Cognitive Social Development Occur Children-Myassignmenthelp.Com

Question: Talk About The Cognitive Social Development Occur Children? Answer: Introducation Early youth advancement accommodated in the UN Sustainable Development objectives sets down human improvements establishments (Britto et al., 2017). As a result, various parts of youth improvement are impacted distinctively by factors conscious of the marvel, prompting certain formative variations. Especially, in 2-5-year-olds, a specific type of hardship may affect a formative area or capacity. Consider the instance of 3-year-old Jack. His moms dread radiates from associating a forswearing with some sort. Advancement in kids incorporates numerous regions. In any case, two are talked about here. From one viewpoint, theres psychological turn of events while then again, social turn of events. The above will be joined by a comprehension of two or three improvement hypotheses, factors that impact the turn of events and the pertinence of understanding advancement to birthing assistance and nursing. As indicated by the California Department of Education, psychological improvement involves development and change forms in the psychological capacities how they think, comprehend, and reason, all the while, gain and merge information on a kid (Cognitive Development Domain - Child Development (CA Dept of Education), n.d.). A case of intellectual advancement in two to five-year-olds remember memory capacities for that the youngsters depict data or experience obtaining, stockpiling, and review over a period. All the more along these lines, through the ability to recollect 2-5-year-olds can set up contrasts in individuals or items, gain proficiency with a language, articulate the principles of social connection and participate in close to home consideration schedules, for example, assuaging themselves. Likewise, image use in 3-5-year-old is related with psychological turn of events (Bjorklund and Causey, 2017). Social improvement alludes to the way toward learning esteems, information, and aptitudes that upgrade childrens compelling relations to other people and commitments towards the equivalent. It includes entry of learning both legitimately and by implication (Mooney, 2013). For instance, the entry could be through consideration suppliers or by social connections. Instances of social advancement incorporate language improvement. It improves the childs peers as collaboration with them furnishes a youngster with the chance to rehearse and gain proficiency with the aptitudes identified with the utilization of discourse and language. Significantly progressively, 2-5-year-olds show more enthusiasm for other people. The possible pointers of this level advancement are inception or getting play together with others and toy sharing(Mooney, 2013). Ericksons hypothesis of psychosocial hypothesis of advancement groups this as the third stage an individual experiences in a whole life cycle. There are different speculations that consistently have been utilized to give understanding into the significant parts of subjective and social improvement happening in youngsters at specific ages. Further, these speculations illuminate on the elements that may be having an effect on everything during improvement. For example, Lev Vygotskys hypothesis of subjective advancement set that the change and disguise of data from the outside world happened through language (Leech, 2015). Language, as indicated by the hypothesis is found through play. Language improvement and how a youngster comprehends the outside world is in to a great extent impacted by play. Accordingly, 3-year-old Jack could be falling behind in ability dominance and discourse advancement because of an absence of enough players. Additionally,Vygotsky set forth that the intuitive idea of play created insight contending that social improvement must happen first. Another hypothesis, UrieBronfenbrenners natural frameworks hy pothesis gives anexplanation with regards to how development and improvement are impacted by the childs condition and the youngster. Marked in principle are the parts of the condition that impact improvements. These are the microsystem, microsystem, mesosystem, and biological system. These could be having an effect on everything subsequently clarifying the worries set forth by Jacks mother. The referral made by Child and Family wellbeing medical caretaker to a casual domain is totally outfitted to tending to the variables illustrated by Bronfenbrenners hypothesis. Moreover, the zone of proximal improvement is shown by the separation that exist between the genuine degree of advancement in free critical thinking and the potential improvement level decided under direction of grown-ups or joint effort of companions. Such an instrument speaks to Vygotsky thoughts as a powerful method of collaborating with peers in the advancement of methodologies and improvement of abilities, similar to educators can use the methodology in the upgrading learning process among understudies. Intellectual and social improvement is affected by various elements Bronfenbrenners environmental frameworks hypothesis quickly sketched out above-characterizes the elements into four significant classes: microsystem, microsystem, mesosystem, and biological system. The biological system, including variables, for example, collaborations with others impacts improvement in various manners, additionally clarifying why Jacks case is as his mom clarifies. Guardians, regardless of whether known to them or not, assume a significant job in showing intellectual aptitudes, Britto et al. (2017) emphasizes this reality. The accomplishment is accomplished through partaking in parent-kid conversations and taking up the good example job. As a result, the childs major psychological abilities are improved. These are restraint, critical thinking and basic reasoning (Britto et al., 2017). In a perfect world, corresponding to child rearing practices push youngsters towards thinking carefully. So also, ch ild rearing practices impact social advancement by influencing their social working. Especially, Joseph John (2008) clarify that a childs independence, self-affirmation and self-guideline are improved by a guardians backing of the childs requests and needs. Jacks slack in expertise dominance and discourse advancement can be represented by this factor. As per the examination, dialects, conventions, convictions esteems and practices, that comprise culture, impact impression of self among youngsters and what they see as significant (Weisner, 2014). The importance of understanding this life stage to medical attendant and birthing assistance practice is as per the following. For example, the methodology gives master counsel to guardians who express worry with their childs level of advancement when contrasted with their friends (Barnes et al., 2015). Jack case is a model. After counseling the Child and Family Health Nurse, she isn't just consoled that Jack would meet all achievements, yet she is alluded to a womens bunch that will help in talking about the procedures that will empower Jack to pick up moderation and further discourse improvement. Two, as plot by Barnes et al. (2015), understanding the existence stage permits medical attendants and maternity specialists give expectant direction with proper planning. Giving data too soon isn't suggested as it may be overlooked when required, and past the point of no return isn't proper it is possible that it is conceivable the essential guardian may have disregarded an issue or tende d to it in a manner that doesn't get the job done the need of the parent. Three, Huang et al., (2011) states that a medical attendants essential concentration in pediatric consideration is adetermination of the degree of formative time of a kid subsequently, ready to decide whether a kid is typical for a specific phase of improvement. Without information on subjective and social turn of events, a medical caretaker won't have the option to respond to questions managed by the guardians in regards to regularity of specific practices noted by the parent. All in all, understanding the significant parts of thedevelopment of kids in particular age sections is significant since specific signs, subsidiary to the formative time of a youngster, will advise regarding the development and improvement of the kid. Close perception and satisfaction of a childs needs by giving a suitable situation. Critically, nursing and birthing assistance areexists to give guardians fitting data at a specific stage. Along these lines, understanding life stages is basic as the hypotheses of improvements and the models that establishment a specific formative perspective isn't known to many. References Bjorklund, D. F., Causey, K. B. (2017). Kids' reasoning: Cognitive turn of events and individual contrasts. SAGE Publications. Britto, P. R., Lye, S. J., Proulx, K., Yousafzai, A. K., Matthews, S. G., Vaivada, T., ... MacMillan, H. (2017). Sustaining care: advancing youth improvement. The Lancet, 389(10064), 91-102. Intellectual Development Domain - Child Development (CA Dept of Education). Cde.ca.gov. Recovered 26 July 2017, from https://www.cde.ca.gov/sp/cd/re/itf09cogdev.asp Huang, L. C., Sun, S. H., Li, R. H., Chang, F. U., Cheng, J. F., Chen, L. L. (2011). Pediatric medical attendants: discernment of little youngster advancement and perspectives and practices toward formative consideration. Hu li zazhiThe diary of nursing, 58(3), 53-63. Joseph M. V., John J. (2008). Effect of child rearing styles on youngster improvement. Worldwide Academic Society Journal: Social Science Insight, Vol. 1, No. 5, pp. 16-25. ISSN 2029-0365. [www.ScholarArticles.net] Drain, N. (2015). Social Development Theory: A case for multilingual instructional exercises (Mlts) in Law. The Independent Journal of Teaching and Learning, 10(1), 51-68. Mooney, C. G. (2013). Hypotheses of Childhood: An Introduction to Dewey, Montessori, Erikson, Piaget Vygotsky. Redleaf Press. Weisner, T. S. (2014). Culture, setting, and youngster well-being.In Handbook of kid prosperity (pp. 87-103).Springer Netherlands. Walsh, A., Barnes, M., Mitchell, A. E. (2015). Nursing care of youngsters when all is said in done practice settings: jobs and duties. Diary of cutting edge nursing, 71(11), 2585-2594.

