Internet Governance Is The Development Media Essay

Web Governance Is The Development Media Essay Not many Internet clients will manage how an email far and wide is sent or how tapping on a hyperlink a WWW page shows up. All things considered, history information on the Internet and basic innovation is of huge incentive to the individuals who need to mediate in controlling the Internet. This is on the grounds that the Internet is solid because of the fast turn of events and it varies from other existing types of media. The hazardous development of the Internet, be that as it may, with its numerous specialized advancements and worldwide arrive at was not really an equal adjustment of the distinctive state rules. The advancement of the Internet was related with a formerly unrivaled normalization process. Web administration is the advancement andâ applicationâ by governments, the private area and common society, in their separate jobs, of shared standards, standards, rules, dynamic methods, and projects that shape the development and utilization of the Internet. The web has permitted the total populace to communicate just as their musings and thoughts and correspondence has never been so open. With the capacity to run a global firm every minute of every day because of data went through messages, wikis, and so on. Furthermore, the openness of current issues refreshes as and when they happen empowers most of the world to connect like never before previously. Considering, an investigation has indicated that there is a lot of more youthful clients inside the UK that utilization the web day by day. Furthermore, for each age section that it builds, the every day use diminishes. This shows over the long haul the clients will keep on developing just as the aptitudes and information identified with the web. So as to oversee the web on a worldwide scale, there should be consistent change and modifications to the administering bodies so as to adjust to the expanding liberal perspectives on the more youthful ages. Administration of the web, similarly as with the system itself, is something that will be constantly of significance. For its overseeing to keep at a comparative pace of progress to the framework, the administering bodies need to settle on the regions of issues which are generally significant. This would be best dictated by thinking about what zones are building up the snappiest inside the web stage. This exposition will thoroughly analyze the distinction among East and West thoughts and whether there will ever be an administering body that has unlimited oversight of the web and if there will ever be a worldwide comprehension comparable to the openness of everything. GO WEST The right to speak freely of discourse The web is an open way to communicate assessments, considerations, thoughts and convictions. The issue with administering this is everybody has various perspectives on what ought to and shouldnt be permitted. Interpersonal interaction is a fundamental way that online clients can openly voice themselves and with the quantity of clients utilizing this stage as an approach to convey, talking the circumstance of what is and isnt acknowledged around the world. As referenced already, this is difficult to screen because of individuals associating with one another all inclusive and refreshing others on their life. Interpersonal interaction and different methods of cross outskirt inflows make it difficult to oversee this. As of not long ago, the administration of the Internet is to a great extent ward of the U.S. organization Internet Corporation for Assigned Names and Numbers (ICANN), which decides, for instance, the endings of such locations Com and sorted out connecting critical web addresses with intelligible PC numerical codes. The U.S. needs to keep on overseeing Internet addresses, while others incline toward this assignment the United Nations or some other body without further ado before the beginning of an UN gathering on the data society isn't an answer for the stewing strife for a considerable length of time over control of the Internet in sight. The European Union might want to locate the center ground at the World Summit on the Information Society (WSIS). Be that as it may, notwithstanding developing protection from the U.S. eyewitnesses see minimal possibility of this event. Established in 1998, ICANN is situated in California and is heavily influenced by the U.S. Division of Commerce. In spite of past desires, the U.S. government has as of late reported its expectation to hold this control later on. It is a non-administrative association in the organization, architects, researchers and basic Internet clients are spoken to and which will assist with explaining the hierarchical and specialized issues. ICANN will choose sooner rather than later including the presentation of new location spaces as an enhancement. Before ICANN, the U.S. government controlled for all intents and purposes alone alongside contracted organizations or volunteers to compose the worldwide PC arrange. The U.S. predominance was in accordance with the causes of the Internet as an exploration and training system specifically in U.S. colleges, however insufficient in the period of worldwide extension of the system and has been viewed as basic in numerous nations. The European Union backings itself an UN proposition giving a global administration of the Internet, so the World Wide Web will be just and straightforward association. The United States considers the control undermined by a worldwide body and in this manner an understanding shows up far-fetched. It was referenced by the U.S. assignment head at the ongoing World Summit that it would be better not to reach an understanding than to end with a terrible one. Digital CRIME Sadly, ICANN is regularly observed as an operator of the US legislature of which the capacities would effortlessly have the option to be accomplished by an UN body. The issue of varieties in web utilization overall arent tended to by the body nor does it structure specialized guidelines for the web. ICANN positively has its constraints. The year 2012 has demonstrated one thing with respect to cybercrime; not just powerless passwords can be split effectively, even very much made sure about records are undependable from programmers. New safety efforts are earnestly required so as to attempt to make the information put online safe. To condemn the administering body moreover, ICANN doesnt manage any web content; regardless of whether that might be sex entertainment, spam or cybercrime. For the way that there arent any administering bodies for a worldwide security for cybercrime, there ought to be no dependence on site pages and passwords leaving well enough alone. It is at present prescribed to utilize various passwords so as to limit such dangers that on the off chance that a programmer had the option to get to something, at that point there wouldnt be a method of getting to something different. The year 2012 repudiated to a great extent on huge information bank burglaries simply like the Playstation Network-breakdown of 2011. There were 6.5 million taken passwords from LinkedIn, followed intently by 1.5 million taken passwords from eHarmony, 450,000 taken data for logins from Yahoo Voice, and heaps of information taken from different sources as well. Dropbox had issues in 2012 with respect to spam. Dropbox clients were out of nowhere sent a huge whole of spam messages and it was just when the issue was investigated that they discovered that it was expected to hacking into a record. The programmers had figured out how to get to one of the representatives accounts and thusly accessed an archive containing many email locations of the clients. In spite of the fact that there was negligible harm, if there was administration set up, this kind of issue wouldnt have happened. Theft Look East The right to speak freely of discourse China In spite of the fact that the right to speak freely of discourse is available through the web gateway, China and other socialist nations uphold decides inside the nations that just permit the populace to see certain sites. China manufactured the Great Wall of China to keep the spot secure, yet in addition to ward impacts off. China currently utilizes oversight and web separating as an approach to do likewise through data. This is known as the Great Firewall of China. Typically, a firewall will shield your PC from pernicious sites or projects, though in China it works the other way around. An entire nation is cut off by the Great Firewall of significant data, just as of free detailing of social networks, where a free trade of thoughts is conceivable. The nation is associated by a solitary hub in Shanghai with the World Wide Web, and there are server farms set up by the Communist government to screen all traffic. What doesn't fit with the measures set up is sifted through. The Chinese government requires its 500 million Internet clients to enlist with their genuine names. Another law expresses that they should distinguish themselves to the Internet specialist organizations and this new guideline serves the more noteworthy security of private data and the defending of open interests. Just as this insurance against outcasts, the Chinese government even make their own foundation of person to person communication, for example, Weibo (Chinese form of Twitter), so as to permit the Chinese populace to communicate yet at the same time be observed. By keeping these types of stages to a littler scope it implies that it very well may be effectively controlled, yet there are sure points that are not permitted to be voiced in any event, when they are confined to the nation. Russia In Russia, there is a law that came into power, which guarantees that the Internet specialist organization squares future sites and substance that is as of now accessible. Before it was placed vigorously there had been a lot of analysis, the Russian Wikipedia fought with a 24-hour strike before the reception of the law, yet without progress. In any case, the law gives another, increasingly significant change with it, which is the usage of utilizing an innovation that makes it conceivable to screen the whole Internet traffic, inhabitants of Russia clients, perpetual and robotized E-sends, site sees, visits. This permits the entirety of the specialists to keep on recording with insignificant exertion or even control. The standard of Internet restriction for Russian specialists is the same old thing like with a significant number of the Eastern piece of the world. This permits the legislature to even now direct wha

