might have played a role in the results. But the study found that even when variables such as social class were taken into account, the link to self-control remained strong.According to research, low self-control means you place dispropor tionate weight on immediate costs and benefits. Instead of being able to look at different approaches in terms of short- and long-term benefits, low self-control simply prefers the short-term gain in nearly all circumstances.But if you improve your self-control, you can boost your brain capacity. Higher self-control can support other important functions such as:Cognitive flexibilityResistance to distractionsImpulse controlOverall, by improving self-control, you are improving your ability to plan and organize your behavior.This can be helpful in terms of achieving goals. For example, instead of spending your salary on a new outfit, which you don’t even need, you can set that money aside to buy a home later on in your life.TIP 1: SET GOALS TO UNDERSTAND WHAT YOU ARE TRYING TO CONTROLWhen you are trying to improve self-control, you have to understand what it is you are trying to control. This can be easily achieved by introducing goals to reaching a desired outcome.The key to setting goals to improve self-control is about being precise with your goals. Don’t set vague or open-ended goals, which don’t provide you enough tools and opportunities to improve.This video will show you how you can set smart goals. Saying “I will never be late” is not helpful in terms of creating the circumstances for success. It doesn’t give you any room for failure, it sets an unachievable task â€" you simply can’t guarantee you’ll never be late â€" and it can’t give you any tangible metrics to measure.Instead, opt for smaller and more defined goals. For example, say “I’ll start leaving to work 10 minutes earlier than normally”. This helps you avoid being late, it gives you a more achievable goal and you’re able to measure your success rates by keeping track of what time you left each morning. This can help you adjust your behavior and ensure success, which then strengthens your self-control.You should also list the reasons you want to achieve your goal. Saying “I want to stop being late” doesn’t outline the motivation behind it. Knowing why you’d like to do so (e.g. avoiding rushing, lowering stress, being able to show appreciation, improving your image in front of the boss) will help you stay motivated.Create a list by focusing on the following points:What are the downsides to your ‘bad’ or ‘unwanted’ behavior?What would you gain if you improved your self-control over the issue?Being aware of the benefits and the consequences of your behavior can be the extra motivator to changing the habit to something better. TIP 2: EXAMINE THE MOTIVATIONS BEHIND YOUR HARMFUL ACTIONSThe majority of our habits have a specific motivation behind them, even the harmful ones. For example, most smokers understand that smoking is bad for their health, but they still feel like going for a smoke in certain situations.Examine the motivations behind your actions and habits. Focus on whether you are driven by short- or long-term benefits.We humans are hard-wired to choose quicker gratification, even though it isn’t always the right option. Long-term goals such as “doing well at school” can be de-valued relative to short-term goals such as “playing video games”. If you have to choose between “playing games” or “reading two chapters in order to prepare for the exam in a month’s time”, most people will find the first option more motivating and rewarding.Simply by understanding your behavior is driven by a short-term reward, you can recognize the greater importance of focusing on the long-term rewards instead.You should also critically look at your behavior and the real motivation behind it.It might seem that indulging in cookies during the lunch break is all about the cookies and the sugary injection, but the underlying motivation might be something else.Perhaps you are storming off to the coffee shop because you’d love to have a longer break off from work or you simply love chatting to other people. By un derstanding the motivation behind the harmful action, you can try to improve your self-control over it.Learn more about the theories of what motivates us.[slideshare id=25560236doc=theoriesofmotivation-130824223005-phpapp01w=640h=330]TIP 3: LIMIT THE ATTRACTIVENESS OF THE HARMFUL BEHAVIOURIt might sound rather simple, but the old saying “out of sight, out of mind” actually works. By removing the harmful behavior out of your sight and making it harder for you to perform, you decrease the attractiveness of it.If you find yourself flicking through social media on your smartphone whilst you should be working, try to make the phone harder to reach. This is especially good if you don’t need it for client calls or such. If you need to hold on to the phone, simply hide away the social media apps with locking-apps like Focus Lock.The key is to modify the environment to reduce the attractiveness and ease of falling for the bad behavior. You can use tools like the app mentioned above or opt for the old-fashioned method of re-organizing your surroundings. Move away the biscuits from your office desk, get a high-desk to force you to stand occasionally during the day and so on.Even if you can’t physically remove the harmful act from your sight, apply mental images that limit the appeal of it and use abstract thinking.When you start dreaming of a cigarette break, bring those images of lung cancer patients to your mind. Associate the cigarette to your family weeping beside you in the hospital. It might sound drastic, but by creating a negative mental image of the action, you can boost your self-control. It’s much easier to say ‘no’ to something unattractive.Athletes are using mental images to perform significantly better (see slides).[slideshare id=18507737doc=mentalimagery-130409201115-phpapp02w=640h=330]TIP 4: INCREASE THE ATTRACTIVENESS OF THE RIGHT BEHAVIOUROn the other hand, you also want to make the positive counter behavior seem more attractive. You shoul d try to increase the attractiveness of the alternative, ‘good’ behavior by rewarding yourself and turning the behavior into something more fun.Self-control can be quickly improved if you acknowledge the successes you make with little rewards.Humans seek for that positivity rush, the release of dopamine, which can often be the cause for bad behaviors. But instead of getting the rush from checking your Facebook every five minutes, you can seek to turn it around and feel the rewards once you don’t check your social media.When it comes to rewarding the right behavior, the focus should be on positive and non-harmful reward. For instance, even if over-eating isn’t your problem you don’t want to replace smoking with eating a cookie, as this can quickly cause you another problem altogether.What could positive and non-harmful rewards be?It should be an action you love doing and it’s a good idea to swap between a few ideas, to avoid being stuck with another behavior.For example, you could go to the movies if you avoid being late from work for a whole week. You could buy your favorite magazine or sleep an hour longer on a Sunday morning if you visit the gym twice a week. At work, you could take ten minutes off to chat with a colleague if you finish a task in a specific amount of time.The key is to find a reward that gives you the feeling of accomplishment and which you don’t take for granted. For instance, if you already go to the movies every week, it isn’t going to feel like a reward.You should also try to boost self-control by turning the right behavior into something a bit more fun.If you are trying to get in shape, then going to the gym might not seem like the most fun thing to do. But what if, you go there together with your best friend? You could also try to attach fun activities like listening to an audiobook or music to working out. Instead of cleaning the house feeling miserable, take your mind off by talking to your friend on the phone.TIP 5: CHANGE YOUR LANGUAGE AROUND THE BEHAVIOURPerhaps surprisingly, language can play a big role in self-control. We can literally talk ourselves towards failure and deplete our self-control, even when we think we are “being tough”.Consider how often you view a task you don’t like by saying to yourself “I can’t” â€" “I can’t ever lose weight”, “I can’t finish this on time”. By saying, “I can’t”, you are reinforcing a feedback loop that reminds you of your limitations. The word doesn’t necessarily speak of actual ability, but your lack of desire to do something.Studies have shown that by swapping your language from “I can’t” to “I don’t”, you can take back control and stick to your plan. In fact, another study found self-affirmation could help you have more self-control.Furthermore, we tend to be quite good at preparing ourselves for a failure. How many times have you thought about working without distracting yourself, but countered it by thinki ng “Oh, I’ll never be able to write for an hour straight, I need a break”. But by thinking something is impossible, we reinforce the feeling it is impossible and reduce our self-control.In these situations, you can increase your self-control by overestimating the easiness of achieving your goal.Start thinking how the positive behavior isn’t actually hard and imagine the feeling of a positive outcome. Use language such as, “I can easily finish this worksheet within an hour and then I’ll feel even more productive” or “It’ll be so much fun going to the gym after work. All I need to do is get my gym back and off I go!’You should also talk about your goals aloud, not only to yourself but to other people as well. This reinforces the positive reaffirmation and it makes the goal more tangible. If other people are aware of your aims, they can help boost your self-control by positive encouragement.TIP 6: CREATE A RECOVERY PLANIt’s a good idea to define small steps, which help you bring closer to your ultimate goal.As we’ve already mentioned, don’t just aim for the moon straight away; create steps for building the rocket ship first. Become consistent in one thing and then move on to the next step. For example, try to limit your use of social media during the workday to three times a day from the previous five. Once you consistently achieve this, you can set a goal of two and so on.Perhaps more importantly, understand that you’ll probably experience setbacks and your self-control might fail. Don’t beat yourself over a failure â€" practice makes perfect and small setbacks are inevitable.In terms of self-control, it’s important to understand that just like your muscle power weakens at times, so does your self-control.Your self-control will automatically be at its lowest when:You’ve had inadequate sleepYou’re receiving poor nutrition, such as not eating enough or eating bad foods (lots of sugar, refined foods, ‘junk food’)You’re expe riencing emotional distress, such as stress, anxiety, fear, angerWhen you feel your self-control is depleted, analyze whether one of the above reasons influences your lack of self-control. By understanding the reason behind the lack of ‘willpower’, you might be able to rectify the situation or push yourself through the behavior.You’ll also need a recovery plan for situations when you’ve failed or you’re lacking self-control. If you are late for work, don’t give up and think you’ve failed. Instead, examine the situation and find the reason for being late. Perhaps you had a stressful day and you slept badly, which made you slower than usual in the morning.So, next time you struggle with self-control and you fall back to bad or unwanted behavior, do the following:#1: Tell yourself it’s not the end of the world. Your goal is still achievable.#2: Think carefully what was behind the dip in self-control and in behaving in the undesired manner:Was your ability to self-contro l diminished by lack of sleep, poor nutrition or emotional distress? If so, how can you improve the situation?Was it simply a momentary lapse?Does your plan of action need readjustment? I.e. are you starting to open those cupboards for the cookies, or is the audiobook/gym combination starting to lose its appeal? If so, how can you adjust your plan?#3: Continue working towards your goal.THE BOTTOM LINEOur modern lives are full of distractions and attractive short-term rewards. Leading a healthy lifestyle and staying productive at work isn’t always easy when you have all these treats and attractions luring you in.But ever since the marshmallow test, studies have highlighted the benefits of strong self-control. We can enjoy a more rewarding life, if we just focus a bit more on long-term benefits and take a more analytical look of our behavior.Hopefully, the above tips have shown you some simple ways on improving your self-control and taking ownership of your actions.We’ll leave you with this clever statement by Aristotle:“The self-controlled man craves for the things he ought, as he ought, and when he ought.”