Operational management Essay Example | Topics and Well Written Essays - 2500 words

Operational administration - Essay Example The name Starbucks is really known to have begun from an American epic named Herman Moby. In 1982, a man named Howard Schultz choose to join Starbuck as he was ones intrigued by the way of life and prominence of Starbucks’ administrations and by 1990 Starbucks had extended past the outskirts of Seattle to the remainder of the world (Bussing-Burks, 2009, pp. 1-2). 1.1. Development of its system after some time Starbucks techniques have changed over the long run since it began its activities in the espresso business. Mr. Schultz, the CEO has changed the way of life of its tasks from the little shop in Pike place showcase in 1971 to the now large organization that is known everywhere throughout the world. Starbucks really changed the way wherein individuals saw and drank espresso. Today Starbucks offer their administrations with Wi-Fi server clients on the couch just as on the sub ways which never used to occur in those days. With the administration of Mr. Schultz, Starbucks exte nded so quick and eventually a portion of its closefisted clients surrendered it (Deresky, 2008). Consequently, the organization was confronted with monetary limitations as there deals volume diminished and its rivals in the business to some degree overwhelmed them. Starbucks later resuscitated its activity driving again in the business in 2008 with the assistance of Mr. Schultz’s the board. Mr. ... In this way, its strategic to motivate and support the human soul at an individual level each in turn with some espresso and in one neighborhood. A portion of the company’s goals is to offer quality items and administrations through sourcing of the best espresso beans just as improving the lives of the espresso ranchers. With all the statements of purpose in that, the organization has completely developed universally (Griffin, Management, 2010, p. 206). 1.3. How successful is the Corporate administration The corporate administration supposedly is exceptionally viable since it’s been liable for administering the exercises of the corporate powers and guaranteeing that the firm’s every day exercises are followed to the last with expectations to cultivate the company’s objectives and goals. The corporate has additionally guaranteed that the essential aptitudes and encounters expected to meet the company’s objectives and targets are accommodated at the r ight occasions (Mullerat and Brennan, 2010). The corporate has been liable for the government assistance of its accomplices and has, in this manner, guaranteed that the workplace is liberated from wellbeing dangers. It has additionally guaranteed that they offer elevated expectation espresso to its clients by buying and broiling new espresso (Aras and Crowther, 2011, p. 544). The corporate administration has been very compelling in its administration since comprehend that productivity is a fundamental device for the future achievement. 2.0. Outside Environment Analysis Starbucks has for quite a while profited by its global activities since 1990. Today, Starbucks doesn't just rely upon the U.S. showcase however enormously appreciates the global market as they have gone over the edge in offering their merchandise and ventures intentionally to support their income and keep up the rate at which it is

Mood Congruence and Incongruence in Bipolar Disorder

Mood Congruence and Incongruence in Bipolar Disorder Bipolar Disorder Symptoms Print Mood Congruence and Incongruence in Bipolar Disorder Classification helps differentiate psychotic episodes By Marcia Purse Marcia Purse is a mental health writer and bipolar disorder advocate who brings strong research skills and personal experiences to her writing. Learn about our editorial policy Marcia Purse Medically reviewed by Medically reviewed by Steven Gans, MD on May 16, 2017 Steven Gans, MD is board-certified in psychiatry and is an active supervisor, teacher, and mentor at Massachusetts General Hospital. Learn about our Medical Review Board Steven Gans, MD Updated on January 23, 2020 Bipolar Disorder Overview Symptoms & Diagnosis Causes Treatment Living With In Children Your Rights Mood incongruence is a term used to describe a serious symptom of bipolar disorder. It is a psychotic feature of the disease wherein the persons belief or action, whether by hallucination or delusion, does not match with his or her mood. By contrast, mood congruence also describes a psychotic symptom of bipolar disorder, but, in this case, the belief or action is consistent with that persons mood. While the difference between mood congruence and incongruence may seem of little consequenceâ€"given that they both related to a psychotic episodeâ€"the way in which each impacts a persons ability to function and thrive can be strikingly different. Examples of Mood-Incongruent and Mood-Congruent Symptoms Incongruent means conflicting. As such, mood incongruence implies that the symptoms conflict with the persons current mood. Examples include: Laughing when your dog diesBelieving you have super powers despite going through a major depressive episode In each case, the actions of the person do not match either the situation or emotional state. The delusion of superpowers, for example, in no way coincides with themes of powerlessness that are inherent in depression. By contrast, congruent means in agreement. In this case, any symptoms, however extreme, are considered mood-congruent when they in agreement with the persons current mood. Examples include: Feeling suicidal when your dog diesBelieving you have super powers when you are going through a manic episode No matter how unreasonable the responses may be, they nevertheless match the circumstance or emotional state of that person at that moment. Psychosis Within the context of bipolar disorder, both mood congruence and incongruence are used to describe a psychotic feature of the disease. We dont use mood congruence, for example, to describe a person with bipolar disorder who has a reasonable response to a situation. The terms simply allow us to classify any false beliefs a person may have in order to provide appropriate treatment. We refer to these false beliefs as psychoses. Psychosis is simply a break from reality, a condition which more often happens during a manic episode and even a depressive episode (but never with a hypomanic episode). Psychosis involves hallucinations  (experiencing things that are not real) and/or delusions  (believing things that are not real). Psychosis Symptoms, Causes, and Treatment Hallucinations and Delusions Most people tend to associate hallucinations with schizophrenia, but they can happen in bipolar disorder, as well. Hallucinations involve experiences or perceptions that are not real, whether they be things a person sees, hears, smells, tastes, or physically feels. Examples include: A mood-congruent hallucination in a depressive episode would involve themes such as guilt or sadness. For example, hearing a voice that tells you that youre worthless.A mood-congruent hallucination in a manic episode would involve grandiosity, like seeing the president in your living room.A mood-incongruent hallucination in a depressive episode would have you  experiencing sensations contrary  to your depression without any feelings of guilt, death, disease, inadequacy, or deserved punishment.A mood-incongruent episode in a manic episode would be just the opposite, perhaps voices telling you that youre unworthy or deserve punishment. Delusions, by contrast, are firmly held beliefs that are neither true nor based in reality. They do not involve hallucinations but instead play out in beliefs and actions that are contrary to reality. Delusions in Bipolar Disorder Psychosis Treating People With Bipolar Disorder Treatment typically involves the management of symptoms and the prevention of mood episodes. This includes the use of medication (mood stabilizers, antidepressants, antipsychotics) and psychotherapy.?? It is important that any person with bipolar disorder receive ongoing care and medical oversight. This is especially true for those experiencing mood-incongruent symptoms in whom the risk of hospitalization and suicide is far greater. The 9 Best Online Therapy Programs