Battle of Loos in World War I

Clash of Loos in World War I The Battle of Loos was battled September 25-October 14, 1915, during World War I (1914-1918). Trying to end channel fighting and resume a war of development, British and French powers arranged joint offensives in Artois and Champagne for late 1915. Assaulting on September 25, the attack denoted the first occasion when that the British Army sent toxin gas in enormous amounts. Enduring about three weeks, the Battle of Loos saw the British make a few gains yet at an incredibly significant expense. At the point when the battling finished in mid-October, British misfortunes were around twice those endured by the Germans. Foundation Notwithstanding overwhelming battling in the spring of 1915, the Western Front remained to a great extent stale as Allied endeavors in Artois fizzled and the German ambush at the Second Battle of Ypres was turned around. Moving his concentrate east, German Chief of Staff Erich von Falkenhayn gave orders for the development of protections inside and out along the Western Front. This prompted the formation of a three-mile arrangement of channels moored by a bleeding edge and second line. As fortifications showed up through the mid year, the Allied authorities started making arrangements for future activity. Revamping as extra soldiers opened up, the British before long assumed control over the front as far south as the Somme. As troops were moved, General Joseph Joffre, the general French authority, tried to reestablish the hostile in Artois throughout the fall alongside an attack in Champagne. For what might get known as the Third Battle of Artois, the French planned to strike around Souchez while the British were mentioned to assault Loos. Duty regarding the British attack tumbled to General Sir Douglas Haigs First Army. In spite of the fact that Joffre was anxious for an attack in the Loos territory, Haig felt the ground was horrible (Map). The British Plan Communicating these worries and others with respect to an absence of overwhelming weapons and shells to Field Marshal Sir John French, administrator of the British Expeditionary Force, Haig was viably rebuked as the legislative issues of the collusion necessitated that the ambush continue. Hesitantly pushing ahead, he proposed to assault along a six division front in the hole among Loos and the La Bassee Canal. The underlying ambush was to be directed by three customary divisions (first, second, seventh), two as of late raised New Army divisions (ninth fifteenth Scottish), and a Territorial division (47th), just as to be gone before by a four-day assault. <img information srcset=https://www.thoughtco.com/thmb/Llr2yF0O-fZQX4UNpf7zrBFhfSs=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/sir-john-french-56a61bf83df78cf7728b628c.jpg 300w, https://www.thoughtco.com/thmb/FCXz26ZAzZPV_Iej9Ebvsl_jtXM=/852x0/filters:no_upscale():max_bytes(150000):strip_icc()/sir-john-french-56a61bf83df78cf7728b628c.jpg 852w, https://www.thoughtco.com/thmb/rjW9LnxB2qvnULSI44WMa7gz7iM=/1404x0/filters:no_upscale():max_bytes(150000):strip_icc()/sir-john-french-56a61bf83df78cf7728b628c.jpg 1404w, https://www.thoughtco.com/thmb/vRsXrokJYN9C3EKgOndUji5Kggs=/2508x0/filters:no_upscale():max_bytes(150000):strip_icc()/sir-john-french-56a61bf83df78cf7728b628c.jpg 2508w information src=https://www.thoughtco.com/thmb/u09q4oLJzWNdxkgGtW75aKeRK_4=/2508x1920/filters:no_upscale():max_bytes(150000):strip_icc()/sir-john-french-56a61bf83df78cf7728b628c.jpg src=//:0 alt=sir-john-french.jpg class=lazyload information click-tracked=true information img-lightbox=true information expand=300 id=mntl-sc-square image_1-0-10 information following container=true /> Field Marshal Sir John French. Photo Source: Public Domain When a break was opened in the German lines, the 21st and 24th Divisions (both New Army) and mounted force would be sent in to misuse the opening and assault the second line of German guards. While Haig needed these divisions discharged and accessible for sure fire use, French declined expressing they would not be required until the second day of the fight. As a major aspect of the underlying assault, Haig proposed to discharge 5,100 chambers of chlorine gas towards the German lines. On September 21, the British started a four-day starter siege of the ambush zone. Clash of Loos Strife: World War I (1914-1918)Dates: September 25-October 8, 1915Armies and Commanders:BritishField Marshal Sir John FrenchGeneral Sir Douglas Haig6 divisionsGermansCrown Prince RupprechtSixth ArmyCasualties:British: 59,247Germans: around 26,000 The Attack Begins Around 5:50 a.m. on September 25, the chlorine gas was discharged and after forty minutes the British infantry started progressing. Leaving their channels, the British found that the gas had not been successful and huge mists waited between the lines. Because of the low quality of British gas veils and breathing challenges, the assailants endured 2,632 gas losses (7 passings) as they pushed ahead. Regardless of this early disappointment, the British had the option to make progress in the south and immediately caught the town of Loos before proceeding towards Lens. In different regions, the development was more slow as the powerless primer siege had neglected to clear the German spiked metal or genuinely harm the protectors. Subsequently, misfortunes mounted as German big guns and automatic weapons chop down the aggressors. Toward the north of Loos, components of the seventh and ninth Scottish prevailing with regards to breaking the considerable Hohenzollern Redoubt. With his soldiers gaining ground, Haig mentioned that the 21st and 24th Divisions be discharged for sure fire use. French conceded this solicitation and the two divisions started moving from their positions six miles behind the lines. Carcass Field of Loos Travel delays forestalled the 21st and 24th from arriving at the war zone until that night. Extra development issues implied that they were not in position to ambush the second line of German protections until the evening of the September 26. Meanwhile, the Germans hustled fortifications to the region, reinforcing their resistances and mounting counterattacks against the British. Framing into ten attack sections, the 21st and 24th astonished the Germans when they started progressing without cannons spread on the evening of the 26th. <img information srcset=https://www.thoughtco.com/thmb/CjHkCqXCucZ_UjeeO8Cw61sQlPY=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/157841_slice-2aa79563e4fd43daa096167e8083cc40.jpg 300w, https://www.thoughtco.com/thmb/xAtWno3xJ4v8Nj4-VvX4gAsCGYo=/417x0/filters:no_upscale():max_bytes(150000):strip_icc()/157841_slice-2aa79563e4fd43daa096167e8083cc40.jpg 417w, https://www.thoughtco.com/thmb/lsr7oDuPQQ-6_N4DYuIJ3hUyp8w=/534x0/filters:no_upscale():max_bytes(150000):strip_icc()/157841_slice-2aa79563e4fd43daa096167e8083cc40.jpg 534w, https://www.thoughtco.com/thmb/uq2xArUiUk1rLC6roMabep8qsoM=/768x0/filters:no_upscale():max_bytes(150000):strip_icc()/157841_slice-2aa79563e4fd43daa096167e8083cc40.jpg 768w information src=https://www.thoughtco.com/thmb/6A48wRN5Xbb5beN7lUrlgolE3KM=/768x384/filters:no_upscale():max_bytes(150000):strip_icc()/157841_slice-2aa79563e4fd43daa096167e8083cc40.jpg src=//:0 alt=Gas over the Loos front line, 1915. class=lazyload information click-tracked=true information img-lightbox=true information expand=300 id=mntl-sc-square image_1-0-22 information following container=true /> Gas assault on the Hohenzollern Redoubt, October 1915. Open Domain To a great extent unaffected by the prior battling and bombardments, the German second line opened with a dangerous blend of automatic weapon and rifle shoot. Chop down by the thousand, the two new divisions lost over half of their quality very quickly. Alarmed at the foe misfortunes, the Germans stopped fire and permitted the British survivors to withdraw left alone. Throughout the following a few days, battling proceeded with an emphasis on the region around the Hohenzollern Redoubt. By October 3, the Germans had re-taken a great part of the fortress. On October 8, the Germans propelled an enormous counterattack against the Loos position. This was to a great extent vanquished by decided British obstruction. Subsequently, the counter-hostile was stopped that night. Looking to solidify the Hohenzollern Redoubt position, the British arranged a significant assault for October 13. Gone before by another gas assault, the exertion generally neglected to accomplish its destinations. With this mishap, significant activities stopped however irregular battling proceeded in the region which saw the Germans recover the Hohenzollern Redoubt. Repercussions The Battle of Loos saw the British make minor gains in return for around 50,000 setbacks. German misfortunes are evaluated at around 25,000. Despite the fact that some ground had been picked up, the battling at Loos demonstrated a disappointment as the British couldn't get through the German lines. French powers somewhere else in Artois and Champagne met a comparable destiny. The misfortune at Loos added to the ruin of French as leader of the BEF. A powerlessness to work with the French and dynamic politicking by his officials prompted his expulsion and supplanting with Haig in December 1915.