El Salon Mexico Copland - Free Essay Example

Sample details Pages: 31 Words: 9167 Downloads: 4 Date added: 2017/09/21 Category Advertising Essay Type Argumentative essay Tags: Study Essay Did you like this example? El Salon Mexico by Aaron Copland: A Study and Comparison of the Orchestral Score and Two Transcriptions for Band D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Erika Kirsten Svanoe, M. M. Graduate Program in Music The Ohio State University 2009 DMA Document Committee: Russel Mikkelson, Advisor Hilary Apfelstadt Richard Blatti Daryl Kinney Copyright by Erika Kirsten Svanoe 2009 Abstract Aaron Copland completed the orchestral score to El Salon Mexico in 1936 marking a turning point in his career. The piece received more performances in the year following its completion than any of his previous orchestral works. It was well received by both critics and audiences due to his focus on melody and shift in thinking towards using the â€Å"simplest possible means† to make the music more accessible to the listener. Mark Hindsley completed a band arrangement of El Salon Mexico in 1966 that included numerous changes to the meter and rhythmic notation found in Copland’s orchestral score. The author conducted a comparative analysis of Copland’s published orchestral score, the El Salon Mexico manuscript materials, Bernstein’s arrangements for piano, and Hindsley’s transcription for band. This investigation sought to determine why Hindsley chose to include metric alterations that differ from the orchestral score, and how he decided what meters would be appropriate. The study of Copland’s manuscript materials of El Salon Mexico revealed that Copland simplified the meter and rhythmic notation after the composition was complete. These rhythmic alterations were completed during the orchestration process in an effort to make the piece more performable. Much of Copland’s original conception of rhythmic notation, that appears in his manuscript sketches, also appear in Bernstein’s piano arrangem ents. In addition, many of the alterations Hindsley utilized were similar to the ii metric and rhythmic notation in Bernstein’s arrangements. In some sections of the music, Bernstein’s and Hindsley’s notation more closely match Copland’s original conception of rhythmic notation than the orchestral score. The comparative analysis also revealed Hindsley’s scoring techniques, including heavy doubling, unnecessary changing of wind instrument timbres and numerous changes to meter and beaming. The author created a new arrangement for band that restores all the orchestral meters and modernizes the instrumentation and orchestration. The intent was to provide today’s conductors the option of using a transcription more closely related to the published orchestral score. iii Dedication Dedicated to my husband and closest friend Erik Evensen. v Acknowledgements I would like to thank my teachers at the Ohio State University for their help and guidance in completing this project, including my committee members Hilary Apfelstadt, Daryl Kinney, Richard Blatti, and especially my advisor Russel Mikkelson who proposed the idea for project and guided the work throughout the process. I would also like to thank him and the Ohio State University Wind Symphony for their preparation of my arrangement that resulted in a wonderful performance. Thank you to Philip McCarthy from Boosey Hawkes, and James Kendrick and Jessica Rauch from the Aaron Copland Fund for Music for assisting with the various permissions needed to complete this project. I would also like to thank the librarians at the Library of Congress for their assistance, particularly Loras Schissel for mailing a copy of a necessary manuscript. Finally, I’d like to thank my family for all of their support the past three years. I need to give a special thank you to my husband Erik Evensen, who has been my greatest supporter. v Vita January 26, 1976. Born, Janesville, WI, US A 1999.. B. M. E. University of Wisconsin – Eau Claire 1999-2001.. Music Educator, Mukwonago, WI 2001-2003.. Graduate Assistant, Oklahoma State University 2003.. M. M. Wind Conducting, Oklahoma State University 2003-2006.. Lecturer, University of New Hampshire 2006-2009.. Doctoral Conducting Associate, Ohio State University 2009-present . Director of Bands, Bemidji State University Field of Study Major Field: Music vi Table of Contents Abstract . ii Dedication iv Acknowledgements v Vita . vi List of Figures.. viii List of Photos .. xii List of Tables xiii Chapter 1: Introduction and Procedures .. 1 Chapter 2: El Salon Mexico for Orchestra .. 7 Chapter 3: The Mark Hindsley Arrangement for Band 45 Chapter 4: The Erika Svanoe Arrangement for Band. 82 Chapter 5: Conclusions and Suggestions for further Research .. 92 Bibliography. 100 Appendix A: Copland’s â€Å"Suggested revisions on band arrangement† 103 Appendix B: El Salon Mexico for Band arranged by Eri ka Svanoe. 05 vii List of Figures Figure 2. 1: Folksong material used in El Salon Mexico 23 Figure 2. 2: Copland, El Salon Mexico, melodic material, mm. 8-13 .. 23 Figure 2. 3: Copland, El Salon Mexico, mm. 23-26, Trumpet . 24 Figure 2. 4: Copland, El Salon Mexico, mm. 39-44, Bassoon 1 . 24 Figure 2. 5: Copland, El Salon Mexico, mm. 61-64, Violin 1, 2, Viola (compressed).. 25 Figure 2. 6: Copland, El Salon Mexico, mm. 6-81, Violin 1 25 Figure 2. 7: Copland, El Salon Mexico, mm. 106-110, Clarinet 1 .. 26 Figure 2. 8: Copland, El Salon Mexico, mm. 135-139, Violin 1. 26 Figure 2. 9: Copland, El Salon Mexico, mm. 185-190, Clarinet 1 . 27 Figure 2. 10: Copland, El Salon Mexico, mm. 256-260, English Horn 27 Figure 2. 11: Copland, El Salon Mexico, mm. 211-214, Clarinet 1 28 Figure 2. 2: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm. 1-3. 32 Figure 2. 13: Copland/Bernstein, El Salon Mexico for Two Pianos, Rhythmic notation, mm. 1-3 .. 32 Figure 2. 14: Copland, El Salon Mexico, Rhythmic notation, mm. 1-5 32 Figure 2. 15: Copland, El Salon Mexico, mm. 124-128, Violin 1.. 33 Figure 2. 16: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2. 5 33 viii Figure 2. 17: Copland, El Salon Mexico, mm. 160-168 (compressed) 34 Figure 2. 18: Copland, ARCO 28-A (Piano Sketch), Corresponding music to Figure 2. 17 34 Figure 2. 19: Copland, El Salon Mexico, mm. 130-135, Strings.. 35 Figure 2. 0: Example of revised rhythmic notation in Symphonic Ode. 37 Figure 3. 1: Hindsley Orchestration Chart 51 Figure 3. 2: Copland/Hindsley, El Salon Mexico for Band, mm. 40-44. Bassoons, Contrabassoon, Alto and Tenor Saxophones . 53 Figure 3. 3: Copland, El Salon Mexico, mm. 247-251, Strings 54 Figure 3. 4: Copland/Hindsley, El Salon Mexico for Band, mm. 247-251, Clarinets 54 Figure 3. 5: Copland, El Salon Mexico, mm. 1-64, Strings 55 Figure 3. 6: Copland/Hindsley, El Salon Mexico for Band, mm. 61-64, Clarinets, Cornets 55 Figure 3. 7: Copland, El Salon Mexico, mm. 73-80, Strings 56 Figure 3. 8: Copland/Hindsley, El Salon Mexico for Band, mm. 73-80, Flutes, Clarinets, Cornets 6 Figure 3. 9: Copland, El Salon Mexico, mm. 1-4, Trumpets 57 Figure 3. 10: Copland/Hindsley, El Salon Mexico for Band, mm. 1-4, Cornets, Trumpets 57 Figure 3. 11: Copland, El Salon Mexico, mm. 20-25, Bass Clarinet, Bassoons, Trombone 1 .. 59 ix Figure 3. 12: Copland/Hindsley, El Salon Mexico for Band, mm. 0-25, Bassoons, Saxophones 59 Figure 3. 13: Copland, El Salon Mexico, mm. 221-226 . 61 Figure 3. 14: Copland/Hindsley, El Salon Mexico for Band, mm. 221-226 .. 62 Figure 3. 15: Copland/Hindsley, El Salon Mexico for Band, 1st Version Manuscript (ARCO 28-D) mm. 73-80 .. 63 Figure 3. 16: Copland, El Salon Mexico, mm. 3-80 . 65 Figure 3. 17: Copland/Hindsley, El Salon Mexico for Band, mm. 73-80 .. 66 Figure 3. 18: Copland, El Salon Mexico, mm. 372-375, Viola 69 Figure 3. 19: Copland/Hindsley, El Salon Mexico for Band, mm. 373-377, Clarinet 2, 3 .. 69 Figure 3. 20: Copla nd, El Salon Mexico, mm. 377-379, Violin 2, Viola .. 70 Figure 3. 1: Copland/Hindsley, El Salon Mexico for Band, mm. 380-382, Clarinet 2, 3 .. 70 Figure 3. 22: Copland, El Salon Mexico, mm. 14-15, Trumpets. 71 Figure 3. 23: Copland/Hindsley, El Salon Mexico for Band, mm. 14-15, Cornets, Trumpets 71 Figure 3. 24: Copland, El Salon Mexico, mm. 316-319, Trumpet 1, 2. 72 Figure 3. 5: Copland/Hindsley, El Salon Mexico for Band, mm. 316-319, Trumpet 1.. 72 Figure 3. 26: Copland, El Salon Mexico, mm. 324-326, Horns .. 73 Figure 3. 27: Copland/Hindsley, El Salon Mexico for Band, mm. 324-326, Horns 73 Figure 3. 28: Copland, El Salon Mexico, mm. 252-256, Violins .. 75 x Figure 3. 29: Copland/Hindsley, El Salon Mexico for Band, mm. 252-256, Clarinets 1, 2. 75 Figure 3. 30: Copland, El Salon Mexico, mm. 57-258, Viola 76 Figure 3. 31: Copland/Hindsley, El Salon Mexico for Band, mm. 257-258, Clarinet 1 76 Figure 3. 32: Copland, El Salon Mexico, mm. 10, melodic material. 77 Figure 3. 33: Copland/ Hindsley, El Salon Mexico for Band, m. 10, melodic material . 77 Figure 3. 34: Comparison of rhythmic notation for music corresponding with orchestral mm. 156-172 in the Piano Sketch (ARCO 28-A), Bernstein arrangement for solo piano, and Hindsley’s arrangement for band 8 Figure 3. 35: Copland, El Salon Mexico, mm. 59, Bassoon 80 Figure 3. 36: Copland/Hindsley, El Salon Mexico for Band, m. 59, Bassoon .. 80 Figure 3. 37: Copland, El Salon Mexico, m. 313, Trumpet 1 in C.. 80 Figure 3. 38: Copland/Hindsley, El Salon Mexico for Band, m. 313, Trumpet (displayed in concert pitch) 80 Figure 3. 39: Copland, El Salon Mexico, mm. 60-161, melodic material in Trombone 1, 2, Violin 1, Viola .. 81 Figure 3. 40: Copland/Hindsley, El Salon Mexico for Band, mm. 160-161, melodic material in Horn 2, 4, Trombone 1, 2 81 xi List of Photos Photo 2. 1: ARCO 28. 1, Music corresponding to published orchestral score m. 321 40 Photo 2. 