Child Abuse Prevention And Treatment Act - 1605 Words

Joseph Meadowcroft Research Essay Composition 1 Childhood Abuse Every child will certainly have many life experiences before they are mature. A child is very susceptible when developing, at every corner there are dangerous things from the environment surrounding them which might seriously impact their entire life. As definition in the Federal Child Abuse Prevention and Treatment Act: Child abuse is any action from adult to a child that could be harmful to the child’s body or mental state (kidsmatter). In 2012, they were a reported 3.6 million investigations by Child Protective Services agency’s involving more than 6 million kids. In the U.S, an estimated 899,000 children (24.97%) were recognized to be targets of child abuse (childhelp).†¦show more content†¦Besides these issues, child abuse also has dangerous impacts to other parts of the kid’s life, for example: behavior effects, physical effects and emotional effects (Corby-Brian 12). This paper will discuss about the causes, and bad impacts of child abuse as well as provide suggestions to help the victims. It is completely surprising to know that one of the causes is due to the child’s parents. Actually, if either of the kid’s dad or mom falls into an abusing condition such as alcohol or drugs, these children will not be able to be given proper attention to develop as a normal child. With adult substance abuse the child could be neglected or beaten lacking any guilt. Based on the report from the Department of Health and Human Services, in 2012, approximately 81.3% abused child cases were made by at least one of the child’s parents (kidsmatter). There was a story about a twelve-year old girl, named Joan, who had experienced extreme neglect during her younger years by her parents. It was so bad that she needed to be sent to a treatment center to help build her back up psychologically. Even After over a year of receiving treatment at the Center Joan has still not recovered completely and her parents lost their daughter to social services (Higgins, Martina 22). Next source of child abuse comes from the ecological causes. Certainly, a family in poverty situations has always struggled with serious problems in finance. Therefore, children starting

Peace Negotiations in International Security - 1477 Words

Post-Cold War era is marked by the dominance of peace negotiations in international security, and Middle-east (ME) being a conflict area for a long time, got adequate focus. Tale of oil rich ME is a story of conflicts having Israel-Palestine issue at the core, and the stability and peace of this region largely hinged on to the solution of this issue. So far, a number of unsuccessful initiatives have been taken by world community for the solution of the issue. ‘Roadmap for peace’ was one of such initiative, initially coined by USA, which calls for a two state solution. Like other past initiatives this also turned into a failure. Though the share of blame for failure goes to all stake holders, however, USA got the large share of blames from international community due to her bias stance towards Israel. This biasness is driven from long drawn USA-Israel relationship built upon factors like sympathy for Israel within USA, mental alikeness, strategic importance of Israel, in fluences of Israeli Lobby etcetera. Though all these factors have their role in shaping US foreign policy in ME but many argue that Israeli Lobby plays the most dominant role. In this essay an endeavour will be made to discuss biasness of USA towards Israel in Israel-Palestine peace process and discuss USA-Israel relationship as the basis of such biasness, using Roadmap (2003) as case study. In the process, it will first discuss peace negotiation in general, followed by discussions on Roadmap and the role andShow MoreRelatedCollective Security Especially in Times of War and Conflict1490 Words   |  6 Pageswith another person’s idea and that can cause trouble. Likewise, because there are so many states in the international scene, it is often hard to come to a unanimous decision regarding an issue. 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Secularization Free Essays

Historically, â€Å"secularization† first referred to the process of transferring property from religious jurisdiction to that of the state or other no religious authority. In this organizational sense, â€Å"secularization† still means the decline of formal religious authority for example; in education, prisons, and hotel room bedside tables. Institutional secularization has been fueled by the breakdown of a unified Christendom since the Reformation, on the one hand, and by the increasing validation of society and culture from the Enlightenment to modern scientific society, on the other. We will write a custom essay sample on Secularization or any similar topic only for you Order Now Some political analysts prefer the term â€Å"laicization† to describe this institutional secularization of society, that is, the replacement of official religious control by no religious authority. [1][2] It is clear that these two forces represent opposite tendencies of thought. To insist upon the principles of traditional Christianity is to rob modern views of its very life; it opposes pessimism to the optimism of modern thought. And yet reconciliation between the two is not absolutely impossible. It can take place, however, only as the result of a modification of the current view of Christianity. A new conception of religion must make itself felt, and this change can be readily effected. It must center on the person of Jesus and must abandon its dogmatic system. In the person and in the preaching of Christ, as an historical phenomenon, we have the basis for an understanding between Christianity and the culture of our day. Jesus himself never accepted the total corruption of man as the basis of his preaching. Rather it was an ideal of moral perfection that he held up to his believers–of life in God and activity according to his will. 2] Secularism has also influenced Western art since the Classical period, while most art of the last 200 years has been produced without suggestion to religion and often with no particular ideology at all. On the other hand, Western art has often been influenced by politics of one kind or another, of the state, of the benefactor and of the artist. While institutional and ideological secularization have been preceded at the same time over the past few centuries, the relationship between the two is not exact or necessary. Even in a medieval, Constantinian setting, formally religious in character, men and women were not untouched from having their life, thought, and work shaped by secular influences. In an institutionally secular (laicized) society it is possible for individuals and groups to live, think, and work in ways that are motivated and guided by God and religion. [1] With a great deal of emphasis on contemporary discussions of Christianity and secularism the confrontational Letters and Papers from Prison penned by writer, Dietrich Bonhoeffer, because the work is incomplete leaves much to the imagination and not enough fact. Bonhoeffer’s notions start heavy debates on the meaning and implications starting with titles like: â€Å"Christian worldliness,† â€Å"man-come-of-age,† the world’s arrival at â€Å"adulthood,† and the need for a â€Å"non-religious interpretation of Biblical terminology. † Other writers Friedrich Gogarten (The Reality of Faith, 1959), Paul van Buren (The Secular Meaning of the Gospel, 1963), Harvey Cox (The Secular City, 1965), Ronald Gregor Smith (Secular Christianity, 1966), and the â€Å"death-of-God†: all leave little to the imagination just as Bonhoeffer’s does. These are examples of those who have shadowed one possible course. Kenneth Hamilton (Life in One’s Stride, 1968) denies that this is the best way to interpret Bonhoeffer and argues that these writers hesitated in his indispensable, orthodox attitude. [2] Of course, the differences between the sacred and the secular is an undeniable gap; In the same way that God speaks and acts Christians must speak and act inventively and full of redemption for there actions. In all cases, Christian life in the secular world is to be carried out under the Lordship of Jesus Christ and in compliance to the will of God rather than the will of the world. Christians may work to ensure that the Word of God is heard and is given room among the many other voices which will constitute the diverse whole. To insist that the Word of God be imposed on all without exception is to fall once again into an unbiblical oppression. To fail to articulate the Word of God in the saeculum, however, is to give in in a secularism which, by excluding the Creator, can lead only to death. Deliverance from sin and forgiveness of sin were indeed emphasized in his preaching; but his dominant thought was that of struggle toward an ideal moral life. This is the idea that must take possession of modern Christianity, if it is to be reconciled with modern views and civilization and to win for itself the educated classes. Not as a dogmatic system, but as a moral power, based on the powerful personality of Jesus, must Christianity be proclaimed to the thinking people of our times? How to cite Secularization, Essay examples