Credit Ratings Role In The Financial Crisis - Free Essay Example

The global financial systemà ¢Ã¢â€š ¬Ã¢â€ž ¢s institutional framework has been evolving over time.Every crisis has helped decipher a gap in the financial structure which is then fixed by the regulating authorities.It hasnà ¢Ã¢â€š ¬Ã¢â€ž ¢t been very often that the regulators were able to identify the gaps before the market identified it.This does not serve the purpose of existence of regulatory authorities.In future the role of regulatory authorities should be pro active in nature rather than reactive mode of undertaking corrective actions. The subprime crisis which originated in the united states led to a global melt down which was severe.The mortgage market in the United States saw a tremendous growth in the initial years of the 21st century. Subprime borrowers started obtaining mortgages due to availability of cheap credit, lenient lending practices and appreciation in real estate values. These mortgages were inturn sold by the lenders to investment banks who packaged them into exotic securities and sold them to high risk taking investors seeking high returns. Investors had faith in these packaged securities primarily because of Credit Rating Agenciesà ¢Ã¢â€š ¬Ã¢â€ž ¢ (CRA) ratings of these securities as à ¢Ã¢â€š ¬Ã…“investment gradeà ¢Ã¢â€š ¬?. In 2007, the tide turned and credit became expensive. Home values dropped. Majority of the subprime buyers started defaulting their loan payments. The CRAs rapidly downgraded all the securities for which they had given favourable ratings. This dissertation is undertaken to understand the emergence of structured financial products, the rating process followed by the credit rating agencies for rating them and the mistakes done by the rating agencies, a major contributor to the subprime mess in the United States which had ripple effect across financial markets all over the world. Literature Review: The following research papers and articles have been referred and reviewed in order to gain indepth knowledge about the work done about the dissertation topic under consideration. This would facilitate a clear understanding of different view points to the issue and enable a comprehensive analysis of the topic. According to V.Gupta,R.K.Mittal K.Bhalla (2010),low interest rates ,abundant liquidity and a chase for yield led to the emergence of sub prime lending which was given undue support by the credit rating agencies. Credit rating agencies gave investment grade ratings to securitization transactions based on subprime mortgage loans.The CRAs combined lower rated mortgage loans with equity to form mezzanine CDO enabling a higher credit rating . Also CRAs used the same risk metric for assessment of all instruments. The CRAs assigned supersafe, triple-A ratings to structured products that later turned out to be extremely risky, and in some cases worthless. This has been illustrated with few examples of downgrades.The paper concludes that The regulatory framework should also facilitate the conduct of stress tests by users on key model parameters, and provide for the disclosure by credit rating agencies of the economic assumptions underlying their rating of structured products. According to Katz and Salinas (2009), faulty credit ratings and the flawed rating process have been the key drivers to the financial crisis 2007-2008. While the easy availability of (what turned out to be flawed) ratings fueled the growth of thismarket, the subsequent downgrades in ratings accelerated the marketà ¢Ã¢â€š ¬Ã¢â€ž ¢s collapse.The paper suggests that While corporate debt ratings are based on publicly available, audited financial statements, structured debt ratings are based on nonpublic, nonstandard, unaudited information supplied by the originator or nominal issuer. Moreover, rating agencies had no obligation to perform due diligence to assess the accuracy of the information and often relied on representations and warranties from the issuers about the quality of the data, which later proved to be inadequate. The researchers note that the credit rating agencies have always been slow to react to market events and a few examples have been quoted.Few measures suggested by t he researchers include managing conflict of interest, better transparency, direct government oversight etc. According to Fender and Kiff (2004) , rating od collateralised debt obligations involves assumptions such as default probability, recovery rates and correlated defaults of pool assets. The research paper analyses one of the rating methodologies used which is termed as Binomial Expansion Technique.A comparative analysis of this method and Monte corlo Simulation is done. The paper elaborates the implications of usage of different techniques on the rating outcomes. It finally discusses how methodological differences might induce issuers to strategically select rating agencies to get CDOS rated. According to Barnett- Hart(2009), Collateralized debt obligations (CDOs) have been responsible for $542 billion in write-downs at financial institutions since the beginning of the credit crisis.The poor CDO performance has been attributed to inclusion of low quality collateral with exposure to U.S residential housing market.The role of CDO underwriters and credit rating agencies in the crisis have been discussed. The credit rating agencies failed to rate the performance of CDOS precisely due to over automation in rating methodologies and heavy reliance on input whose accuracy was not verified. The researcher concludes that by understanding the CDO market meltdown story more effective regulatory and economic policies and practices to prevent history from repeating itself in the future. According to Securities and Exchange commission(2008), few observations about credit rating agencies with respect to CDOS have been made.SEC claims that few credit rating agencies could not deal with the substantial increase in the number and complexity of the CDOS since 2002. Rating agencies failed to document significant steps in rating of CDOS including reasons behind deviation from the models. Also the internal audit procedure of rating agencies varied significantly.The report summarises the remedial actions that the Nationally Recognised Statistical Rating Organisations(NRSRO) would take after the SEC examined them and came up with issues to be looked into. Under the new law and rules, NRSROs are required to make certain public disclosures, make and retain certain records, furnish certain financial reports to the Commission, establish procedures to manage the handling of material non-public information and disclose and manage conflicts of interest. The Commissionà ¢Ã¢â€š ¬Ã¢â€ž ¢s rules additionally prohibit an NRSRO from having certain conflicts of interest and engaging in certain unfair, abusive, or coercive practices. According to Partnoy (2008), Credit rating agencies have been the primary drivers of second level securitisation.Investors did not examine the underlying assets and depended on parameters set by rating agencies to assess the CDOS. If the Credit rating agencies had used reasonable and accurate models and assumptions , the CDO transactions would not have been problematic. The paper suggests some policy prescriptions which include elimination of explicit reliance on credit ratings and the claims made by rating agencies that the ratings are mere opinions should not be accepted any longer. The researcher suggests that rolling average of market measures is a much better representation of the instrument than the unchanged credit rating .Credit default swap spreads would provide a warning about the CDOs and their true performance in the market. According to M.K.Datar(2011), the role of CRAs in the crisis has attracted attention basically owing to the severe downgrades during the initial stages of the crisis. The conflict of interest in the payment model has been discussed and the author suggests that investor pay model should be adopted as the issuer pay model creates a bias as rating agencies might be prone to give good ratings because the issuers are paying for it.An alternative platform pay model has been suggested in the paper wherein an issuer approaches a clearing house (platform) with a preset fee to get a rating. The platform would get the ratings done from a pool of recognised CRAs. This process avoids direct contact between the issuer and the rating agency.The paper concludes that better disclosures by CRAs and their subsidiaries in respect of details of earning from rating and non-rating revenues, default and transition statistics would play a key role in improved governance in CRAs. Problem Definition: The dissertation work is undertaken to understand the reasons behind the emergence of the subprime crisis in late 2000s and the role of credit rating agencies in the crisis.The study is divided into two parts studying the pre crisis and post crisis situations and analysing the change in credit ratings of various complex instruments in response to the crisis. The objectives are briefly stated as below: Understand the evolution of structured financial products Understand the causes of subprime crisis Study the credit rating process for CDOS Study the factors that drove the rapid downgrade of CDOs in the initial meltdown stages Analyse the flaws in the rating process which led to failure in forecasting true performance. Suggestions and corrective action for facilitating accuracy in credit ratings of complex products. Research methodology: Research Design: The method adopted for research is causal research wherein the problem in question is understood and the degree of impact of the cause on the effect under study is analysed. The financial crisis that began in 2007 is studied and the contribution of credit ratings to the crisis is analysed. Credit ratings serve as the control group in this research. Finally suggestions for improvement in credit ratings and measures to be taken are proposed. Methods and Techniques of data collection and analysis: To achieve the research objectives, secondary data from reliable sources are being used. Thorough study of the existing literature is being done to understand different ideas and view points on the topic which would facilitate a comprehensive analysis of the issue. Methodology adopted for rating complex products by leading credit rating agencies has been studied in detail which includes statistical tools and financial models. Data sources: Data is being obtained from various secondary data sources for study and analysis. The major sources used for research are as follows: Credit Rating Agencies websites and reports Banking for International Settlements(BIS) working papers and reports Securities and Exchange Commission reports Journals and papers published on Credit ratings contribution to the Crisis. DRIVERS TO EMERGENCE OF FINANCIAL CRISIS 2007-2008: The financial crisis was fuelled right from the early 2000s through various factors , the most important of which is sub-prime lending. This inturn led to construction of CDOs at a later stage in order to transfer the concentrated risk of banks to the investors . Hence it is vital to get a clear idea about the emergence of sub prime lending and evolution of CDOs . Sub-Prime lending: The sub-prime mortgage market caters to customers who are unable to meet normal credit and/or documentation requirements for mortgages. Subprime lending is riskier than normal lending for the banks. Hence banks tend to charge a higher interest rate to compensate for the risk. Over the past decade, this mark-up over prime rates has been about 2%, making lending potentially very lucrative. Only by the mid-1990à ¢Ã¢â€š ¬Ã¢â€ž ¢s did the subprime mortgage market begin to take off as a number of factors emerged which apparently mitigated the default risk on such loans and hence led to an increasing number of banks lending ever-larger amounts to this sector. Some important factors which contributed to a boom in subprime lending are discussed below. Introduction to Sub Prime Lending: Evolution of Structured Financial Products: Collateralised debt obligations have been one of the complex financial products which have been instrumental in driving the financial system into a crisis. The evolution of CDOs needs to be understood in order to study the emergence of the financial crisis. The basic principle behind a CDO involves re-packaging of fixed income securities and division of their cash flows according to a specified structure. A CDO is constructed by creating a à ¢Ã¢â€š ¬Ã…“brain-deadà ¢Ã¢â€š ¬? company, a special purpose entity (SPE) or structured investment vehicle (SIV), which buys assets and issues bonds backed by the assetsà ¢Ã¢â€š ¬Ã¢â€ž ¢ cash flows. The bonds are divided into a number of tranches with different claims on the principal and interest generated by the CDOà ¢Ã¢â€š ¬Ã¢â€ž ¢s assets. The mechanics of a typical CDO are illustrated in Diagram A.