2: ARCO 28-A, Music corresponding to published orchestral score m. 321.. 41 Photo 2. 3: ARCO 28, Music corresponding to published orchestral score m. 378 2 Photo 2. 4: ARCO 28a copy 2, mm. 24-25, Bass Clarinet, Bassoons, Trumpet in C, Trombone .. 43 Photo 2. 5: ARCO 28-A, Music corresponding to published orchestral score mm. 24-25 . 44 xii List of Tables Table 2. 1: Summary of published scores and manuscripts .. 31 Table 3. 1: Comparison of Instrumentation between Copland Orchestral Score and Hindsley Band Score. 49 Table 4. 1: Comparison of Instrumentation between Copland Orchestral Score, Hindsley Band Score, and Svanoe Band Score. 85 xiii Chapter 1: Introduction and Procedures Background Transcriptions and arrangements of works from other mediums hold an important place in the literature of the wind band. For much of the band’s history, a large part of the available literature included orchestral transcriptions. While there has been an enormous increase in the percentage of original compositions for band in the past several decad es, quality transcriptions of significant works from other mediums continue to add depth and variety to the literature as a whole. When a conductor is faced with the task of performing an arrangement or transcription, it is important to refer to the original version during score study and preparation. If the arranger of the new version has made changes that may affect the performance of the piece, it is vital to know what these alterations are, and if they are appropriate. In some cases, changes in an arrangement may not accurately reflect the original composer’s intentions, while other changes are appropriate due to the difference in medium. One such band transcription that deserves a thorough comparative analysis and evaluation is Mark Hindsley’s arrangement of Aaron Copland’s El Salon Mexico. While it is considered to be one of Copland’s lighter orchestral works, it is an important piece because of its place in his compositional output as a whole. It was one of the first works that represented a conscious shift in Copland’s compositional style towards using what he 1 called the â€Å"simplest possible terms. † Copland’s perception that the majority of concert audiences were apathetic towards any music but the established classics was responsible for this shift in thinking. As the audience for new music continued to decrease, Copland experimented with music he thought would appeal to a wider audience. 1 El Salon Mexico was the first successful piece in this new style and helped Copland gain widespread popularity. Hindsley’s band arrangement is significant not only because of Copland’s status as one of America’s premiere composers, but because of its widespread use by bands. It has appeared on several state high school contest lists including Texas, Florida, Arkansas, and Virginia and was recorded by both the University of Illinois and the Cincinnati Conservatory. 3 It also appears re gularly on collegiate band programs. 4 However, Hindsley made several editorial decisions, particularly regarding meter, which differ significantly from the score of the orchestral work. One purpose of this study is to compare Aaron Copland’s El Salon Mexico for orchestra with Mark Hindsley’s transcription for band and to evaluate the editorial changes made in the band version. Finally, a new arrangement of El Salon Mexico for band was created in which all of Copland’s orchestral meters were restored. Aaron Copland Aaron Copland (1900-1990) is one of the most significant American composers of the 20th century. He won the Pulitzer Prize and the New York Music Critics’ Circle 1 2 Copland, â€Å"Composer from Brooklyn,† xxvi. Berger, Aaron Copland, 30. Shattingermusic. com 4 CBDNA Report 2 Award for Appalachian Spring and his film scores earned him four Academy Award nominations and one win for The Heiress in 1949. He was elected to the American Ac ademy of Arts and Letters in 1954, received the Academy’s Gold Medal in 1956, and served as the Academy’s president in 1971. Other awards included a MacDowell Medal in 1961, a Presidential Medal of Freedom in 1964, a Kennedy Center Honor in 1979, a Medal of the Arts in 1986, and a Congressional Gold Medal in 1986, as well as several honorary doctorates. While Copland’s music has been acknowledged by prestigious awards, it is also recognized by much of the American populous because of its infiltration into popular culture. His music has been used to promote the Olympics, the armed forces and the United States beef industry, because â€Å"when it comes to music that summons up images of America in the minds of American listeners, Copland is unique†¦ in each case the promoters have wanted to tap into deep-seated feelings that, somehow, this music evokes like almost nothing else. 6 The youngest of five children, Aaron Copland was born on November 14, 1900 in B rooklyn, New York to his parents Harris and Sarah Copland. Throughout his youth Copland studied piano, theory, and composition with various teachers and supplemented his education by attending recitals and concerts. In 1921 he traveled to Paris where he studied composition with Nadia Boulanger, his most influential teacher. While studying with Boulanger Copland produced his first orchestral score, Grohg, which he completed upon his return to the United States in 1924. In addition, Boulanger arranged for two 6 Howard Pollack. Copland, Aaron. In Grove Music Online. Burr, â€Å"Copland, the West and American Identity,† 22. 3 performances of Copland’s organ concerto to be performed by both the New York and Boston Symphony Orchestras with herself as soloist. The performance of the Organ Symphony under the baton of Sergey Koussevitzky initiated an important relationship for Copland. Koussevitzky became one of Copland’s greatest collaborators and champions. 7 Upon Cop land’s return the United States, he felt the need to compose modern music that was identifiably American. He began to incorporate jazz into his symphonic works such as Music for Theatre (1925) and the Piano Concerto (1926). 8 While Copland had the support of Koussevitzky and several other musicians, critics, and artists, much of the press regarded his music with skepticism. His Piano Concerto, performed by the Boston Symphony Orchestra with himself as pianist, had a particularly unfavorable reception. 9 Olin Downs of the New York Times wrote â€Å"It progresses by fits and starts†¦confirming [the listener’s] suspicions that Mr. Copland needs a firmer hold of principles of musical structure†¦ Here is a young man who can surely not remain content with the praise of partisans or knowledge of his own artistic shortcomings. †10 Public audiences had similar reactions. At a performance of the Piano Concerto in Mexico there were so many hisses from the a udience during the performance that Copland looked to the conductor, Carlos Chavez, for a sign of whether to continue the performance. 11 Copland’s compositional activity decreased in the late 1920s. He entered a selfreflective period in which he considered his own compositional path, as well as the path of American music. In his 1939 essay â€Å"Composer from Brooklyn† he stated: 7 8 Howard Pollack. Copland, Aaron. In Grove Music Online. Crist, Music for the Common Man, 42. 9 Pollack, â€Å"Copland, Aaron. In Grove Music Online. 10 Berger, Aaron Copland, 24. 11 Copland and Perlis, Copland, 216. 4 I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old â€Å"special† public of the modern-music concerts had fallen away, and the conventional concert public continued apathetic of indifferent to anything but the established classics. It seemed to me that we composers were in danger of work ing in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms. 12 It was El Salon Mexico that â€Å"developed and heralded his new style. 13 It embodied Copland’s new tendency toward â€Å"imposed simplicity. †14 For the untrained listener the use of folksongs and programmatic title helped bridge the gap from absolute music. It was accessible for audiences who did not have musical training or the ability to perceive formal structures. The piece was immediately popular receiving more performances than any of his other orchestral works and brought Copland’s new compositional style to the attention of the public. El Salon Mexico established Copland as a â€Å"successful† composer and was directly responsible for his pu blishing contract with Boosey Hawkes. Impressive honors would soon follow, including a commission from the Columbia Broadcasting System for Music for Radio (1937), election to the National Institue of Arts and Letters in 1942, and the 1945 Pulitzer Prize in music for Appalachian Spring. 15 In the decade that followed 1935, Copland did not entirely abandon writing in his more abstract style, though most of his efforts had some element of functionality, such as An Outdoor Overture (1939), composed for students, or included external matter that 12 13 Copland â€Å"Composer from Brooklyn,† xxvi. Berger, Aaron Copland, 30. 4 Copland, â€Å"Composer from Brooklyn†, xxvi. 15 Berger, Aaron Copland, 30-31. 5 gave the piece an element of being programmatic, such as Appalachian Spring (1944). Many of Copland’s most popular and well-known works are from this time span, including Fanfare for the Common Man (1942) and Rodeo (1942). Pieces such as his Piano Sonata (1941) a nd Sonata for Violin and Piano (1943) are representative of his more abstract style during this time period. However, it was not until he composed his Third Symphony (1946) that he composed for the orchestra without programmatic elements. 