Quiz solutions Essay Example

Quiz solutions Paper Just declared hat it is increasing its annual dividend from $1. 00 per share to $1. 25 per share. Fifth stock price remains constant, then the dividend yield will increase. This is because the denominator in dividend yield remains unchanged, but the numerator increases. 6. A bond that makes no coupon payments and is initially priced at a deep discount is called a zero. Coupon bond. 7. A symmetric, bell. Shaped frequency distribution that is completely defined by its mean and standard deviation is the Normal distribution. 8. Which one of the following is a correct statement concerning risk premium? The greater the volatility of returns, the greater the risk premium. 9. Estimates using the arithmetic average will probably tend to overestimate values over the long-term while estimates using the geometric average will probably tend to underestimate values over the short- term, 10. The risk premium for an individual security is computed by multiplying the securitys beta by the market risk premium. CAMP = REF + Beta x (MR.) 11. Standard deviation measures total risk. 12. Which one of the following would indicate a portfolio is being effectively diversified? A decrease in the portfolio standard deviation 13. The intercept point of the security market line is the rate of return which corresponds to the risk free rate of return. (the y-intercept here, from the formula for the slope of a line) 14. The principal amount of a bond that is repaid at the end of the loan term is called the bonds face value (note the question asks for principal amount, not date) 15. Which one of the following statements is correct concerning the expected rate Of return on an individual stock given various States Of the economy? We will write a custom essay sample on Quiz solutions specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Quiz solutions specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Quiz solutions specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The expected return is a weighted average where the probabilities of he economic states are used as the weights. 6. The Capital Market Line is the pricing relationship between the optimal portfolio and the standard deviation of portfolio return. (extra credit question) Quantitative questions: 1 7, The Lo Sun Corporation offers a 6% bond with a current market price of $875. 05. The yield to maturity is 7. 34%. The face value is $1,000. Interest is paid semiannually, How many years is it until this bond matures? IV -875. 05 p MET 60/2 RATE or i/y 7. 34%/2 NIPPER or n ex. = 16 18 Six months ago, you purchased 100 shares Of stock in BBC co. T a price Of $43. 89 a share. BBC stock pays a quarterly dividend of $. 10 a share. Today, you sold all Of your shares for $45. 13 per share. What is the total amount Of your capital gains on this investment? The information about the dividends is not needed to solve for capital gains. 19. The common stock of Eddies Engines, Inc. Sells for $25. 71 a share. The stock is expected to pay SSL . 80 per share next month when the annual dividend is distributed. Eddies has established a pattern of increasing its dividends by 4% annually and expects to continue doing so. What is the market rate of return on this stock? This is a constant growth or Gordon growth model problem. 20, Fred Flintlock wants to earn a total of on his investments. He recently purchased shares of BBC stock at a price of $20 a share. The stock pays a $1 a year dividend. The price of BBC stock needs to if Fred is to achieve his rate of return. Total return dividend yield capital gains yield = 1/20 + cap gains yell = 5% + cap gains yield cap gains yield therefore price must increase by 21. The common stock of Grady Co. Had an 11. 25% rate of return last year. The dividend amount was 5. 0 a share which equated to a dividend yield Of I _5%. What was the rate of price appreciation on the stock? 11. 25% -9. 75% 22. Your firm offers a ID-year, zero coupon bond. The yield to maturity is 8. 8%. What is the current market price Of a $1,000 face value bond? IV 430. 24 RATE or i,y 10 *note: this bond used annual compounded as was given during the exam. 23. Angelicas made two announcements concerning its common stock today, First, the company announced that its next annual dividend has been set at $2. 16 a share. Secondly, the company announced that all future dividends will increase y 4% annually. What is the maximum amount you should pay to purchase a share of Angelicas stock if your goal is to earn a rate of return? 24 The bonds issued by Manson Son bear a 6% coupon, payable semiannually, The bond matures in 8 years and has a $1,000 face value. Currently, the bond sells at par. What is the yield to maturity? IV 65/2 3%xx = *Note: a bond selling at par value will have a yield to maturity equal to its coupon rate. 25. Eight months ago, you purchased 400 shares of Winston, Inc. Stock at a price of $54. 90 a share. The company pays quarterly dividends of $. 50 a share. Today, you sold all of your shares for $49. 30 a share. What is your total percentage return on this investment? In eight months, you would receive two dividends, for total dividends per share of $1. 00 26. Zoom, Inc. Stock has a beta of 1. 5. The risk-free rate of return is 3. 7% and the market rate of return is 9. 5%, What is the amount of the risk premium on Zoom stock? This is the Capital Asset Pricing Model. 3. 7% + 3. 7%) = 3. 7% + 8. 7%, therefore the risk premium on Zoom stock is 8. 7% 27 _ Chocolate and Rum, Inc. Offers a 7% coupon bond With semiannual payments and a yield to maturity of 7. %. The bonds mature in 9 years. What is the market price Of a 51,000 face value bond? IV 953. 28 75/2 7. 73%/2 28. The Reading Co. Has adopted a policy of increasing the annual dividend on its common stock at a constant rate of annually, The last dividend it paid was $0. 90 a share. What will the companys dividend be in six years? This is future value: 29. Cant Hold Me Back, Inc. Is preparing to pay its first dividends. It is going to pay $1. 00, $2. 50, and $S_CO a share over the next three years, respectively. After that, the company has stated that the annual dividend will be $1. 5 per share indefinitely What is this stock worth to you per share if you demand a 7% rate of return? This is the two stage model where each dividend is discounted separately until the dividend stabilizes in year 4. Period Dividend 1. 25 IV formula (1. 25/ 2. 1836 4. 0815 14. 5767 Total iv Note: the stock becomes a perpetuity in year 4 (terminal value as of the end of year 3) and the terminal value then must be discounted back too present value today. 30. Which of the following amounts is closest to the value of a bond that pays $55 semiannually and has an effective semiannual interest rate Of 5%?