[1] In order to understand the sudden growth in the demand for CDOs which in turn led to the financial crisis , it is vital to list out the reasons behind the growth of CDOs which are as below. Rationale behind growth of CDOs: Securitisation has been a way that helped banks to bundle loans and sell it to investors or make it off-balance sheet items .Once these items are removed from the balance sheet the capital adequacy gets more space and hence banks make new loans and the process continues. This basically facilitates banks to free up cash and easily meet BASEL norms for capital adequacy. The second rationale is re-allocation of risk.CDOs helps banks reduce the concentration of risk and also create securities as per specific requirements and risk profiles of the investors. This facilitated institutional investors to purchase CDOs as they can invest only in highly rated à ¢Ã¢â€š ¬Ã…“ investment grade securitiesà ¢Ã¢â€š ¬?. CDOs allowed these investors to gain exposure to assets that, on their own, had been too risky, while investors looking to take more risk and receive potentially higher returns could buy the most junior or à ¢Ã¢â€š ¬Ã…“equityà ¢Ã¢â€š ¬? CDO tranches.[2] These are the major reasons behind growth of CDOs . Banks only thought of their own benefits and growth and the aftermath of this action was left to the market to face in reality few years down the lane . The consequences of this act of the highly knowledgeable financial community has been faced by people across the globe. Credit Ratings and CDOs: An overview Investors invest in securities based on various criteria one such being reliable ratings given by well known credit rating agencies. Credit rating agencies(CRA) were basically formed to guide investors assess risk of fixed income securities. CRAs have played a major role in the growth of CDOs market as investors relied on the ratings given to these complex structures and based their investments majorly on these credit ratings. They used credit ratings in place of their due diligence for assessment of CDOs. Credit rating agencies are approved by Nationally recognised Statistical rating organisation(NRSRO) . There are three well known players in the U.S financial market which are Moodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s Fitch Standard and Poorà ¢Ã¢â€š ¬Ã¢â€ž ¢s These three agencies rated CDOs and the fees generated by rating CDOs were quite high which led to record profits . The percentage of CDO deals that were rated by the credit rating agencies has been given in the below diagram. Source: UBS CDO research Note: The percentage total exceeds 100 as the same instruments have been rated by more than one agency. Revenue earned by the rating agencies has grown since 2002 which has been depicted in the diagram below: Source:thismatter.com/money According to Mark Adelson, current Chief Credit Officer at SP: à ¢Ã¢â€š ¬Ã…“ The advent of CDOs in the mid-1980s was a watershed event for the evolution of rating definitions. Until the first CDOs, rating agencies were only producers of ratings; they were not consumers. With the arrival of CDOs, rating agencies made use of their previous ratings as ingredients for making new ratings à ¢Ã¢â€š ¬Ã¢â‚¬Å" they had to eat their own cooking. For rating CDOs, the agencies used ratings as the primary basis for ascribing mathematical properties (e.g., default probabilities or expected losses) to bonds.[3]à ¢Ã¢â€š ¬? Credit rating agencies failed to examine the accuracy of the prior collateral ratings. They also used other rating agencies ratings as base for rating CDOS without verifying accuracy.To adjust for the shortcomings in other agenciesà ¢Ã¢â€š ¬Ã¢â€ž ¢ ratings they used a system called notching where the rating would be decreased by one notch if the rating has been done by another rating agency. For example , if Moodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s is rating a CDO which has a collateral rated BB+ by Fitch , Moodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s would consider the rating as BB and plug it into their rating model. No analysis of accuracy had been done and it would be assumed that the notching would compensate for any errors in the rating done by Fitch. Figure below illustrates a comparison between the collateral ratings and the corresponding CDO ratings at the beginning and also the current scenario. This shows that the CRAs somehow gave huge amounts of AAA rated CDO securities from collateral with much lower ratings, reassuring the fact that that main reason why CDOs were so profitable in 2005-2007 is that it was possible to generate a high proportion of highly rated securities from lower quality assets. That practice backfired, resulting in massive downgrades of the CDO tranches as it became apparent that the rating agencies had been overly optimistic. While in 2005-2007, the initial ratings given to CDO tranches were on average better than the ratings of their underlying collateral assets, current CDO tranche ratings are worse than their associated collateral pool ratings which is an area that needs attention. The following figure shows the downgrades of CDOs over the years. The numbers on the y-axis correspond to the rating scale with lower numbers equal to higher-quality ratings (1=AAA, 22=D). An overview about the credit ratings and CDOs has been done. The following section elaborates the rating methodologies adopted by the rating agencies which have different variables considered for the purpose of rating the complex financial instruments and the assumptions behind them. CDO Rating Methodology: CDOs are based on portfolios of instruments combined together and not on a single loan. Rating these complex structures requires ascertaining a probability of default (PD) to each instrument in the portfolio and involves assumptions relating to recovery rates and default correlations. Thus it combines credit risk assessments of the individual assets and estimates about default correlations using credit risk modelling. There are two widely used methodologies for rating CDOs namely Binomial expansion technique Monte Carlo Simulation Each method is discussed initially and then a comparison is done between the techniques and their impact on the ratings. Steps in the Rating Process: The reliability of a CDO rating depends on the agencyà ¢Ã¢â€š ¬Ã¢â€ž ¢s ability to assess the credit risk in the underlying asset pool and accurate modelling of the distribution of cash flows from the asset pool to different groups. All rating agencies generally follow a two stage rating process. In the first stage, analytical models are used to assess credit risk. The tools applied for analysing CDO pools differ according to the nature of underlying assets and are also based on the rating agencies. The second stage of the process comprises of structural analysis. This stage involves detailed modelling of cash flows, legal assessments and evaluations of third parties involved in the deal such as asset managers. The results of the cash flow analysis are used as input in the credit model in the form of adjustments in particular model assumptions. Finally, all information is aggregated and combined into a single, alphanumeric rating which is benchmarked to the historical performance of bonds. RATING METHODOLOGIES: The famous CDO rating methodology is based on Moodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s quantitative approach for determining expected losses for CDO tranches which is called the binomial expansion technique (BET). BET was introduced in the year 1996 and is still used in CDO analysis along with a number of other new methodologies. The method relies on the use of à ¢Ã¢â€š ¬Ã…“diversity scoreà ¢Ã¢â€š ¬? (DS) which is used to map the underlying CDO portfolio with a hypothetical portfolio that consists of homogeneous assets equal to the diversity score. For calculating expected loss distributions a simpler hypothetical portfolio of homogeneous, uncorrelated securities is used in place of the original portfolio. As the number of assets in the hypothetical pool is assumed to equal the diversity score, it will be lower than the number of assets in the actual CDO portfolio to account for uncorrelatedness under the BET. Given the homogeneous nature of the hypothetical portfolio, the behaviour of the asset pool can be explained by DS+1 default scenarios with default occurring for 0 assets, 1 asset, DS assets, where the probability of each scenario is calculated using the binomial formula. After working out the cash flows and losses under each default scenario, the obtained output from the binomial distribution are converted into estimates of the portfolio and tranche loss distributions. An alternative method that is used in by three major rating agencies is Monte Carlo simulation technique which estimates the default properties of the underlying CDO asset pool based on repeated trials of random defaults with correlation structure that is assumed. In this process, default events are simulated within a credit risk model, where default occurs when the value of assets fall below that of its liabilities. The modelà ¢Ã¢â€š ¬Ã¢â€ž ¢s main inputs are asset-level probabilities of default and pair-wise correlations of assets, which are converted into an estimate of the entire poolà ¢Ã¢â€š ¬Ã¢â€ž ¢s loss distribution. This distribution is used with other inputs, to determine the required subordination level (level of credit enhancement) for each CDO tranche, where desired tranche ratings are assumed constant or given.MC approaches give more accurate loss distribution estimates, they are computer intensive and take a long time to provide accurate results. Especially for cash flow CDOs it is very difficult to construct an efficient MC simulation that accounts for all cash flow nuances .Sometimes it takes hours for an MC simulation to determine the subordination level for an AAA tranche and this can be complicated when further assumptions are made. In managed portfolios, the relative value of the simulation approachà ¢Ã¢â€š ¬Ã¢â€ž ¢s asset-by-asset analysis is less while some of the BETà ¢Ã¢â€š ¬Ã¢â€ž ¢s implicit simplifying assumptions (like equal position sizes) closely resemble typical covenants in managed deals. The choice of rating methodology basically considers a trade-off between accuracy and efficiency, and the result may differ for certain types of CDO structures. This is one of the reasons for Moodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s to introduce a new Monte Carlo simulation-based method called CDOROM to rate static synthetic CDOs, while it continues to use the BET and its modifications for rating cash CDOs and managed structures.