6 Copland commented on what was perceived as an abandonment of his more complex music in his 1967 addition to â€Å"Composer from Brooklyn. † The assertion that I wished â€Å"to see if I couldn’t say what I had to say in the simplest possible terms† and the mention of â€Å"an imposed simplicity† were taken to mean that I had renounced my more complex and â€Å"difficult† music†¦ these remarks of mine emphasized a point of view which, although appropriate at the time of writing†¦seems to me to constitute an oversimplification of my aims and intentions, especially when applied to a consideration of my subsequent work and of my work as a whole. 7 While the ten years that followed El Salon Mexico seemed to focus on Copland’s new accessible style, he later felt that there was no disparity between his two compositional styles, the simple and the complex. Rather, he adapted his technique to the materials with which he chose to work. [There is] a continuing discussion concerning the apparent dichotomy between my â€Å"serious† and my â€Å"popular† works. I can only say that those commentators who would like to split me down the middle into two because I take into account with each new piece the purpose for which it is intended and the nature of the musical materials with which I begin to work. Musical ideas engender pieces, and the ideas by their character dictate the nature of the composition to be written. 18 16 17 Berger, Aaron Copland, 32. Copland, â€Å"Composer from Brooklyn,† xxvi-xxvii. 18 Ibid. , xxxii. 6 By the late 1940s Copland was widely regarded as the leading American composer of his time. While he had lived in Manhattan for many years, he m oved to Ossining, New York in 1952. Through the 1950s he continued to lecture, teach and write and in 1958 began a 20-year international conducting career, presenting both this own works and the music of over 80 other composers. In 1961 Copland moved into a larger home located near Peekskill, New York where he lived until his death. He did not compose much after 1972 and began to suffer short-term memory lapses in the mid1970s. After being diagnosed with Alzheimer’s he was under medical supervision by the mid-1980s. He died of respiratory failure on December 2, 1990. 19 El Salon Mexico During a visit to Mexico in the autumn of 1932, Copland conceived of writing a piece based on Mexican themes. From the beginning, he connected the piece with a popular dance hall in Mexico City called Salon Mexico. He realized he did not want to attempt to reflect the profound, historical side of Mexico since he felt he did not truly know the country. Instead he wanted to reflect this tou rist â€Å"hot spot† where he also felt a close connection with the Mexican people. While the work references several Mexican folk songs, Copland transforms the melodies into his own musical language. He said â€Å"It wasn’t the music that I heard, but the spirit that I felt there, which attracted me. Something of that spirit is what I hope to have put into my music. The work was completed in 1936 and premiered by Carlos Chavez and the Orquesta Sinfonica de Mexico the summer of the following year. 19 Pollack, â€Å"Copland, Aaron. † In Grove Music Online. 7 El Salon Mexico is a significant work in Copland’s compositional output for several reasons. First, this piece came at a time when Copland was beginning a shift in thinking toward trying to say things in the â€Å"simplest possible terms. † The works that followed the Symphonic Ode (1929), the composition that marks the culmination of Copland’s austere writing up to that point, gradually evolved towards a generally more accessible aesthetic. Copland’s focus on melody and the use of Mexican folksongs in El Salon Mexico were important elements that helped Copland write in a more accessible style, as well as attain wider audience appeal of his music. Second, this was Copland’s first work to utilize borrowed folk tunes, a tool he would use throughout his career. While some of the material he borrowed is a direct quotation, his treatment of folksongs more often employs a transformation of the materials, making them a part of Copland’s compositional language, deftly retaining the spirit and character of the tunes. Copland’s motive for turning to these melodies was â€Å"an aspect of his campaign to achieve a simple style and a content that would engage the interest of a wider audience. †20 Third, due to greater interest in his music, Copland became enormously successful. El Salon Mexico introduced the composer to a larger audience and earned him popular acclaim. Compared to Statements and the Short Symphony, which received hardly any performances, by 1938 El Salon Mexico had been performed by 21 orchestras. Also, it was at the 1938 European premier of this work that Copland met Benjamin Britten, who in turn introduced Copland to his publisher Boosey Hawkes. El Salon 20 Berger, Aaron Copland, 57. 8 Mexico, along with Music for Radio, were the first works to be published by the London firm. El Salon Mexico clearly marks a compositional turning point for Copland in several ways. His conscious efforts to appeal to a wider audience, use of folksong materials, and the success that followed the premiere all contribute to the fact that this work was an important milestone in Copland’s compositional output. Several arrangements of the piece were created. Leonard Bernstein arranged both the solo piano and two piano versions in 1941 and 1943 respectively. A truncated version titled â€Å"Fantasia Mexican a† dated 1952 was adapted and orchestrated by Johnny Green for the MGM motion picture Fiesta. Arturo Toscanini wrote an unpublished arrangement for piano, possibly for his own study of the orchestral score. 21 Mark Hindsley completed his arrangement for concert band in 1966. While Copland created several band arrangements of his own works, as well as composing Emblems (1964) for band, he did not create a band version of El Salon Mexico. His first transcription for band was An Outdoor Overture (1938), originally composed for high school orchestra. The band transcription was completed at the request of Edwin Franko Goldman and was premiered by the Goldman Band in 1942. The other transcriptions Copland completed for band include Variations on a Shaker Melody (1956), Preamble for a Solemn Occasion (1949), Inaugural Fanfare (1977), and Red Pony Suite (1948). 22 Since the Toscanini is an unpublished reduction of the published orchestral score and the Green is a truncated version of the orchestral score, these two versions did not factor into this study. 2 Briskey, â€Å"The Symphonic Band Repertoire of Aaron Copland,† 38-42. 9 21 Mark Hindsley (1905-1999) created the band arrangement of El Salon Mexico in 1966. Hindlsey was the Director of Bands at the University of Illinois from 1948 until he retired in 1970. He completed dozens of arrangements for band, most of which are selfpublished and still available from his son, Roger Hindsley, who currently distributes his music. 23 The only band arrangement of Hindsley’s that is not currently self-published is El Salon Mexico, published by Boosey Hawkes. According to a 1982 survey by Earle Gregory, it was (and likely still is) one of Hindsley’s most often played transcriptions. The distribution capabilities of Boosey Hawkes certainly contribute to its availability and popularity. 24 Review of Related Research The majority of literature regarding El Salon Mexico relates to the background s tory of the composition or how the work fits into Copland’s compositional output as a whole. There is no in-depth analysis of the work to date. This lack of analytical research is also noted by Leo Philip Fishman in his recent dissertation â€Å"Theoretical Issues and Presumptions in the Early Music of Aaron Copland† (2007). Fishman states that â€Å"there has been a dearth of useful research concentrating on theoretical aspects of his music while there has been a great deal of work on contextualizing Copland as a way to explain his oeuvre. 25 Fishman’s study concentrates on four early works of Copland’s, none of which is El Salon Mexico. www. hindsleytranscriptions. com Gregory, â€Å"Mark H. Hindsley: The Illinois Years,† 162-3. 5 Fishman, â€Å"Theoretical Issues and Presumptions in the Music of Aaron Copland,† vi. 10 24 23 The most relevant literature that addresses questions posed by this study is either limited in scope or tangenti al to the topic. Only two limited analyses of the orchestral El Salon Mexico were discovered. No literature could be found regarding Hindsley’s band transcription. Topics that were considered tangential but supportive to the study include studies of the piano arrangements of El Salon Mexico by Leonard Bernstein, Mark Hindsley’s other arrangements for band, and Copland’s use of metric and rhythmic notation in other works. The most relevant literature within these topics is summarized here. The best information that could be considered an analysis of El Salon Mexico is by Gerald Abraham. When Boosey Hawkes published the miniature score of El Salon, it was traditional for analytical notes to be included. The four-page insert gives a brief summary of the story of the Mexican dance hall and Copland’s inspiration for writing the piece. Most of the information outlines Copland’s use and alteration of Mexican folksongs and where they appear in various guises throughout the piece. Abraham outlines his interpretation of the form, which is debatable but certainly workable version of the formal structure. The notes are of high quality and give an excellent summary of the work, but are very limited in scope. 