Instruction and Assessment Unique to Each Student

Instruction and Assessment Unique to Each Student If teaching were as simple as using the one best way to teach everything, it would be considered more of a science. However, there isnt just one best way to teach everything and thats why teaching is an art. If teaching meant simply following a text book and using the same size fits all approach, then anyone could teach, right? Thats what makes teachers and especially special educators unique and special. Long ago, teachers knew that individual needs, strengths and weaknesses must drive instructional and assessment practice. Weve always known that children come in their own individual packages and that no two children learn the same way even though the curriculum may be the same. Instructional and assessment practice can (and should) be different to ensure that learning happens. This is where differentiated instruction and assessment comes in. Teachers need to create a variety of entry points to ensure that student differing abilities, strengths, and needs are all taken into consideration. Students then need varying opportunities to demonstrate their knowledge based on the teaching, hence differentiated assessment. Here are the nuts and bolts of differentiated instruction and assessment: Choice is key to the process. Choice of learning activity as well as choice in the assessment (how the student will demonstrate understanding).The learning tasks always consider the students strengths/weaknesses. Visual learners will have visual cues, auditory learners will have auditory cues etc.Groupings of students will vary, some will work better independently and others will work in various group settings.Multiple intelligence is taken into consideration as are the students learning and thinking styles .Lessons are authentic to ensure that all students can make connections.Project and problem based learning are also key in differentiated instruction and assessment.Lessons and assessments are adapted to meet the needs of all students.Opportunities for children to think for themselves is clearly evident. Differentiated instruction and assessment IS NOT NEW! Great teachers have been implementing these strategies for a long time. What does differentiated instruction and assessment look like? First of all, identify the learning outcomes. For the purpose of this explanation, Ill use Natural Disasters. Now we need to tap into our students prior knowledge. What do they know? For this stage you can do a brainstorm with the whole group or small groups or individually. Or, you can do a KWL chart. Graphic organizers work well for tapping into prior knowledge. You may also consider using a who, what, when, where, why and how graphic organizers individually or in groups. Key to this task is ensuring that everyone can contribute. Now that youve identified what the students know, its time to move into what they need and want to learn. You can post chart paper around the room dividing the topic into sub topics. For instance, for natural disasters I would post chart paper with different headings (hurricanes, tornadoes, tsunamis, earthquakes etc.). Each group or individual comes to the chart paper and writes down what they know about any of the topics. From this point you can form discussion groups based on interest, each group signs up for the natural disaster they want to learn more about. The groups will need to identify the resources that will help them gain additional information. Now its time to determine how the students will demonstrate their new knowledge after their investigations/research which will include books, documentaries, internet research etc. For this, again, choice is necessary as is taking into consideration their strengths/needs and learning styles. Here are some suggestions: create a talk show, write a news release, teach the class, create an informational brochure, create a powerpoint to show everyone, make illustrations with descriptors, give a demonstration, role play a newscast, create a puppet show, write an information song, poem, rap or cheer, create flow charts or show a step by step process, put on an informational commercial, create a jeopardy or who wants to be a millionaire game. The possibilities with any topic are endless. Through these processes, students can also keep journals in a variety of methods. They can jot down their new facts and ideas about the concepts followed by their thoughts and reflections. Or they can keep a log of what they know and what questions they still have. A Word About Assessment You can assess the following: completion of tasks, the ability to work with and listen to others, participation levels, respects self and others, ability to discuss, explain, make connections, debate, support opinions, infer, reason, re-tell, describe, report, predict etc.The assessment rubric should contain descriptors for both social skills and knowledge skills. As you can see, you have probably already been differentiating your instruction and assessment in much of what youre already doing. You may be asking, when does direct instruction come into play? As youre watching your groups, there will always be some students who will need some additional support, recognize it as you see it and pull those individuals together to help move them along the learning continuum. If you can answer the following questions, youre well on your way. How are you differentiating content? (variety of leveled materials, choice, varied presentation formats etc.)How are you differentiating assessment? (students have many options to demonstrate their new knowledge)How are you differentiating the process? (choice and variety of tasks that consider learning styles, strengths, and needs, flexible groupings etc.) Although differentiating can be challenging at times, stick with it, you will see results.

Signs Youre Meant to Go to Law School

Signs Youre Meant to Go to Law School Think that law school is for you? Law school is notoriously expensive, hard, and often boring. Moreover, jobs are hard to come by, not as lucrative as depicted by TV, and certainly not as interesting. Many law students and graduates are dismayed to learn that a career in law is nothing like they imagined. How do you avoid disappointment and disillusionment? Make sure that you are going to law school for the right reasons and after seeking the right experiences.   1.  You Know What You Want to Do With Your Degree Law school is for making lawyers. Be sure that you want to practice the law. Sure, law degrees are versatile  Ã‚  you do not have to be a practicing attorney. Plenty of  lawyers work in other fields, but a law degree isn’t needed to work in these areas. Should you seek an extraordinarily expensive degree and acquire massive loan debt to get a job that does not require your degree? Make sure that you know what you want to do and that a law degree is essential to accomplishing your career goals. 2.  You Have Some Experience in Law Too many students apply to law school without having spent even an afternoon in a legal setting. Some law students get their first taste of the law on their internships, after a year ​or more of law school. What’s worse is that some of these inexperienced law students decide that they dislike working in legal settings but after investing the time and money in law school stick it out and potentially become more miserable. Make an informed decision about whether law school is for you based on having some experience in the field. Entry level work in a legal environment can help you see what a legal career is really like a lot of paper pushing and decide if it is for you. 3. You Have Sought Career Advice From Lawyers What is a career in law like? You can spend time in legal settings and observe, but it’s always useful to get the perspective of a few lawyers. Talk to experienced lawyers:  What is their job like? What do they love about it? What isnt so fun? What would they do differently? Also approach more junior lawyers. Find out about their experiences transitioning from law school to a career. What was their experience on the job market? How long did it take to find a job? What do they like best about their career, and least? What would they do differently? Most importantly, if they could do it over, would they go to law school? In today’s difficult market more and more young lawyers answer, â€Å"No.† 4. You Have a Scholarship With three years of tuition and expenses running $100,000 to $200,000, deciding whether to go to law school is more than an educational and career decision, it is a financial decision with life-long repercussions. A scholarship can ease that burden. Recognize, however, that scholarships are renewed only when students maintain a given GPA and grades are very tough in law school. It is not uncommon for students to lose scholarships after the first year of law school, so beware. 5. You Cannot See Yourself Doing Anything Else in Life Than Practice Law Be honest. It is easy to make this claim, but research job options and do your homework as outlined above. Whatever you do, do not go to law school because you do not know what else to do with your life. Make sure that you have an informed understanding of the field and what success in law school requires. If so, prepare your law school application and plan ahead.

Business Planning and Development Essay Example | Topics and Well Written Essays - 1750 words

Business Planning and Development - Essay Example The company mainly operates in Asia, Europe and North America with its headquarters in New York. Research and analysis has shown that PVH currently has high level of debt and interest payments which is reflected in its high debt-to-equity ratio (showing that the company is highly geared). Furthermore, the company has a relatively small, concentrated customer base, intense competition which could lead to volatility in earnings and an underfunded pension plan. Therefore, it is increasingly important for PVH to secure its market position and reduce its dependence on debt rather than increasing it. Discussion Liquidity It is important to analyze the financial liquidity of PVH in order to ascertain its ability to take on more debt. The current ratio of a company reflects its ability to take on short term debts or debts within a period of 12 months (Baker & Powell, 2005). Usually a current ratio of PVH’s current ratio is 2.39 (NASDAQ, 2013) which reflects that for every $2.39 of cur rent assets, the company has $1 of current liabilities. Normally, companies having a current ratio over 1 are considered to have strong liquidity position or ability to pay off short term debts (Weil et al., 2012). This is visible in the case of PVH. Although the short term liquidity of PVH seems to be high (as indicated in the research), its long term liquidity remains very weak. Furthermore, the high current ratio may not be a good indication as a review of PVH’s Balance Sheet shows that majority of its current assets (almost a third of the dollar value) are tied up in inventory which indicates a major problem. This is because inventory may take time to convert to cash and may, therefore, negatively affect the company’s ability to pay off its short term liabilities (Ross et al., 2012). Therefore, the high liquidity indicated by the high current ratio may, in effect, be insignificant because of too much inventory being held. Furthermore, PVH’s cash flow stateme nt indicates a positive operating cash flow of 453m which, in itself (Yahoo! Finance, 2013), indicates a high level of cash availability and liquidity. However, the relevant figure in this case is not operating cash flow but levered free cash flow as the latter takes interest on debt into account. In short, levered free cash flow indicates a cash position of a firm after it pays off the interest on its debt (Penman, 2009) . This is a negative value (-45m) for PVH (Yahoo! Finance, 2013) which indicates high interest payments and suggests that the cash generated may not be sufficient to ensure continuity of the business in future. Debt position PVH’s financial position indicates an already high level of long term debt as a percentage of its total liabilities (roughly 58%). Furthermore, it is important to understand the financial leverage of PVH in order to further determine its ability take on the additional ?20 million. This is explained by the total debt to equity ratio which describes the relative proportion of debt and equity that the firm uses for financing its assets (Heitger et al., 2008). A higher ratio typically suggests an aggressive growth strategy with the effect of increased earnings, albeit often with high interest charges. Normally, a debt-to-equity ratio over 20% is not considered a healthy sign (NASDAQ, 2013). The total debt to equity ratio of PVH is very high (108.65) which suggests that the company is highly geared (NASDAQ, 2013). This already high debt indicates the high interest cha