Alice Walker Essay - 1482 Words

Best known for her Pulitzer Prize-winning novel The Color Purple, Alice Walker portrays black women struggling for sexual as well as racial equality and emerging as strong, creative individuals. Walker was born on February 9, 1944, in Eatonton, Georgia, the eighth child of Willie Lee and Minnie Grant Walker. When Walker was eight, her right eye was injured by one of her brothers, resulting in permanent damage to her eye and facial disfigurement that isolated her as a child. This is where her feminine point of view first emerged in a household where girls were forced to do the domestic chores unaided by the brothers. Throughout her writing career, Alice Walker has been involved in the black movement and displays strong feelings towards†¦show more content†¦amp;#9;Walker is very much of a feminist, which is demonstrated by the previous quote. According to David Bradley of The New York Times, amp;quot;She coined the term amp;quot;womanistamp;quot; which she used to describe the Black women’s issues that are at the heart of so much of her workamp;quot;(1984). One of the major themes that she had incorporated within several of her writings was the difference between black and white authors, along with the Women’s Movement. She contemplated the fact that black women had been suppressed for so long that they would never know what kind of great artists they may have lost during all the times while there was slavery. This is what the short story amp;quot;In Search of Our Mother’s Gardensamp;quot; discusses. The title has a special meaning because Walker is referring to her own mother. In this work, she discusses all the talents of older black women writers such as Phyllis Wheatley and Zora Neal Hurston. What she is referring to in the title is her own mother’s talent in art and gardening. She talks about how well known her mother was for her gardening skills that even strangers would stop and admire her handiwork. She points out the fact that it was so beautiful that her childhood, which was filled with poverty and sadness, was made a little more bearable because of it. When she thinks back on it, all she remembers is the beautiful neighborhood, and hasShow MoreRelatedMeridian, by Alice Walker874 Words   |  4 PagesThe women of the late sixties, although some are older than others, in Alice Walker’s fiction that exhibit the qualities of the developing, emergent model are g reatly influenced through the era of the Civil Rights Movement. Motherhood is a major theme in modern women’s literature, which examines as a sacred, powerful, and spiritual component of the woman’s life. Alice Walker does not choose Southern black women to be her major protagonists only because she is one, but because she had discoveredRead MoreThe Color Purple by Alice Walker675 Words   |  3 Pagesthe world exist for their own reasons. They were not made for humans any more than black people were made for white, or women created for men.† Straight from the mouth of Alice Walker this quote was spoken in order to point out that fact that none of God’s creatures were put on this Earth to be someone else’s property. Alice Walker is an African-American novelist and poet who took part in the 1960’s civil rights movement in Mississippi. Walkers creative vision was sparked by the financial sufferingRead MoreThe Color Purple By Alice Walker1444 Words   |  6 PagesNicholas English Mrs. Kennedy English III 18 October 2014 RadaRada Alice Walker Alice Walker as a writer, artist, short story author, dissident and women s activist has constructed a well-known notoriety around the world. Her exceptionally acclaimed novel The Color Purple turned out in 1982, won her a Pulitzer Prize in 1983 and the American Book Award, the first African American lady to win these two grants. (Alice) Everyday Use is one of her famous and grand short stories in which she addressesRead MoreThe Color Purple by Alice Walker926 Words   |  4 PagesThe award-winning novel, â€Å"The Color Purple† by Alice Walker, is a story about a woman going through cruel things such as: incest, rape, and physical abuse. This greatly written novel comes from a very active feminist author who used many of her own experiences, as well as things that were happening during that era, in her writing. â€Å"The Color Purple† takes place in the early 1900s, and symbolizes the economic, emotional, and social deprivation that African American women faced in Sou thern statesRead MoreThe Color Purple By Alice Walker1540 Words   |  7 Pages Alice Walker is an award winning   author, most famously recognized for her novel   The Color Purple ;aside from being a novelist Walker is also a poet,essayist and activist .Her writing explores various social aspects as it concerns women and also celebrates political as well as social revolution. Walker has gained the reputation of being a prominent spokesperson and a symbolic figure for black feminism. Proper analyzation   of Walker s work comes from the   knowledge on her early life, educationalRead MoreThe Color Purple By Alice Walker1355 Words   |  6 PagesSiera Osborne Mr.Karr Composition 1 4 December, 2015 Just A Single Purple Wildflower In A Field Of Weeds Alice walker once said, â€Å"No person is your friend (or kin) who demands your silence, or denies your right to grow and be perceived as fully blossomed as you were intended. Or who belittles in any fashion the gifts you labor so to bring into the world.† The color purple has timelessly been used to convey pictures of power and ambition, it is also associated with the feeling of independence. TheRead MoreThe Color Purple by Alice Walker1100 Words   |  5 PagesThe Color Purple by Alice Walker is a story written in 1982 that is about the life struggles of a young African American woman named Celie. The novel takes the reader through several main topics including the poor treatment of African American women, domestic abuse, family relationships, and also religion. The story takes place mostly in rural Georgia in the early 1900’s and demonstrates the difficult life of sharecropper families. Specifically how life was endured from the perspective of an AfricanRead More Alice Walker and the Color Purple887 Words   |  4 PagesAlice Walker is an African-American woman’s activist/feminist and author who was born in the early 1940s, in Eatonton, Georgia. Walker lived in the the rural south at a time when there were heavy poverty and racial violence amongst most African Americans. The circumstances that Walker faced ended up contributing to the person that she is today and it is reflected in many of her novels. Even throughout the trials and tribulations that Walker endured, she was still able to succeed in life. As a youngRead MoreThe Color Purple By Alice Walker3360 Words   |  14 Pagesâ€Å"Womanist is to feminist as purple is to lavender† (Yahwon). Alice Walker views herself as a womanist. Although a womanist and feminist are similar, the two terms are not exactly the same. According to Professor Tamara Baeouboeuf-Lafonant: [Womanism] focuses on the experiences and knowledge bases of black women [which] recognizes and interrogates the social realities of slavery, segregation, sexism, and economic exploitation this group has experienced during its history in the United States. FurthermoreRead MoreThe Color Purple By Alice Walker1707 Words   |  7 PagesAlice Walker, the author of The Color Purple, grew up in the harsh conditions of the South in the 1940’s. Alice walker was raised in the middle of the Women’s Rights Movement and had to find hope to get through all of the challenges she had to face. In The Color Purple, Alice Walker uses the main character, Celie, as an example of hope. Hope helps Celie overcome oppression, abuse, and other challenges. Celie is used as an example of the life of a woman during the time of the Civil Rights Movement

Factors that Influenced Shakespeares Writing of Romeo and...

Factors that Influenced Shakespeares Writing of Romeo and Juliet Shakespeare was clearly influenced by the events of his time, and this is apparent especially in Romeo and Juliet. To dismiss this play as a mere fable is to overlook some very important religious and political changes of the time which are evidently woven into the storyline of the play. Shakespeares religious beliefs are uncertain, but it is known that his father was Catholic, and that he lived in a time of religious stratification across both community and family ties. As a result of the queens toleration for vagueness in this area, people became accustomed to religious tension and confusion at a very personal level. Many†¦show more content†¦The youth of England however, were not content with the Settlement. This applies especially to the Protestant youth who wanted the Reformation to be completed on a model provided by Jean Calvins Geneva. Otherwise known as Puritans, they viewed the Settlement as a kind of intermediate state. This extreme version of Protestantism, as well as the remaining Catholics whose loyalty still belonged only to the Pope, continued to prevent the nation from reaching religious stability. Shakespeare, who was a loyal subject and supporter of the queen, offers a commentary on this situation in Romeo and Juliet. The Queens church reflected her own likings for the externals of Catholic worship and she hated the religious enthusiasm of the Puritan movement. The Settlement also allowed her to stay in control over the state religion, whereas the Puritan belief in independent church government undermined her power and the national unity she tried to reach. Although it would seem that Romeo and Juliet is a criticism of the well-known social rules that regarded marriage as being contradictory to actual romantic love, a closer reading of the text shows that the youth in the play are the ones whose actions result in violence and death. Shakespeare seems to dispute the individualsShow MoreRelatedShakespeare in Love Essay2078 Words   |  9 Pagesworking on, Romeo and Juliet, in which love is not meant to be due to the many obstacles in the way. Shakespeares life in the film is very comparable to Romeos life in Romeo and Juliet. William Shakespeares life in the film and the play he is writing has several similarities and differences. In my opinion, this is one of the best movies and books to compare. Shakespeare in Love is a fairly accurate representation of the life of William Shakespeare at the time he was writing Romeo and JulietRead MorePoe vs. Shakespeare Essay1556 Words   |  7 Pagessimilarities and differences between the two. 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Although Shakespeare found use for most of the material through his several Roman plays, for Julius Caesar he focused on Plutarch’s Life of Julius Caesar and Marcus Brutus (Mabillard, 2000). Coriolanus, one of Shakespeares laterRead MoreWilliam Shakespeare s A Midsummer Night s Dream Essay2005 Words   |  9 PagesIn William Shakespeare’s A Midsummer Night’s Dream, Shakespeare crafts a play with three very different viewpoints that can be in terpreted in many ways, some with obvious interpretations and other with much less obvious ones. Shakespeare also ends A midsummer Night’s Dream, with an apology that is just as less obvious as some of the play’s interpretation. Yet, If a person looks past the obvious interpretations of the play, one can begin to piece together the possible message, that mortals no matterRead MoreEssay on William Shakespeares Authenticity3166 Words   |  13 PagesWilliam Shakespeares Authenticity Over the past several centuries, many scholars have been debating the authenticity of Shakespeare and his works. Many books have even been published questioning if the legendary playwright from Stratford is the author of his many plays and poems. This theory still remains as a possibility today and much of the evidence stems from Shakespeare’s great literary achievements, his humble beginnings, his inadequate education and the missing chapters in his lifeRead MoreThe Golden Age of Islam2183 Words   |  9 Pagescarpets, magic lamps, etc (John Grant and John Cute, pg.52). When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go. Ferdowsis Shahnameh, the national epic of Iran, is a mythical and heroic retelling of Persian history. Amir Arsalan was also a popular mythical Persian story, which has influenced some modern works of fantasy fiction, such as The Heroic Legend of Arslan. A famous example