26 â€Å"A Comparison and Analysis of Aaron Coplands El Salon Mexico for Orchestra, Piano Solo, and Two Piano Four Hands† by Richard Glazier gives a brief analysis of the orchestral version and documents some of the differences between it and the piano arrangements by Leonard Bernstein. Most of the analysis is drawn from Gerald Abraham’s notes published in the miniature score, though Glazier additionally illustrates 26 Abraham, â€Å"Aaron Copland: El Salon Mexico. † 11 Copland’s use of polyrhythm and polytonality. In comparing the rhythmic notation of the orchestral and piano versions and reading Copland’s essay â€Å"On the notation of rhythm,† Glazier recognizes that Copland simpl ified the meter in the orchestral version. Some of the other rhythmic notation that appears in the piano versions he credits to Bernstein, but in some cases this notation originally appears in Copland’s hand in the manuscript materials. It is clear that Copland’s manuscripts of El Salon Mexico were not examined as part of this study. Glazier’s purpose is to document some of the differences in the piano versions and defend them as artistic additions to piano literature. 27 Research regarding Copland’s practice of rewriting rhythmic notation in his orchestral works includes â€Å"The Compositional History of Aaron Copland’s Symphonic Ode† by Elizabeth Bergman Crist. She constructs the history of the composition through existing manuscript materials and correspondence. Crist demonstrates the process and circumstances that led to Copland’s rebarring of the Symphonic Ode, and substantiates that Koussevitzky was largely responsible fo r initiating these changes. The article also provides evidence that Copland preferred his original rhythmic notation. This was discovered through his restoration of the original notation in the revised 1955 edition. 28 Research regarding Mark Hindsley’s band transcriptions was done by Earle Suydam Gregory and documented in his dissertation â€Å"Mark H. Hindsley: The Illinois Years. It documents the professional activities of Hindsley with emphasis on his research into the construction of instruments, his contributions to the University of Illinois band building, and his contributions to band literature through transcriptions. 27 28 Glazier, â€Å"A Comparison and Analysis of Aaron Coplands El Salon Mexico. † Crist, â€Å"The Compositional History of Aaron Copland’s Symphonic Ode. † 12 This includes a study of the scoring practices of Hindsley by examining a sample of his orchestral transcriptions for band and an analysis of how each nstrument was utiliz ed. The research confirms and expands much of Hindsley’s own writings in Hindsley On Bands. 29 Procedures and Purpose of the Study I first became familiar with El Salon Mexico when I was playing clarinet on Suite from Billy the Kid with a youth orchestra. It was at this time I became interested in Copland’s other works for orchestra. I did not formally study the piece until I was asked to conduct Mark Hindsley’s band transcription for an audition at the Ohio State University. During the course of my study, I learned that there were several places in Hindsley’s score where the meters published in the band arrangement differ from the meters in Copland’s original orchestral score. These discrepancies led me to several questions. What is happening in the original orchestral score that may have initiated the meter changes in the band score? What are all of the meter changes that Hindsley utilized? Why did the arranger choose to use different meters a nd how were the meters chosen? Do other arrangements of El Salon Mexico also alter the meter? Did Copland approve of the changes Hindsley made? Is a new band arrangement of El Salon Mexico with the orchestral meters restored warranted? These are the questions that led me to develop this study in the manner that follows. At the start of this process, I determined that a new band arrangement of El Salon Mexico was warranted and could be an important addition to band literature. The changing of meters and beaming in arrangements, such as the Hindsley arrangement, can 29 Gregory, â€Å"Mark H. Hindsley: The Illinois Years. † 13 pose difficulties for musicians. In the case of El Salon Mexico, many college wind players learn the piece in the band arrangement, but then must relearn the different meters when called upon to play the original orchestral version. Regardless of whether changing the original meters for an arrangement is an improvement or not, the relearning of music in different meters is a difficult task for both conductors and players. Since it is highly unlikely that a different edition of the orchestral version of El Salon Mexico will be available, I felt it was important that band directors have an arrangement in which the meters of the orchestral version were maintained. In addition, Hindsley’s arrangement was conceived for a large band with over 90 musicians. College bands of this size were much more common in the 1960s than they are today. Today’s collegiate bands use a smaller number of musicians, more in line with a wind ensemble instrumentation. This trend gained acceptance at many colleges and universities in the 1970s. 30 Even the majority of today’s large concert bands are significantly smaller than Hindsley’s model. The new band arrangement of El Salon Mexico was created both to restore the orchestral meters and modernize the instrumentation. I felt many of the questions posed could be answered by doing a comparative analysis between Copland’s orchestral score and Hindsley’s band arrangement. This was completed in two stages. First, I completed an overall study of the orchestral work, with special consideration for rhythm and meter. Second, I compared several aspects of the Hindsley band arrangement to the orchestral score. These aspects included instrumentation, meter, beaming, key signatures, and overall scoring. 30 Battisti, Winds of Change, 68. 14 Since a dialogue with either the composer or arranger was impossible, I decided to review all of the relevant sketches, manuscripts, and correspondence between Copland and Hindsley. To accomplish this I visited the Library of Congress and examined all of the materials relating to El Salon Mexico. It was my premise that an examination of Copland’s sketches and original manuscripts would lead to a deeper understanding of the work and its compositional process, as well as confirm possible errata found dur ing the analysis. To discover any possible contact between Hindsley and Copland, I also searched for and examined correspondence relating to the band arrangement. Chapter Two examines Copland’s orchestral score of El Salon Mexico. This includes a background of its creation and how it fits into a shift in thinking at this point in Copland’s compositional output. It includes a brief formal analysis noting thematic development and use of folksong. The use of meter, beaming, and rhythm is also examined in depth. Chapter Three discusses Hindsley’s arrangement of El Salon Mexico for band. This will include changes made by Hindsley in the band arrangement pertaining to instrumentation, meter, beaming, key signatures, and overall scoring. All metric alterations in the Hindsley are documented and cataloged according to the type of alteration made, and the origins of these alterations are explored. The publication history, relevant correspondence, revisions to the o riginal band manuscript and errata are also be examined. Chapter Four compares the new arrangement for band, created by myself, to the Mark Hindsley band arrangement and Copland’s original orchestral score. It includes a discussion of the decision making process regarding instrumentation, use of key 15 signatures, overall scoring, meters, and beaming. It also documents changes made due to errata found in both the Hindsley band arrangement, as well as the original orchestral score. Chapter Five presents a summary of the findings of the study and provides suggestions for further research. Description of Appendices Appendix A: Copland, â€Å"Suggested Revisions on band arrangement of El Salon Mexico† Appendix B: Full score of El Salon Mexico for band arranged by Erika Svanoe 16 CHAPTER 2: El Salon Mexico for Orchestra In 1935 Copland organized a series of â€Å"one-man concerts† featuring the works of one living composer on each program. In observing the audi ences at this series Copland stated â€Å"As I looked around at the all-too-familiar small group at these concerts, I knew that I wanted to see a larger and more varied audience for contemporary music. †31 At this time Copland was finishing El Salon Mexico in which he said he was experimenting with a different style of writing. He was not rejecting one kind of music for another, but felt it was time to try something new. 2 Copland considered the first version of the Symphonic Ode from 1929 to be the piece that marked the end of his most austere and complex compositions. The move toward a simpler style was a gradual transition in the works that followed. In retrospect it seems to me that the Ode marks the end of a certain period in my development as a composer. The works that follow it are no longer so grandly conceived. The Piano Variations (1930), the Short Symphony (1933), the Statements for Orchestra (1935) are more spare in sonority, more lean in texture. They are stil l comparatively difficult to perform and difficult for an audience to comprehend. 33 El Salon Mexico was first conceived while Copland was simultaneously working on two other works in the fall of 1932 in Mexico: Short Symphony and Statements. â€Å"These three works and their combined compositional histories document Copland’s 31 32 Copland and Perlis, Copland, 244. Copland and Perlis, Copland, 245. 33 Copland, â€Å"Composer in Brooklyn,† xxvi. 17 refinement of a simplified musical idiom that emphasizes aural accessibility and draws on the melodic resources of traditional tunes. 