Success For All Through Maximizing The Power of Peer Learning Essay

Success For All Through Maximizing The Power of Peer Learning - Essay Example Students and pupils that work groups are said to be more successful in reasoning and critical thinking skills which ultimately improves their general performance (Cohen, 1994). Peer education is a complex expression and as result it is not easy to pin down a simple definition and one can only attempt to describe it. Peer education can be described as an approach through which youths can operate in collaboration with their contemporaries which draws upon the positive aspects of peer dynamics; through appropriate training and exposure, peers can learn how to play an active part in the education process rather than simply be passive recipients of the same. I was motivated to try out peer learning models because as a teacher it was easy for me to appreciate the advantages they held both as result of experience and from a study of research and literature on the same. Peer education is becoming an increasingly popular process of providing not just advice and social information but as a method of pedagogy which is seen as an all-inclusive involving and benefiting pupils the peer educators and the school in general. Among the many benefits of peer teaching is that it brings about positive changes in response to knowledge, skills and confidence all which a critical in academic and personal development. Peer educates are also likely to acquire the unique benefit of up to date information and life skills that the convectional teachers may not provide and it is easier for them to identify and build positive relationships with them. Brown and Campione argue that a community of learners in classroom can be conceived in terms of various proximal development zones through which participants can navigate at their different paces and routes. Piaget who is one of the foremost experts on development and education concurs in his social-cultural learning theory which proposes that people acquire new skills and

How Do The Characters in An Inspector Calls Reflect 1912 Society? :: English Literature

How Do The Characters In An Inspector Calls Reflect 1912 Society? J.B Priestley, born in 1894 in Bradford. He went to Bradford Grammar School but did not decide to go to University but to follow his passion for writing, first he wrote articles for the local London papers before going on to be a playwright. He joined the army in 1914 at the age of 20. After being on the frontline in the Second World War, Priestley became very political and started to involve his political opinions in his work, as in 'An Inspector Calls' which he wrote in the second week after the Second World War which only took him a week to finish. He put his message across to the audience through the play, which states that people of all the social classes must learn to get along with each other since everyday is spent together. The play 'An Inspector Calls' is set in 1912 but written in 1945. The characters reflect the society of 1912 in many ways. There are six main characters that reflect 1912 society and one character, the Inspector, who takes control and who basically expresses the opinions of Priestley. The Birling family are the stereotypical upper class family of 1912, they own a 'large suburban house', the father of the family is a wealthy businessman and all have high social status. Mr Arthur Birling is the man of the house he has his wife Sybil, his son Eric and his daughter Sheila. He is a hard headed businessman, only concerned with wealth, profit and social status. He reflects a stereotypical upper class businessman of 1912 because the husband would go out to work, run the business and earn the money. Mr Birling is the person who got the Birlings their high social position, this is all he cares about for example when he realises that Eric stole money from his office he says, "I've got to cover this up as soon as I can. You damned fool" here he shows how concerned about his social position he is. This is what Priestley gets at. Priestley is annoyed about the fact that the upper-class businessman, such as Birling, had no outlook on others, mainly the working class, and Priestley tries to get his message across to the audience that people in Birling's position should not act as arrogantly as he and realise the value of others across the community. Mr Birling thinks very highly of himself and it shows especially where he talks about the First World War and how war was impossible, "Just because the Kaiser makes a speech or two, or a