Idea Of Launching A New Product In The Market †Free Samples

Question: Discuss about the Project Plan Launching A New Product . Answer: Project introduction The following project plan would entirely be based over the idea of Launching a new product in the market. Since, the plan would be for launching a new product, which would be a Micro SD card, this particular project plan would be no less than a marketing plan. Now a typical marketing plan includes certain aspects that would be ignored in this following project plan since, this can be referred as a preliminary plan. However, it also is necessary to involve the details of the product that would be offered to a precise targeted market segment (Bharadwaj et.al, 2013). The educational background is a demographic element that can be considered for segmenting a market, which automatically is created by students. Almost everyone in this precise student or the young segment have an access to mobile devices that they use for their daily purposes of communicating and personal entertainment. For this reason, they need space, enough to store anything they wish; the world has moved into the era of mobile technology along with high-end communication technologies, which clearly justifies the viability o f this project plan (Bhuiyan, 2011). Project teams and their roles The project would certainly be divided into a group of people including the following: Product designer: The first and foremost important role would be of this particular individual. This is the individual that would develop the product in the most innovative and adequate manner. Since, the idea is about launching a Micro SD card that would provide enough space that have never been offered. Thus, it is important for this individual to decide upon; micro SD cards that are available in the market are mostly about 1 GB to 128 GB. This space for some users isnt enough, thus creates the opportunity for the product to be launched. The space that would offer is 256 GB; the designer would also consider the compatibility of devices for some devices might find this much space incompatible (Blank, 2013). Marketing manager: This would be the individual that would be given maximum responsibilities; however he would as well be work closely under managements supervision. The marketing manager would develop the marketing mix, would conduct the STP if he/she feels the need for it, and would develop strategies for targeting and then positioning the product effectively. He would also conduct SWOT and PESTLE for developing a clear understanding about personal strengths and weakness along with the current market conditions (Djelassi and Decoopman, 2013). Workers: These would be teams that will give shape to the product idea that has been finalized. The teams would as well be supervised by their individual project managers that would ensure that each one of the workers is putting his/her best efforts. Product manager: This particular individual would ensure that the final output matches the different standards of quality. Customers demand nothing but quality of the product they are willing to spend their money upon. Thus, this particular person has an important role to play. PR: The PR would be entitled with the responsibility to establish relation with the targeted customer segment along with the probable customers as well. The PR would be allotted a portion of the budget to conduct PR events, such as fair or anything the individual finds suitable (Nicholas et.al, 2011). Project stages and key deliverables Fundamentally there are multiple stages that every entrepreneur must consider before he/she is determined to launch a new product into the market that already has different options for this particular category of product. The stages are: Starting early: It always works for an organization that initiates their launching activities approximately 4-8 weeks early. It would be a waste of time, if an organization is waiting for the right time. Any time that the entrepreneur is planning to launch is right; however, one must maintain the curiosity among the customers (Werbach, 2013). Making the product available to the influencing customers: In other words celebrities; almost 80% of the segment that has been targeted for this project considers celebrities to be their idols (politicians, players, movie stars, singers etc.). An access to such individuals would certainly mean greater potential outcome (Durmu?o?lu and Barczak, 2011). Maintaining low profile: Either developing a contingency plan or maintaining low profile would be better. In case the product that is to be offered is truly innovative one must not expect an enormous release. Unusual: Customers have a tendency to be highly curious to whatever seems new and different. Thus, doing something unusual might click. Seeding social gaps with leaks: Targeting individuals that are naturally eager interested to anything they see would be another way for launching in a better manner. Project time management This particular segment would include the WBS Figure 1: WBS for the product launch Gantt chart The Gantt chart for this particular project would incorporate every tiny detail that would generate for accomplishing the entire task of launching the micro SD card in consideration to the time slot for each activity (Molina-Castillo et.al, 2011). Figure 2: Gantt chart Budget Since, this project would be concerned about launching a new product, it is necessary to decide the budget for executing the entire chain of activities. Marketing activities tend to attract major portion of the budget than actual production of the product (Ernst et.al, 2011). Thus almost 60% of the budget would be directed towards the marketing activities along with the PR activities. Quality plan In order to ensure that the product has been developed considering the maximum quality standard, it is necessary for the management to develop a quality plan. APQP or the Advance Product Quality Planning Standard has been defined to be the organized method for describing along with establishing important steps for ensuring customers are satisfied with the products and services (McGrath, 2013). Risk register The risk register is typically a record or a catalogue virtual or real (hand written) containing every possible risk that the organization might have to come across during its operations. The risk register for this project might incorporate the following: Name of the risk Probability Marketing risks Higher (Since the marketing activities have been allotted with major portion of the budget) Distribution risks Moderate (Since, acquiring new product despite of its size is easy and can be done using internet) Mass appeal Higher (Since, one segment of the market might not consider the approach suitable or preferable that other segment would find attractive) Sustainability risk High (Due to the large number of production houses) References Bharadwaj, A., El Sawy, O.A., Pavlou, P.A. and Venkatraman, N.V., 2013. Digital business strategy: toward a next generation of insights. Bhuiyan, N., 2011. A framework for successful new product development.Journal of Industrial Engineering and Management,4(4), pp.746-770. Blank, S., 2013.The four steps to the epiphany: successful strategies for products that win. BookBaby. Djelassi, S. and Decoopman, I., 2013. Customers' participation in product development through crowdsourcing: Issues and implications.Industrial Marketing Management,42(5), pp.683-692. Durmu?o?lu, S.S. and Barczak, G., 2011. The use of information technology tools in new product development phases: Analysis of effects on new product innovativeness, quality, and market performance.Industrial Marketing Management,40(2), pp.321-330. Ernst, H., Hoyer, W.D., Krafft, M. and Krieger, K., 2011. Customer relationship management and company performancethe mediating role of new product performance.Journal of the Academy of Marketing Science,39(2), pp.290-306. McGrath, R.G., 2013.The end of competitive advantage: How to keep your strategy moving as fast as your business. Harvard Business Review Press. Molina-Castillo, F.J., Jimenez-Jimenez, D. and Munuera-Aleman, J.L., 2011. Product competence exploitation and exploration strategies: The impact on new product performance through quality and innovativeness.Industrial Marketing Management,40(7), pp.1172-1182. Nicholas, J., Ledwith, A. and Perks, H., 2011. New product development best practice in SME and large organisations: theory vs practice.European Journal of Innovation Management,14(2), pp.227-251. Werbach, A., 2013.Strategy for sustainability: A business manifesto. Harvard Business Press.

Review Of After Hours Essays - American People Of German Descent

Review Of After Hours Review of After Hours On Thursday, November 30, I went to see some Kutztown students perform After Hours at Schaeffer Auditorium. It was an all around great show. With the help of a talented band, they did a wonderful job. I'm really not interested in the kind of music that they sang, but they kept my attention the whole time. I thought the back-up band, or whatever you want to call them, was great. You could tell that they really enjoyed what they were playing, and what they were hearing. Alan Apple, who played the piano, was very entertaining. Personally, I thought he made the whole performance even better than it already was. He was very funny and showed great enthusiasm. With Steven Meashey on bass, Andy Scoles on drums, and Joseph Mixon on guitar, everything sounded terrific. The singers themselves had wonderful voices. The only think I didn't like about the show was the music; only because I don't like that kind of music. But because of their great singing and energy, my attention was kept throughout the whole show. The soloists sounded great. I especially loved the way everyone danced their own way, but they stilled seemed so together. After hours was a very enjoyable show. The students and musicians did a wonderful job. I really had a nice time watching and listening to them. Even though I am not really interested in that kind of music, they made me see what people do like about the music. Music