34 It is El Salon Mexico and its position in Copland’s compositional output as one of the first of several works to simplify his musical language that makes it particularly significant. Short Symphony is composed in a similar vein as Copland’s earlier works, such as the Piano Variations, which focuses on structural unity and uses a dissonant avant-guard style. Statements still u tilizes this type of style, but focuses less on formal structure and is more episodic. Copland also hoped that the suggestive movement titles, such as â€Å"Militant† and â€Å"Cryptic,† would make the piece more palatable to the listening audience. El Salon Mexico also uses an episodic form, but focuses more on melody than these other works. 35 The reason for this shift toward melody comes primarily from the materials Copland chose to work with, which were inspired by the music he heard during his trip to Mexico in 1932. For several years prior to his trip, Copland had promised Carlos Chavez that he would visit Mexico. When Chavez promised him an all-Copland program by the Conservatorio Nacional de Mexico, he felt the time had come. He left New York on August 24, accompanied by Victor Kraft, and arrived in Laredo September 2, the morning of the concert. Copland remained in Mexico for five months. During Copland’s visit, Chavez took him to a dance hall in Mexico City called El Salon Mexico, known to the locals as â€Å"El Marro† or the policeman’s nightstick. It was a popular place for tourists who wanted a taste of how the local lower class sought 34 35 Crist, Music for the Common Man, 43. Crist, Music for the Common Man, 43-4. 18 entertainment. 36 The atmosphere of the place made an impression on Copland and he came away with the idea to create El Salon Mexico. El Salon Mexico had been ‘in the works’ since my first trip to Mexico in 1932 when I came away from that colorful dance hall in Mexico City with Chavez. I had read about the hall for the first time in a guidebook about tourist entertainment: ‘Harlem type night-club for the peepul, grand Cuban orchestra, Salon Mexico. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot. ’ A sign on a wall of the dance hall read: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet. A guard, stationed at the bottom of the steps leading to the three halls, would nonchalantly frisk you as you started up the stairs to be sure you had checked all your ‘artillery’ at the door and to collect the 1 peso charged for admittance to any of the three halls. When the dance hall closed at 5:00 A. M. , it hardly seemed worthwhile to some of the overalled patrons to travel all the way home, so they curled themselves up on the chair around the walls for a quick two-hour snooze before going to a seven o’clock job in the morning. 37 Copland did not want to try to translate the profound side of Mexico into a musical work. He felt he did not know the country well enough to attempt this. Rather he wanted to reflect the spirit of the dance hall and his experiences he had there with the Mexican people as a tourist. The â€Å"people† were reflected in Copland’s use of traditional folksongs. C opland stated â€Å"I began (as I often did) by collecting musical themes or tunes out of which a composition might eventually emerge. It seemed natural to use popular Mexican melodies for thematic material†¦My purpose was not merely to quote literally but to heighten without in any way falsifying the natural simplicity of Mexican tunes. 38 Having the piece sound â€Å"Mexican† was a concern of Copland’s. He wrote to Chavez expressing his concern â€Å"I am terribly afraid of what you will say of the ‘Salon Mexico’-perhaps it is not Mexican at all, and I would feel so foolish. But in America del 36 37 Crist, Music for the Common Man, 51. Copland and Perlis, Copland, 245. 38 Ibid. , 245. 19 Norte it may sound Mexican! †39 He wrote again to Chavez in 1935: â€Å"What it would sound like in Mexico I can’t imagine, but everyone here for whom I have played it seems to think it is very gay and amusing. 40 Once Chavez heard Copland perform th e piano version, he agreed to conduct it once the orchestration was complete. The premiere took place on August 27, 1937 in Mexico City with Orquesta Sinfonica de Mexico at the Palacio de Bellas Artes. The music was well received by the musicians and public with newspapers stating the piece could be taken as Mexican music. The piece was immediately popular. Twenty-one orchestras had performed the piece by 1938. 41 The first American performance was conducted by Koussevitzky with the Boston Symphony Orchestra on October 14, 1938. Another significant performance was at the 1938 International Society for Contemporary Music concert in London where Copland met Benjamin Britten, who was responsible for introducing Copland to the publishing firm Boosey Hawkes. In a letter to Ralph Hawkes Britten wrote â€Å"I’m fearfully anxious for you to cash in on Aaron Copland – the American composer – now without a publisher since Cos Cob Press gave up. His El Salon Mexico wa s the brightest thing of the festival†¦. I feel he’s a winner somehow. †42 Ralph Hawkes wrote to Copland August 12, 1938 expressing an interest in publishing El Salon Mexico. 3 Negotiations by written correspondence ensued and Copland eventually convinced the firm to publish Music for Radio as well. It was Ibid. , 246. Ibid. , 246. 41 Crist, Music for the Common Man, 43-4. 42 Mitchell and Reed, eds. , Letters from a Life, 566. 43 Ralph Hawkes to Aaron Copland, 12 August 1938, Aaron Copland Collection, Library of Congress. 20 40 39 Hawkes who suggested that more performances of El Salon Mexico would be possible if the instrumentation was slightly reduced and suggested that having a second version of the piece available with smaller instrumentation. 4 Instrumentation: The full instrumentation for El Salon Mexico is as follows: Piccolo 2 Flutes 2 Oboes English horn Clarinet in E-flat 2 Clarinets in B-flat Bass Clarinet in B-flat 2 Bassoons Contrabassoon 4 Horns in F 3 Trumpets in C 3 Trombones Tuba Timpani Percussion Piano Strings (Violins, Violas, Cellos, Contrabasses) The percussion part calls for multiple instruments: xylophone, suspended cymbal, gourd, temple blocks, wood block, bass drum, snare drum, and tambour de Provence, which Copland describes as a long drum with a dull sound. The gourd was the only Mexican percussion instrument that he included in the piece. This may have been for the best, since several orchestras of the time had a difficulty acquiring a proper gourd for performances. Some of the wind instruments were marked in the score as â€Å"not essential to performance. † At the request of Ralph Hawkes, and likely seeing the opportunity for 44 Ralph Hawkes to Aaron Copland, 20 September 1938, Copland Collection. 21 more performances with a reduced instrumentation, Copland created an alternate scoring to accommodate this request, eliminating the need for the English Horn, Clarinet in Eflat, Bass Clarinet, Contrabassoon , and Trumpet 3. Folksong Materials and Form Copland used several Mexican folk songs, found in published collections, as the basis for many of the melodies in El Salon Mexico. Two of the songs, â€Å"El Palo Verde† and â€Å"La Jesuita† were found in Cancionero Mexicano edited by Frances Toor. â€Å"El Mosco† and â€Å"La Malacate,† an indigenous dance tune, were found in El Folklore y la Musica Mexicana by Ruben M. Campos. These melodies are not usually used in their original form, but rather Copland derived new melodic material from them. 45 An excellent summary of Copland’s use of these folk songs comes from musicologist Gerald Abraham. When Boosey Hawkes published the miniature score, it was customary to provide analytical notes about the music. The publisher asked Abraham to write the notes for El Salon Mexico. 46 The four-page insert includes excerpts of the original folksong material and documents Copland’s alteration of these melodies into the thematic material used in the piece. Abraham notes the three most utilized melodies as â€Å"El Palo Verde,† La Jesusita,† and â€Å"El Mosco. † He describes the form of the piece as a â€Å"subtilised and elaborated ternary from, with a long introduction. †47 Abraham illustrates Copland’s alteration of each of the folksongs, as well as documents where material derived from each folksong appears in the piece. 45 Lee, Masterworks of 20th -Century Music, 119. 46 Dickenson, â€Å"Copland’s Earlier British Connections,† 169-70. 47 Abraham, â€Å"Aaron Copland: El Salon Mexico. † 22 Figure 2. 1: Folksong material used in El Salon Mexico48 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The melodic material from the opening is derived from the first strain of â€Å"El Palo Verde† Figure 2. : Copland, El Sa lon Mexico, melodic material, mm. 8-13 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 48 Abraham, â€Å"Aaron Copland: El Salon Mexico. † 23 Beginning in measure 23, the trumpet solo is based on â€Å"La Jesusita† Figure 2. 3: Copland, El Salon Mexico, mm. 23-26, Trumpet EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The duet between bassoon and bass clarinet starting at measure 39 is a rhythmically altered version of â€Å"El Mosco. Figure 2. 4: Copland, El Salon Mexico, mm. 39-44, Bassoon 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 24 At measure 61, the strings have material modified from the second strain of â€Å"El Palo Verde† This same material also appears twice more during the piece beginning at measures 145 and 353. Figure 2. 5: Copland, El Salon Mexico, mm. 61-64, Violin 1, 2, Viola (compressed) EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The melody in the strings beginning at measure 76 is derived partly from the second strain of â€Å"El Mosco. † This theme concludes the section that Abraham labels as the introduction. Figure 2. 