French Revolution, Cause and Effect 1789

The pivotal event of European history in the eighteenth century was the French Revolution. From its outbreak in 1789, the Revolution touched and transformed social values and political systems in France, in Europe, and eventually throughout the world. France's revolutionary regime conquered much of Western Europe with its arms and with its ideology. But not without considerable opposition at home and abroad. Its ideals defined the essential aspirations of modern liberal society, while its bloody conflicts posed the brutal dilemma of means versus ends. The revolutionaries advocated individual liberty, rejecting all forms of arbitrary constraint: monopolies on commerce, feudal charges laid upon the land, vestiges of servitude such as serfdom, and even (in 1794) black slavery overseas. They held that political legitimacy required constitutional government, elections, and legislative supremacy. They demanded civil equality for all, denying the claims of privileged groups, localities, or religions to special treatment and requiring the equality of all citizens before the law. A final revolutionary goal was expressed by the concept of fraternity, which meant that all citizens regardless of social class, region, or religion shared a common fate in society, and that the well-being of the nation sometimes superseded the interests of individuals. The resounding slogan of Liberty, Equality, Fraternity expressed social ideals to which most contemporary citizens of the Western world would still subscribe. I. Origins Those who made the Revolution believed they were rising against tyrannical government, in which the people had no voice, and against inequality in the way obligations such as taxes were imposed and benefits distributed. Yet the government of France at that time was no more tyrannical or unjust than it had been in the past. On the contrary, a gradual process of reform had long been underway. What, then, set off the revolutionary upheaval? What had changed? An easy answer would be to point to the incompetence of King Louis XVI 1774-1792) and his queen, Marie Antoinette. Good-natured but weak and indecisive, Louis was a man of limited intelligence who lacked self-confidence. Worse yet, his young queen, a Hapsburg princess, was frivolous, meddlesome, and tactless. But even the most capable ruler could not have escaped challenge and crisis in the late eighteenth century. The roots of that crisis, not its mismanagement, claim the principal interest of historians. The philosophes In eightee nth-century France, as we have seen, intellectual ferment preceded political revolt. For decades the philosophes had bombarded traditional beliefs, institutions, and prejudices with devastating salvos. They undermined the confidence that traditional ways were the best ways. Yet the philosophes were anything but revolutionaries. Nor did they question the fact that elites should rule society, but wished only that the elites should be more enlightened and more open. Indeed, the Enlightenment had become respectable by the 1780s, a kind of intellectual establishment. Diderot's Encyclopedia, banned in the 1750s, was reprinted in a less expensive format with government approval in the 1770s. Most of France's 30 provincial academies_learned societies of educated citizens in the larger towns had by that time been won over to the critical spirit and reformism of the Enlightenment, though not to its sometimes extreme secularism. Among the younger generation, the great cultural hero was Rousseau (see picture), whose Confessions (published posthumously in 1781) caused a sensation. Here Rousseau attacked the hypocrisy, conformity, cynicism, and corruption of high society's salons and aristocratic ways. Though he had not exemplified this in his personal life, Rousseau came across in his novels and autobiography as the apostle of a simple, wholesome family life; of conscience, purity, and virtue. As such, he was the great inspiration to the future generation of revolutionaries, but the word â€Å"revolution† never flowed from his pen. Underground literature More subversive perhaps than the writings of the â€Å"high enlightenment† was the underground literature that commanded a wide audience in France. The onarchy's censorship tried vainly to stop these â€Å"bad books,† which poured in across the border through networks of clandestine publishers, smugglers, and distributors. What was this fare that the reading public eagerly devoured? Alongside a few banned works by the philosophes, there was a mass of gossip sheets, pulp novels, libels, and pornography under such titles as Scandalous Chronicles and The Private Life of Louis XV. Much of this material focused on the supposed goings-on in the fashionable world of Paris and Versailles. Emphasizing scandal and character assassination, this literature had no specific political content or ideology. But indirectly, it portrayed the French aristocracy as decadent and the French monarchy as a ridiculous despotism. II. Fiscal Crisis When he took the throne in 1774, Louis XVI tried to conciliate elite opinion by recalling the Parlements or sovereign law courts that his father had abolished in 1770. This concession to France's traditional â€Å"unwritten constitution† backfired, however, since the Parlements resumed their defense of privilege in opposition to reforms proposed by Jacques Turgot, Louis, new controller general of finances. Turgot, a disciple of the philosophes and an experienced administrator, hoped to encourage economic growth by the policy of nonintervention or laissez-faire. When agitation against him mounted at Versailles and in the Paris Parlement, Louis took the easy way out and dismissed his troublesome minister. The king then turned to a Protestant banker from Geneva with a reputation for financial wizardry, Jacques Necker. A shrewd man with a strong sense of public relations, Necker gained wide popularity. To finance the heavy costs of France's aid to the rebellious British colonies in North America, Necker avoided new taxes and instead floated a series of large loans at exorbitant interest rates as high as 10 percent. Short of a complete overhaul of the tax system, little improvement in royal revenues could be expected, and the public would bitterly resist any additional tax burdens that the monarchy simply imposed. Facing bankruptcy and unable to float any new loans in this atmosphere, the king recalled the Parlements, reappointed Necker, after tarying several other ministers, and agreed to convene the Estates General in May 1789. III. Estates General to National Assembly The calling of the Estates General created extraordinary excitement across the land. When the king invited his subjects to express their opinions about this great event, hundreds did so in the form of pamphlets, and here the liberal or â€Å"patriot† ideology of 1789 first began to take shape. The Third Estate While the king accorded the Third Estate twice as many delegates as the two higher orders, he refused to promise that the delegates would vote together (â€Å"by head†) rather than separately in three chambers (â€Å"by order†). A vote by order meant that the two upper chambers would outweigh the Third Estate no matter how many deputies it had. It did not matter that the nobility had led the fight against absolutism. Even if they endorsed new, constitutional checks on absolutism and accepted equality in the allocation of taxes, nobles would hold vastly disproportionate powers if the Estates General voted by order. In the most influential of these pamphlets, Abbe Emmanuel Joseph Sieye posed the question, â€Å"What is the Third Estate? † and answered flatly, â€Å"Everything. † The enemy was no longer simply absolutism but privilege as well. Unlike reformers in England, or the Belgian rebels against Joseph II, or even the American revolutionaries of 1776, the French patriots did not look back to historical traditions of liberty that had been violated. Rather they contemplated a complete break with a discredited past. As a basis for reform, they would substitute reason for tradition. Cahiers For the moment, however, the patriots were far in advance of opinion at the grass roots. The king had invited citizens across the land to meet in their parishes to elect delegates to district electoral assemblies, and to draft grievance petitions (cahiers) setting forth their views. Highly traditional in tone, the great majority of rural cahiers complained only of particular local ills and expressed confidence that the king would redress them. Only a few cahiers from Iarger cities, including Paris, alluded to the concepts of natural rights or popular sovereignty that were appearing in patriot pamphlets. Very few demanded that France must have a written constitution, that sovereignty belonged to the nation, or that feudalism and regional privileges should be abolished. Elections Virtually every adult male taxpayer was eligible to vote for electors, who, in turn, chose deputies for the Third Estate. The electoral assemblies were a kind of political seminar, where articulate local leaders emerged to be sent by their fellow citizens as deputies to Versailles. These deputies were a remarkable collection of men, though scarcely representative of the mass of the Third Estate. Dominated by lawyers and officials, there was not a single worker or peasant among them. In the elections for the First Estate, meanwhile, democratic procedures assured that parish priests rather than Church notables would form a majority of the delegates. And in the elections to the Second Estate, about one third of the delegates could be described as liberal nobles or patriots. â€Å"National Assembly† Popular expectation that the monarchy would provide leadership in reform proved to be ill-founded. When the deputies met on May 5, Necker and Louis XVI spoke to them only in generalities, and left unsettled whether the estates would vote by order or by head. The upper two estates proceeded to organize their own chambers, but the deputies of the Third Estate balked. Inviting the others to join them, on June 17 the Third Estate took a decisive revolutionary step by proclaiming its conversion into a â€Å"National Assembly. † A few days later 150 clergymen from the First Estate joined them. The king, who finally decided to cast his lot with the nobility, locked the Third Estate out of its meeting hall until a session could be arranged in which he would state his will. But the deputies moved to an indoor tennis court, and there swore that they would not separate until they had given France a constitution. Ignoring this act of defiance, the king addressed the delegates of all three orders on June 23. He promised equality in taxation, civil liberties, and regular meetings of the Estates General at which, however, voting would be by order. France would be provided with a constitution, he pledged, â€Å"but the ancient distinction of the three orders will be conserved in its entirety. † He then ordered the three orders to retire to their individual meeting halls. This, the Third Estate refused. When the royal chamberlain repeated his monarch's demand, the deputies, spokesman dramatically responded: â€Å"The assembled nation cannot receive orders. Startled by the determination of the patriots, the king backed down. For the time being, he recognized the National Assembly and ordered deputies from all three estates to join it. Thus the French Revolution began as a nonviolent, â€Å"legal† Revolution. IV. The Convergence of Revolutions The political struggle at Versailles was not occurring in isolation. Simultaneously, the mass of French citizens, already aroused by elec tions to the Estates General, were mobilizing over subsistence issues. The winter and spring of 1788-1789 had brought severe economic difficulties, as crop failures and grain shortages almost doubled the price of flour and bread on which the population depended for subsistence. Unemployed vagrants and beggars filled the roads, grain convoys and marketplaces were stormed by angry consumers, and relations between town and country were strained. This anxiety merged with rage over the behavior of â€Å"aristocrats† in Versailles. Parisians believed that food shortages and royal troops would be used to intimidate the people into submission. They feared an â€Å"aristocratic plot† against the Third Estate and the patriot cause. Bastille When the king dismissed the still-popular Necker on July 11, Parisians correctly assumed that the counter-revolution was about to begin. Instead of submitting, they revolted. Protesting before royal troops (some of whom defected to the insurgents), burning the hated toll barriers that surrounded the capital, and seizing grain supplies, Parisian crowds then began a search for weapons. On the morning of July 14 they invaded the military hospital of the Invalides where they seized thousands of rifles without incident. Then they laid siege to the Bastille, an old fortress that had once been a major royal prison, where gunpowder was stored. There the small garrison did resist and a ferocious firefight erupted. Dozens of citizens were hit providing the first martyrs of the Revolution, but the garrison soon capitulated. As they left, several were massacred by the infuriated crowd. Meanwhile, patriot electors ousted royal officials of the Paris city government, replaced them with a revolutionary municipality, and organized a citizens militia or national guard to patrol the city. Similar municipal revolutions occurred in 26 of the 30 largest French cities, thus assuring that the capital's defiance would not be an isolated act. The Parisian insurrection of July 14 not only saved the National Assembly from annihilation but also altered the course of the Revolution by giving it a far more active, popular dimension. Again the king capitulated. Removing most of the troops around Paris, he traveled to the capital on July 17 and, to please the people, donned a cockade bearing the colors of white for the monarchy and blue and red for the city of Paris. This tricolor was to become the flag of the new France. The Great Fear These events did not pacify the anxious and hungry people of the countryside, however. The sources of peasant dissatisfaction were many and long standing. Population growth and the parceling of holdings were reducing the margin of subsistence for many families, while the purchase of land by rich townspeople exerted further pressure. Seigneurial dues and church tithes weighed heavily upon most peasants. Now, in addition, suspicions were rampant that nobles were hoarding grain in order to stymie the patriotic cause. In July peasants in several regions sacked the castles of the nobles and burned the documents that recorded their feudal obligations. This peasant insurgency eventually blended into a vast movement known as the Great Fear. Rumors abounded that the vagrants who swarmed through the countryside were actually â€Å"brigands† in the pay of nobles who were marching on villages to destroy the new harvest and cow the peasants into submission. The fear was baseless, but it stirred up hatred and suspicion of the nobles, prompted a mass recourse to arms in the villages, and set off new attacks on chEteaus and feudal documents. Peasant revolts and the Great Fear showed that the royal government was confronting a truly nationwide and popular revolution. The night of August 4 Peasant insurgency worried the deputies of the National Assembly, but they decided to appease the peasants rather than simply denounce their violence. On the night of August 4, representatives of the nobility and clergy vied with one another in renouncing their ancient privileges. This set the stage for the Assembly to decree â€Å"the abolition of feudalism† as well as the tithe, venality of office, regional privilege, and social privilege. Rights of Man and Citizen By sweeping away the old web of privileges, the August 4th decree permitted the Assembly to construct a new regime. Since it would take months to draft a constitution, the Assembly drew up a Declaration of the Rights of Man and Citizen to indicate the outline of its intentions. A rallying point for the future, the Declaration also stood as the death certificate of the old regime. It began with a ringing affirmation of equality: â€Å"Men are born and remain free and equal in rights. Social distinctions may be based only on common utility. The Declaration went on to proclaim the sovereignty of the nation as against the king or any other group, and the supreme authority of legitimate law. Most of its articles concerned liberty, defined as â€Å"the ability to do whatever does not harm another . . . whose limits can only be determined by law†; they specified freedom from arbitrary arrest; freedom of expression and of religion; and the need for represent ative government. The Declaration's concept of natural rights meant that the Revolution would be based on reason rather than history or tradition.