The Affect Weather Has on Human Life

The Affect Weather Has on Human Life Introduction Destructions caused by storms, floods, droughts, earthquakes, and further source of danger often expose human to insecurity, exacting a serious economic cost and weakening livelihoods. These effects can be short-term, but in many instances disaster also damages the lasting habitability or economic normal growth and development of the affected region.Advertising We will write a custom report sample on The Affect Weather Has on Human Life specifically for you for only $16.05 $11/page Learn More While the severity of destruction is an important issue, the timeless and capability of assistance and reconstruction programs, and the flexibility of affected territories and societies, will eventually shape the expectations of the region. Regions or countries that have experienced natural disasters, often known as fragile states in the global literature, are states that have experienced disasters such as floods, earthquakes, hurricanes, or droughts to the level that their safety, economic, health, and welfare structures are damaged or ruined. A current severe and sad example of the hit of natural disaster is the Hurricane Katrina which happened in United States on 29, August 2005 (Barb 2007). At a first glance, the attack on the Gulf Coasts of U.S. seems to be an example of a bulldozer contest at work. In building this research, the method used of ­fers a comprehensible or deep observation of the situations. The investigation, which takes the subsequent section and to which the study precedes to the conclusion of the research, assesses the impact of the attack on economy and health of the inhabitants of the city New Orleans. This proportional and static method employs measures established on the environmental effects of the hit. It points out the environmental effects of the attack on New Orleans economy and the health of the inhabitants. Natural Disaster On August 29, 2005, Hurricane Katrina, one of the most fatal hurricanes hit the southern part of U.S. This incidence caused landfall on the seashore of the Gulf of Mexico and within hours it became the major natural tragedy in U.S history (Jeremy, Matthew 1).Advertising Looking for report on environmental studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More The level of the destruction was unparalleled and had a bad effect on lives, huge demolition of property, and movement of hundred of thousands of people. Survivors of these natural tragedies were exposed to several obstacles to revival, as well as health and mental health problems. When Hurricane Katrina hit, the strength of the wind and storm surge aroused the levees and flooded the affected city’s resulting to loss of life, shocking damage, and massive dislodgment of people (Warner Scott, 2005). Eighty percent of New Orleans was flooded and unlivable causing the movement of the greater part of the city inhabitants. Hurricane Katrina caused the prime single movement of inhabitants from a natural disaster in US history. Effects of Hurricane Katrina on New Orleans Economy The economic results of Hurricane Katrina, which strike the Gulf coast of America, are extensive. According to research carried out on the impact of the storm on the city, it was observed that Hurricane Katrina destroyed properties thereby exposing the city to environmental pollution which is harmful to the health of the inhabitants. Furthermore, the wreckage caused by the storm has devastated the economy. Before Hurricane Katrina, New Orleans created about 600,000 non-farm occupations. With reverence to its inbuilt nature, the total economic growth to New Orleans has surpassed $150 billion (Barb, 2007). Hurricane Katrina is an unpleasant shock to New Orleans and the economy of the nation, as a result shifting the economic development of New Orleans both in job opportunities and health wise. Hurricane Katrina in effect, damaged lives (labor) and capita l (production facilities, oil platforms), and consequently it negatively affected New Orleans ability to manufacture goods and services (Falk Baldwin 2006). The storm caused terrible damage in New Orleans (Gulf Coast of America). The levees that divided Lake Pontchartain from the city of New Orleans were destroyed causing the flooding of about 80 percent of the city, thereby damaging industries and houses within the city.Advertising We will write a custom report sample on The Affect Weather Has on Human Life specifically for you for only $16.05 $11/page Learn More New Orleans’ economic infrastructure has several flaws, many of which preceded Hurricane Katrina but have been worsened by the damage done by the hurricane and its consequences. Perhaps, the single most important physical infrastructure problem is the changeable position of the levees and the flood-control system protecting the city from upcoming hurricanes. Despite the refurbishments that have been made, the doubt surrounding the city’s safety from future Hurricanes put off much-needed investment, both in the city’s opened business residents and by prospective new businesses and residents. Besides, the city’s physical infrastructures needs major improvement and renovations, not just to essential facilities as streets, transportation networks, and utilities, but particularly to the port and the city’s biomedical facilities. Other main setbacks for the city’s economic infrastructure include the quantity and quality of its labor force and the city’s association with business sectors. Effect on health Hurricane Katrina, the difficult concern of mental illness doubled compared with that in a similar New Orleans population before the hurricane. As occupants reoccupied the town, health authorities became more disturbed about the possibility for respiratory health consequences from danger to water destroyed homes and environment. Wh en experiencing a major storm, health workers are expected to work with other primary responders on awareness functions like preparing removals, carrying out examination for death rate and for infection, and communicating about dangers of post-hurricane, such as the danger of carbon monoxide physiological state created by toxic substances from unsuitable use of generators when power connections are disconnected (Falk Baldwin 2006). Hurricane Katrina caused vast challenges to public health and necessitates wide-ranging reactions.Advertising Looking for report on environmental studies? Let's see if we can help you! Get your first paper with 15% OFF Learn More Important concerns included the extensive damage it caused in New Orleans and across several states, as well as the interruption of clinical services; the disconnection of electric, gas, transportation system, and other services; destructive flooding that contributed to the mass departure of New Orleans; the need to supply protection, life, and medications for a long period to one million people who have been evacuated; and the problems in repopulating New Orleans, restoring its health care sector, and going back to fundamental public health roles (Falk Baldwin 2006). The effects of Hurricane Katrina on the health sector of New Orleans consist of the evaluation of huge amount of wreckage and decisions about harmless removal of solid and harmful wastes, evaluations about release of and exposure to harmful substances from manufacturing companies and waste places. Hurricane Katrina left the city of New Orleans in a difficult situation as a result of toxic air pollution which gives inc rease to health hazard of the residents. In line with research on Hurricane Katrina, human exposure to toxic air noxious wastes may cause cancer or other serious health consequences, such as procreative effects or birth deficiencies, or undesirable environmental and natural effects (Falk Baldwin 2006). Example of toxic air toxins include benzene, which is detected in gasoline; perchlorethlyene, which is discharged from some dry cleaning facilities; and methylene chloride, which is used as a solvent and paint stripper by a number of factories in New Orleans and other cities worldwide. Examples of other air toxic which have or will have an negative effect on the residents of New Orleans is carcinogenic hydrocarbons, asbestos, methylbenzene, and metals such as hydrargyrum, mercury, Cr, and lead compounds. In conclusion Hurricane Katrina have negatively affected the lives of many inhabitants of New Orleans (Or Gulf Coast) and caused billions of dollars in property destruction. However, environmental emergencies connecting the discharge, or vulnerable release, of oil, radioactive equipment, or harmful chemicals potentially may have an effect on communities and the neighboring environment. However, discharge caused by Hurricane Katrina is grievous to both the economy and to human health and with the harm done by storm on the economic infrastructures in New Orleans, it was observed that the residents are open to poisonous air toxins at an adequate concentrations and periods and this may result in high chance of developing cancer or experiencing other severe health effects. These health effects may possibly include harm to the immune system, and neurological, procreative (e.g., reduced fertility), developmental, respiratory, and other health harms. Similar to humans, if animals are open to waste from toxics, they may in time contact health problems (EPA, 2003). For example, increases in close air ozone and air pollution can be connected to high rates of asthma exacer bations because the contact has been found to stimulate an increase in airway inflammation. Barb, Palser. Hurricane Katrina: Aftermath of Disaster. Minneapolis, MA: Capstone, 2007. Print. Environmental Protection Agency (EPA). About EPA. 2003. Web. https://www.epa.gov/aboutepa Falk, Helen, and Baldwin George. Environmental health and Hurricane Katrina. Environ Health Perspect (2006): 114: A12-A13. Web. Jeremy, Levitt I, and Matthew Whitaker C. Hurricane Katrina: Americas Unnatural Disaster. Nebraska: U of Nebraska Press, 2009. Print. Warner, Charles, Scott Thomas R. Where they died. The Times-Picayune. 2005. Web. https://www.nola.com/

A considerate of contemporary management function Essay Example for Free

A considerate of contemporary management function Essay ? A considerate of contemporary management function of the employer-employee relationship The six journal articles that have been looked at stem from the original Locke, (1982) article. Frederick W. Taylor popularised of scientific management. The essay will discuss 5 aspects of Taylor’s ideas about scientific management and show how understandings of contemporary management functions and the employer-employee relationship have been developed from Taylor’s ideas. What was Taylor’s idea about the management? Management involves coordinating and overseeing the work activities of others so that their activities are completed efficiently and effectively. The ideas about the relationship between employer and employee have been developed from a nother. Retain critical employees is important and necessary. According to the Fitz-enz(1997), the company average losses 1 million with every 10 people who is the managerial and professional employees. In addition, the total cost of least a former employee at least a year of wages and benefits, up to two years of unpaid salary and benefits. This is a huge economic loss with a company loses a number of critical employees. As a manager, we must give employees adequate physiological, safety, love, esteem. One of the advice is managers should look into a way to motivate employees to achieve a satisfactory and unmet needs through activities and exercises. Managers have a responsibility to create a suitable environment to inspire employees to their fullest potential. If no such right environment, will lead to a big difference such as lower job satisfaction, lower productivity, lower profit with a company. How to effectively improve the relationship between managers and employees? Taylor given 4 methods. (a) Scientific management: In Principles of Scientific Management (1911)Fredrick Winslow Taylor, the â€Å"Father† of scientific management utilises scientific methods to define th e â€Å"one best way† for a job to be done (b) Scientific selections. Taylor advocated selecting only â€Å"first class†(i.e., high aptitude) men for a given job because their productivity would be several times greater than that of the average man. (c) Money bonus. Taylor claimed that the money is what employees want most, he thinks employees should be paid from 30% to 100% higher wages for to do his job. (d) Management responsibility for training. Taylor thought that most contemporary managers should fully accept the notion that training new employees is their responsibility. My understanding about the  employer-employee relationship has also been shaped by these articles. I have learnt that (1) Scientific management can focus speed of production, low cost production and availability of an unskilled workforce. In addition, today’s use of scientific management can use time and motion studies to increase productivity, hire the best qualified employees and design incentive systems based on output. Equity theory is a theory of social comp arison effect on employees. This theory appears to be very common, but it is very important. Equity theory refers to the rate of employees with their work output and input compared with others. Time input includes the time of the work, work habits, work experience, work attitude, and so on. When they found unfair, they usually can’t change the rate of others, can’t change their input, so employees will find ways to change their output. This may mean that they will reduce their work time or effort to work. Then, the manager can use the equity theory to motivate employees. Managers can use a more open system of remuneration paid for employees to understand each position and every effort should position relative to how much salary can be get. (2) Scientific selections: Everybody have their own good aspects, based on each person strengths and rational allocation of work. As a result, not only can bring effectively produce but also can make person enjoy their work. According to the Wren (1979) notes that Taylor focuses on scientific selection can promote the develop ment of industrial psychology and personnel management and other areas. (3) Money bonus: How to influence people? The most common method is money bonus. Such as up wages, bonuses, benefits. These things are the most effective way to influence the work of passion and power of a work. Through the Vroom’s (1946) expectancy theory, we can find that an employee will play his better efforts when he is convinced that his efforts would be better evaluated. And these evaluations will bring him more rewards such as bonuses, salary increases. These rewards will meet staff personal goals. Individual employee attitudes and enthusiasm in their work will determine to a large extent a company’s performance. According to the Porter (1968) and Lawler’s expectancy model of motivation, this model proposes two factors that determine spending on a number of tasks energy. The first is the personal rewards from work to get. These returns will be the psychological perception of employees is their own work to be sure. The second is that these returns will be formed job satisfaction. (4) Management  responsibility for training: The staff training is an essential element of human resource management. Managers can’t ignore their training responsibilities. Understanding management system in staff training in this area can help you build an effective training system to help you prepare new employees for their work To sum up, from the six articles considered, scientific management can not only getting the most output from the least amount of inputs but also focus on those work activities that will help the company reach its goals. Taylor’s idea has shaped modern employer-employee relationships. Work is still specialised, personal are still trained. The quality of work is still rewarded in bonuses, as well as other. Reference: 1.Three chapters in The Ideas of Frederick W Taylor: An Evaluation’. 2.Wren, D. A. The evolution of management thought (2nd ed.). New York: Wiley, 1979. 3.Towards a unified model of employee motivation / Darren J. Elding, Andrew M. Tobias and David S. Walk [Chichester, West Sussex, England] : John Wiley & Sons, Ltd., 2006 4.Kotter, John P. What effective general managers really do / John P. Kotter Boston [etc.] : Graduate School of Business Administration, Harvard University, 1982 5.Managing in the new millennium : understanding the manager’s motivational tool bag / Patricia M. Buhl Burlington, Iowa, etc., National Research Bureau, etc.], 2003 6.A review of employee motivation theories and their implications for employee retention within organiz Hollywood, FL : Journal of American Academy of Business, 2004 A considerate of contemporary management function. (2016, Mar 24).