6: Copland, El Salon Mexico, mm. 76-81, Violin 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. The Allegro Vivace begins at measure 103 and marks the start of what Abraham calls the first section of the ternary form. It begins with material related to the opening measures illustrated above in Figure 2. 2. This is followed by a theme derived from both 25 he altered material from â€Å"El Palo Verde† at the beginning of the piece, and the second strain of â€Å"El Mosco. † Figure 2. 7: Copland, El Salon Mexico, mm. 106-110, Clarinet 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. New material is added to the beginning of the previous theme at measure 135 but is very similar. Figure 2. 8: Copland, El Salon Mexico, mm. 135-139, Violin 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 6 The material from Figure 2. 5 returns at measure 145 and is followed by a variant of Figure 2. 2 from measures 175-182. This concludes the Allegro Vivace section and what Abraham labels the first large section of a ternary form. The second section of this form begins at measure 183 at the tempo change marked â€Å"Moderato molto (rubato). † The clar inet solo that follows (Fig. 2. 9) is a version of Figure 2. 7. Abraham states this version â€Å"recurs several times in the section as a species of refrain, holding it together. † One such reiteration is a rhythmic variant in the English horn at measure 256. (Fig. 2. 10) Figure 2. 9: Copland, El Salon Mexico, mm. 185-190, Clarinet 1 Figure 2. 10: Copland, El Salon Mexico, mm. 256-260, English horn EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. 27 At measure 211, melodic material in the solo clarinet is derived from â€Å"La Jesusita† and is then restated in the strings. Figure 2. 11: Copland, El Salon Mexico, mm. 211-214, Clarinet 1 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. Abraham describes the remainder of the middle section consisting of rhythmic de velopment of this tune and material from the first section. Copland writes of the section â€Å"before the final climax I present the folk tunes simultaneously in their original keys and rhythms. The result is a kind of polytonality that achieves the frenetic whirl I had in mind before the end, when all is resolved with a plain unadorned triad. †49 The return of the main section occurs at measure 324. The material is very similar to what had been heard previously but with slightly altered keys. The piece ends with the fanfare-like material from the opening measures. 0 Manuscript materials and changes in rhythmic notation Copland himself noted that orchestras had a difficult time performing El Salon Mexico. â€Å"El Salon was not easy to perform; it presented rhythmic intricacies for the 49 50 Copland and Perlis, Copland, 246. Abraham, â€Å"Aaron Copland: El Salon Mexico. † 28 conductor and the players. †51 There are many places in the orchestral version where e ighth notes are beamed over a barline, dotted barlines and brackets are used to indicate an alteration of normal rhythmic stress, and more than one time signature is often indicated or simply implied by the placement of accents. The need for this kind of rhythmic notation can be observed upon examination of the manuscript materials in the Aaron Copland Collection cataloged at the Library of Congress. Description of the manuscript materials The initial â€Å"Sketches† of El Salon Mexico are cataloged at the Library of Congress in the Aaron Copland Collection as ARCO 28. 2. It appears that Copland began his initial sketches of in March of 1933, which is the earliest date noted on the manuscript. These sketches are in pencil, do not always follow the progression of the piece, and have large sections crossed out. They illustrate a working out of melodic material and experimentation with different meters. The â€Å"Piano Sketch† (ARCO 28-A) is dated 1934 on the front cover. The date at the end of the manuscript notes it was completed in July, 1934. The Piano Sketch is a 21page manuscript that uses between two and four staves and progresses through the piece from beginning to end. Revisions were still being made as some sections are crossed out, but then continue on sequentially with revised material. Copland wrote most of the Piano Sketch initially in pen and his original, more complex concept of the meter and beaming appear in pen. Many of the meters and beaming that appear in Leonard Bernstein’s piano arrangements appear in the Piano Sketch. There are also marks in lead and blue pencil throughout this manuscript. Many of the pencil markings indicate instruments for 51 Copland and Perlis, Copland, 247. 29 orchestration or possible changes to the choice in meter. While the pencil indications of meter do not match the meters of the final published orchestral version exactly, they are certainly less complicated than the original metric i ndications that appear in pen and are a step closer to what was published in the orchestral score. There are three orchestral manuscript scores cataloged at the Library of Congress. One is cataloged as the â€Å"Rough Orchestral Score† (ARCO 28. 3) and notes â€Å"began Aug. 9, 1934. † The manuscript is in pencil, but is incomplete and only four pages in length. The second â€Å"Full Score (Draft)† (ARCO 28. 1) is a complete draft in pencil, but has no date indicated. The final â€Å"Full Score† (ARCO 28) is complete and mostly completed in ink with some red and blue pencil marks indicating rehearsal numbers and time signatures respectively. The date on the front cover is 1936. 2 There are several arrangements and other works that are significant to the study of changes in rhythmic notation in El Salon Mexico beyond the manuscript materials. These include Bernstein’s and Hindsley’s various arrangements of the work, as well as Copland†™s 1929 and 1955 versions of the Symphonic Ode for orchestra, which is discussed later in this chapter. The table below summarizes all relevant documents in chronological order. 52 El Salon Mexico manuscripts. Aaron Copland Collection. Library of Congress. 30 Year 1929 1933 1934 1934 c. 1934 1936 1939 1941 1943 1955 1966 1972 Document name Symphonic Ode (for orchestra) Sketches El Salon Mexico Piano Sketch El Salon Mexico Rough Orchestral Score El Salon Mexico Full Score (Draft) El Salon Mexico Full Score El Salon Mexico El Salon Mexico (for orchestra) El Salon Mexico (for piano solo) El Salon Mexico (for two pianos) Revised Symphonic Ode (for orchestra) 1st Version manusciript El Salon Mexico (for band) El Salon Mexico (for band) Composer/Arranger Other information Copland withdrawn, revised in 1955 Copland ARCO 28. 2 manuscript Copland ARCO 28-A manuscript Copland ARCO 28. manuscript Copland ARCO 28. 1 manuscript Copland ARCO 28 manuscript Copland published Copland/Bernstein published Copland/Bernstein published Copland published Copland/Hindsley ARCO 28-D manuscript Copland/Hindsley published Table 2. 1: Summary of published scores and manuscripts Changes in Rhythmic Notation One of the reasons for the â€Å"rhythmic intricacies† that Copland mentioned is that he originally conceived of groupings of eighth notes in groups of twos and threes that would call for shifting irregular time signatures. 53 In the Piano Sketch these groupings occur starting on the beat. While time signatures do not appear in ink on the Piano Sketch manuscript for the measures in the figure below, the groupings and barlines appear to be the same as Leonard Bernstein’s arrangement for two pianos with the appropriate time signatures added. The one change in rhythm between the two examples is the eighth rest that appears at the end of the third measure. However, this rest does appear in the orchestral version. â€Å"Irregular† time signatures are defined for the purposes of this study as meters that have uneven groupings of eighth notes. For example, a time signature of 7/8 could have an eighth note grouping of 2+2+3. This would be defined as â€Å"irregular. † Other meters that would be included in this definition would be 5/8, 8/8, and 10/8. These irregular meters are considered â€Å"shifting† when the time signatures rapidly change from measure to measure. If a regular meter (3/4, 4/4) appears during a string of irregular meters, the term â€Å"shifting irregular meters† still applies because the effect as a whole is a succession of changes between groups of 2 and 3 eighth notes. 1 53 Figure 2. 12: Copland, ARCO 28-A (Piano Sketch), Rhythmic notation, mm. 1-3 Figure 2. 13: Copland/Bernstein, El Salon Mexico for Two Pianos, Rhythmic notation, mm. 1-3 Figure 2. 14: Copland, El Salon Mexico, Rhythmic notation, mm. 1-5 EL SALON MEXICO  © Copyright 1939 The Aaron Copland Fund for Music, Inc. Copyright Renewed. Boosey Hawkes Inc, sole agent. Reprinted by permission. As the previous examples illustrate, there were drastic changes in meter between the Piano Sketch and the final orchestral version. These kinds of alterations to meter occur throughout the orchestral version and are particularly prevalent during sections with faster tempi, which tend to be more rhythmic. In most cases, the meters are changed from shifting irregular meters to a more constant regular meter of 3/4 or 4/4. This forces rhythms that originally occurred on the beat to be played as syncopations. 32 Figure 2. 15: Copland, El Salon Mexico, mm. 124-128, Violin 1 Figure 2. 16: Copland, ARCO 28-A (Piano Sketch), Corresponding music Don’t waste time! Our writers will create an original "El Salon Mexico Copland" essay for you Create order

Essay on Radical Changes During the Roaring Twenties