Externalities Research Paper Example | Topics and Well Written Essays - 750 words

Externalities - Research Paper Example They can also be referred to as the spill-over effects in the economy. Negative externalities results social costs to the society exceeding the private costs while positive externalities results in social benefits exceeding the private benefits. A case of negative externality can be illustrated by the graph shown below. Externalities and their solutions Air pollution is one of the major forms of negative externality. It arises from the burning of fossil fuels. Smoke from motor vehicles results to negative effects on the health of the road users leading to cancerous infections. The owners of the motor vehicles do not bear the cost of medical treatment to those affected. Smoke from cigarettes imposes a cost on the non-smokers who have to bear the cost of treating diseases due to smoke. This form of externality can be mitigated through the imposition of taxes commonly known as Pigovian tax which is usually set at a figure close to the cost of that externality. However this has a challen ge in determining the actual amount of tax to be imposed (Papandreou, 1998). The tax is also applied in anon progressive manner which makes it less equitable. Some firms are forced to pay more than what they are supposed to pay in actual terms. Finally it may not be social optimal by the fact that some firms may layoff their employees so as to meet the cost of taxation. Due to these weaknesses of taxation, it is not emphasized by the government but instead a lot of emphasis is made on regulation. The government regulates the amount of production and consumption leading to externalities. This can be in form of quantity regulation in which the government can force the firms to produce the socially efficient quantity instead of taxing it forcing the firm to internalize the cost of the externality. Carbon emissions are another form of negative externality. Carbon emission from firms pollutes the surrounding environment resulting to an increase in social costs accruing to the third parti es and it also forms part of greenhouses gases that promote global warming. Negative changes in the environment due to climatic condition variations can be attributed to carbon dioxide emissions. Coase Theorem provides a means by which this externality can be controlled; it lays emphasis on the need to have externalities internalized by the firms that produce them if the form of tradable emission permits. The theorem however has some limitations such as the free rider problem in which some agents can enjoy the benefits of a free environment without contributing towards it. It tends to work best in situations where externalities are not global but are in existence in a smaller context. Use of carbon trading provides a means of is to create a means putting a price on carbon emission. Thus it assists in internalizing environmental costs of firm and results in lower emissions. The government may also levy fees on each unit of pollutants that is being emitted into the surrounding environ ment. Setting emission standards provides a means of limiting the amount of pollutants emerging from a firm. Another form of negative externality is water pollution which results in the death of aquatic life as well as having some negative effects on the environment. Industrial effluents emitted by firms into major water bodies causes disease outbreaks. Acidic rain which is caused by water pollution brings about deforestation thus causing serious environmental degradation. Household water

Plato in Apology and Aeschylus in Eumenides Essay - 1

Plato in Apology and Aeschylus in Eumenides - Essay Example Charged with being an associate of the Thirty and with subverting the thinking of Athenians, Socrates was brought to trial in 399 BCE. Plato’s Apology is his account of the proceedings against Socrates and, in particular, Socrates’ oratory at trial in his own defense.1 Thus, the Apology must be understood in the context of dramatic social changes taking place in Athens, particularly, the restoration of the Athenian tradition of democratic rule, and a pogrom to drive from Athens any vestige of the radical thinking associated with the Thirty. So, when we speak of reactionary sentiment in Athens at the time of Socrates’ trial, we are speaking of the force of the newly-restored democracy to return the city-state to the tradition of democratic principles.2 Plato’s Apology and Aeschylus’ Eumenides both present the transition from an old order to a new one and, in different ways, embody the human condition of duality. Whereas in the Apology Socrates pleads his case by asking questions that probe the deeper recesses of the mind, Aeschylus presents us with characters who engage in spirited debate and accusation. Thus, we are presented with two very different definitions of and perspectives on the subject of justice. Yet the entire spectrum of motivation toward and contemplation of justice is addressed in both. Let us first look at Aeschylus’ work. In Eumenides, the third in Aeschylus’ Oreseias trilogy, Apollo leads Orestes to kill his mother, Clytemnestra, who had previously killed her husband and Orestes’ father, Agamemnon.

Hate Groups Essay -- essays research papers

Hate Groups   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  In today’s society where differences between people are magnified and everyone is discussing diversity, tensions between different groups are remarkably high. The extreme of this tension is brought out in hate groups. Hate groups play off of the stereotypes of specific peoples. They use these generalities in their relentless and often violent persecution of those different from themselves.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  There are many groups that practice in such ways, most of them preaching white supremacy. The main goal of these groups is the advancement of the white race by the segregation of other cultures from society. The Ku Klux Klan (KKK) is probably the best known of these groups. They have been around since the Reconstruction era following the Civil War. The KKK was set up to build an all white society based on Christian beliefs. They claim that they are not the enemy of non-white, non-Christian people. They believe that all races would benefit from separation from each other because everyone would work better if they are surrounded by their own kind. The KKK states â€Å"Our purpose is to unite, organize, and educate the white Aryan masses world wide to the dangers that face our race, culture, and Christian civilization† (www.kkkk.net). They also claim that they don’t tolerate people of immoral character in their society such as drug users and dealers, thieves, or c...

Rhetoric Analysis

English 103 Rhetorical Analysis Authors Becky Herz, and Kim Phuc wrote essays that not only touched hearts, but also made people take a different look at life and those around them. â€Å"The Long Road to Forgiveness† and â€Å"My Husband Will Call Me Tomorrow† are two essays that use literary devices such as pathos, imagery, ethos, and repetition to effectively tell their stories. By using different rhetorical and literary devices in their writing they were able to make an impact with their words. Words are very powerful weapons in the battle of making a point and trying to make sure that people actually understand that same point.In Herz’s â€Å"My Husband Will Call Tomorrow† she was able to use repetition as well as visual devices to effectively tell her story. Her use of these devices allows the reader to be able to connect and see things from her level. Phuc’s essay on the other hand, was able to evoke gut-wrenching emotion, just using devices such as imagery and details about to make her story credible. Becky Herz’s essay, â€Å"My Husband Will Call Me Tomorrow† contains credibility in her use of certain details about how her life is laid out now that her husband is not at home.Her use of repetition through the essay, stating that, â€Å"I believe my husband is going to call me tomorrow† is very effective. The author states this through the essay multiple times. This can be interpreted in a way where one can come to believe that she is just stating a fact. Over and over she states that her husband is going to call her; this shows that she has hope, faith, and is determined that her husband will indeed call her tomorrow. Herz gives detail about how she puts the baby to bed, walks the dogs, checks on her employees; this expresses how she does indeed â€Å"have her hands full† and establishes her credibility.By going through her everyday life, this reveals that hope and belief that nothing is out of the ordinary. Through detailing the actions and evoking the emotion behind it, she makes her story more credible and emotional. The reader can actually believe that she does have hope and believe her husband will call her. If she really did not believe that her husband would call, would she keep her usual routine? Or would she just wallow in the idea that she will never see him again? Her use of repetition helped make her essay touching and believable. In Kim Phuc’s essay, â€Å"The Long Road to Forgiveness† she does not tell a story.She states the facts about everything that happened to her when she was younger giving the story an emotional effect. She described in intricate detail about how she saw everything around her in flames. â€Å"I saw fire everywhere around me. Then I saw fire over my body, especially on my left arm. My clothes had been burned off my body† (Phuc 179). Not only did this statement help provoke the emotion in her story, but it also cr eated imagery for the audience. Her word choice allows the audience to visualize the fire everywhere around her, burning off her clothes and everything around her. Also you can read Rhetorical Devices in Night Walker by Brent StaplesHer words further on in the essay help form her credibility in the forgiveness that she is trying to provoke upon the reader. Still, her story is so detailed and thought provoking to feel some time of emotion for what has happened to her is unavoidable. As her essay goes on, never in the beginning or the middle does she state exactly what caused all the damage around her; Phuc saves the fact that she was burned by napalm until the very end of the essay. By just giving details about what happened instead of stating that fact first and then elaborating on it, allowed the essay to have a more emotional impact on the reader.By finalizing what exactly caused all this damage to her physical being, stating how â€Å"Napalm is very powerful, but faith, forgiveness, and love are much more powerful† (Phuc 180), she made her story that much more credible. Especially when she reiterates how is â€Å"If that little girl in the picture can do it (forgive), ask yourself: Can you? † (Phuc 181). Both Becky Herz and Kim Phuc were able to use emotion in their writing and make their essays credible by using details that forced the reader to actually sit back and think about what they were reading.For instance, in Herz’s essay, just how she wrote about how she went through her day waiting for her husband to call her, it was almost as if she was just writing a note to a friend. Her diction created a relaxed tone though she was talking about something that was anything but that. She didn’t write it like she was trying to make the reader feel sorry for her; she was just revealing that she had hope by going through her everyday routine. â€Å"When people say, ‘Looks like you have your hands full,’ I’ll smile and acknowledge that its true, but I make the nest of it because I believe my husband will call me tomorrow† (Herz 110).Phuc organized her essay the same way. She did not ask for any type of pity in her writing in how she wrote it; the facts about what happened were simply stated. From the very first sentence, â€Å"On June 8, 1972, I ran out from Cao Dai temple in my village, Trang Bang, South Vietnam, I saw an airplane getting lower and then four bombs falling down† (Phuc 179), information was given but pity was not requested. She told what happened, and how from it, her life changed drastically; this unknowingly pulls emotion from the reader, and helps establish even more credibility. The Long Road to Forgiveness† and â€Å"My Husband Will Call Me Tomorrow† are two essays that use literary devices such as pathos, imagery, ethos, and repetition to effectively tell their stories and create an essay where the audience can establish understandings and connections. From Phuc’s essay the reader can visualize almost every single detail that she writes about because the words themselves are so vivid. The reader can see the bombs falling out of the sky as they skim over the words. Becky Herz and Kim Phuc’s essays in This I Believe II are two perfect examples of these literary devices fundamentally being put to use.

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