The Roaring Twenties was a period of intense tension towards the numerous barriers of tradition. Unlike the gradual fluctuations in modern day society which lead tension in its wake, the 1920’s was a bombardment of radical change ranging from societal norms to economic consumption. The end of World War I led to the end of idealism, and evolving values began to escalate towards the 1920’s. The surge of immigrants allowed for greater and greater economic booms, including the use of credit and involvement in the stock market. Thus, increasing racial tensions surfaced, heightening as economic booms amplified. Such a deep shift in American culture conflicted with traditional mentalities. The rising tension between new and changing attitudes was†¦show more content†¦African-Americans trekked north in the Great Migration which further spread an increase in job opportunities and an overall rise in social status, heightening social strains between white supremacists. S uch opportunities would not have been possible without the rising economic prospect in the 1920’s. The Hoover administration began with the end of the Progressive Movement as conservatives gained power, focusing on the glorification of business. Productivity immensely increased as new industries and technology emerged such as metals, synthetics, forms of entertainment such as movies, and the radio. Forms of entertainment such as baseball games popularized the American sport as more people had leisure time to travel to watch the games. Industrialization boomed while farmers suffered the lack of demand and high surplus. Charles Lindbergh’s achievements in aero-technology exemplify such industrial accomplishments yet still expressed noble â€Å"ethics† that represent traditional values such as modesty above the desire for wealth (F). This was an ironic disparity between traditional ethics amongst booming businesses with resulting revenue, both of which Lindbergh embodied. 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The Purpose of Higher Education Free Essays

The Purpose of Higher Education Higher education is important because it aids students into finding self-awareness. Self-awareness is especially important because when people have a better understanding of themselves, they are often encouraged to build on their areas of strength, as well as identifying the areas that could use improvement. Self-awareness often leads to setting goals. We will write a custom essay sample on The Purpose of Higher Education or any similar topic only for you Order Now Setting goals can lead to success. In other words, higher education is very beneficial and helps lead to success. Education will positively affect most, if not all areas of your life. The purpose of higher education is to prepare students for a more successful future, to allow students to have more opportunities in life through a liberal education, and to instruct students on how to think more critically. What is self-awareness and why should I care? Self-awareness is the ability to perceive your own personality, feelings, character, strengths, weaknesses, thoughts, motivations etc. Why should you care about being self-aware? Self-awareness is beneficial, and the words of Brett Blumenthal, a former college student and a bestselling author who has been featured in The New York Times, â€Å"It makes us better people. † Blumenthal lists reasons why self-awareness is important, including increased empathy, admission, acceptance, tolerance level, humility, and likeability. {sheerbalance. com} These traits will not only help you gain success in education and careers, but also aid in being a better person in general. Self-awareness is more often than not taught through higher education. Higher education prepares students for a successful future. Ultimately, success is achieving popularity, profit, or uniqueness. In other words, being successful means that you are content with your life choices. If you are not content with your life choices, then you are usually not as happy as you could potentially be. Success is most likely featured on any motivated person’s list of goals. Preparation for a more successful future is an ideal purpose of higher education. Without that preparation, students lack the knowledge of knowing what steps to take next in their life. Having a higher liberal education opens individuals up to more opportunities in their life. According to The Association of American Colleges and Universities, the leading national association concerned with the quality, vitality, and public standing of undergraduate liberal education, a liberal education is â€Å"an approach to learning that empowers individuals and prepares them to deal with complexity, diversity, and change. It provides students with broad knowledge of the wider world (e. g. cience, culture, and society) as well as in-depth study in a specific area of interest. A liberal education helps students develop a sense of social responsibility, as well as strong and transferable intellectual and practical skills such as communication, analytical and problem-solving skills, and a demonstrated ability to apply knowledge and skills in real-world settings. † {The Association of American Colleges and Universities, AACU} Some jobs even require that all considered applica nts have at least an associate’s degree. Another great purpose for higher education is obtaining a liberal education. â€Å"Those more educated now tend to be significantly less religious; those more religious tend to be significantly less educated,† says Os Guinness in Fit Bodies Fat Minds. On the contrary, the more educated tend to have broader minds, where as the more religious tend to have closed minds. It is not a matter of who has more or less education, but a matter of who has the ability to be able to think critically. Critical thinking is mandatory in receiving an education. â€Å"Critical thinking is the ability to apply reasoning and logic to new or unfamiliar ideas, opinions, and situations. † {wisegeek. org} In other words, critical thinking is abstract thinking. Why is that important? Critical thinking is important because it creates a higher level of analysis and concentration. When someone is critically thinking, they are more engaged and focused than someone who is not critically thinking. Critically thinking enables broad thinking and avoids sticking to obvious explanations or reasoning. Conclusively, critical thinking is respected and looked up to by many individuals for different reasons, making learning this trait a purpose for higher education. The purpose of higher education varies for everybody. Sometimes people get a higher education for more opportunities, for the sake of self-improvement, or because they are interested in learning and excelling in a specific profession. These three purposes are some of the most important because they do not only affect you in the classroom, but they also benefit you at home, work, or while collaborating with others. Some of the most important purposes of higher education is to prepare students for a more successful future, to allow students to have more opportunities in life through a liberal education, and to instruct students on how to think more critically. Higher education should be considered essential to all. How to cite The Purpose of Higher Education, Essay examples

Parts of Lathe Machine Essay Example For Students

Parts of Lathe Machine Essay A metal lathe or metalworking lathe is a large class of lathes designed for precisely machining relatively hard materials. They were originally designed to machine metals; however, vivid the advent of plastics and other materials, and With their inherent versatility, they are used in a Wide range Of applications, and a broad range of materials. In machining jargon, where the larger context is already understood, they are usually simply called lathes, or else referred to by more-specific subtype names (toolbar lathe, turret lathe, etc. These rigid machine tools remove material from a rotating workforce via the (typically linear) movements of various cutting tools, such as tool bits and drill bits. Apron: Front part of the carriage assembly in which the carriage handheld is mounted. Carriage: The carriage consisting of three main parts, the saddle, cross-slide, and apron, is used to move the cutting tool along the lathe bed, The saddle, an H-peeped casting mounted on the top of the lat he ways, provides a means of mounting the Ross-slide and apron, Compound Slide Rest: Movable platform on which the tool post is mounted; can be set at an angle to the workforce. Also known as compound slide and compound rest. Counter Shaft: It is also called as Jack Shaft. It IS used to change the RPM of the motor. Headstock: The main casting mounted on the left end Of the bed , in Which the spindle is mounted. Houses the spindle speed change gears. Bed: The bed is a heavy, rugged casting made to support the working part of the lathe. On its top section are machined ways that guide and align the major parts of the lathe. Lead Screw: Precision screw that runs the length of the bed. Used to drive the carriage under power for turning and thread cutting operations. Smaller lead screws are used within the cross-slide and compound to move those parts by precise amounts. Saddle: A casting, shaped like an H when viewed from above, which rides along the ways. Along with the apron, its one of the two main components that make up the carriage. Tail stock: The tailcoats can be adjusted for taper or parallel turning by two screw set in the base. The tailcoats spindle can be locked in any position along the bed Of the lathe by the tailcoats clamp. The tailcoats spindle has an internal taper to receive the dead center, Which provides support for the right-hand end Of the job. The tailcoats hand wheel moves the tailcoats spindle in or out of the tailcoats casting. It can also be used to provide a hand feed for drilling and reaming operations.