Cabaret music and architecture - Free Essay Example

Sample details Pages: 29 Words: 8725 Downloads: 2 Date added: 2017/06/26 Category Statistics Essay Did you like this example? CHAPTER 1: INTRODUCTION Research Overview There have been some efforts that were made by a number of researcher vis-ÃÆ'  -vis looking at the parallels of architecture and music in terms of rhythm, harmony and the inherent ability to provoke emotional responses of each discipline; however, those researches have not covered all genres of music. One of the types of music that have not attracted a lot of architectural critics, cabaret music, has captured my interest. Given the limited research in the area, this study intends to achieve a better understanding of the relationship between cabaret music and architecture.. Don’t waste time! Our writers will create an original "Cabaret music and architecture" essay for you Create order Statement of the problem Towards the end of the 19th century, Romanticism reached its limits of expression. Consequently, diverse and experimental music forms began to emerge, which broke away from the mainstream of Romanticism. These included the impressionism of Debussy and Ravel, and the surrealism of Erik Satie. The emphasis on irregular rhythms within Stravinskià ¢Ã¢â€š ¬Ã¢â€ž ¢s The Riot of Spring caused its first audience to riot in 1913. These followed the experimentation in scales and rhythms of BartÃÆ' ³k. In the performing arts, cabaret songs were intentionally naturalistic in language, theme while certain of its devices, such as the shadow play, were both decadent and symbolist in their use of light, colour and evocative suggestion. Simultaneously, in this period, architects like Frank Lloyd Wright and Le Corbusier experimented with new approaches in composing architecture. Purpose and importance of the research This study is valuable in that it might contribute and add to the existing body of knowledge that has drawn out the parallels between architecture and music. Structure of the report The remaining of the report is organised into four chapters that will start from the known intersections between music and architecture to more specifically, the parallels between cabaret music and architecture. The report will then move to discuss the relationship between architecture and other related music disciplines like dance and Non-western musical. CHAPTER 2: INTERSECTIONS OF MUSIC AND ARCHITECTURE The Chapter focuses on analysing selected architectural work that has used music as design inspirations as a way of introducing the topic. Alberti, Palladio and the application of music in architectural design Historically music was thought of as a mathematical science. The idea of harmonies sprung from the process of division. A string that produced a certain tone could be divided along exact proportions to create a note that would resonate in harmony with the first note, creating an overlapping of tones that could be considered beautiful both aesthetically and mathematically. These ideas were developed by the ancient Greeks, but brought into importance during the Renaissance. It was during this time that architecture was thought of as an art that needed a mathematical and therefore scientific basis to be considered objectively. Palladio often looked to musical proportions as a means to achieve ideal proportions in his designs. Basic harmonies such as octaves and fifths were applied to room sizing in all three dimensions, and were also often overlooked to as ornamental guides. The Palladian practice of applying basic harmonic ideas to basic room proportions is a starting point with what can be achieved by translating tonal ideas into the practice of architecture. Renaissance thinkers placed importance on the translation of audible proportions to the visual arts partly because they viewed musical composition as a mathematical science whereas architecture was thought of as a liberal art. In an attempt to give architecture a system of design method, it had to be referenced to a mathematical framework. Leonardo Da Vinci once said that music and painting are sisters, and both are used to convey harmonies. According to him, music achieved this through the use of chords and painting through the use of proportions. Palladio noted within his illustration ideal proportions for room dimensions and other architectural devices. The numbers within the ratios are carefully chosen and are the result of his attempt to fulfill Vitruvian principles. The principle in question has to do with achieving an ideal design. The artists of the Renaissance believed that it was possible to obtain an absolute beauty by following the proportional principles found in nature. In the practice of architecture, this was achieved by allowing specific geometries to define certain forms. These forms then would act as modules that would define and govern the development of the entire structure. Palladio even stated that it was possible to achieve a harmonic building through the use of proportional principles and that it would be possible to explain and evaluate the success of the building using the terms of musical theory. Leone Battista Alberti had taken the music scale and noted that musical theory is important to the practice of architecture because the numbers that are responsible for pleasing harmonies also evoke delight from manà ¢Ã¢â€š ¬Ã¢â€ž ¢s eyes and mind. Palladio took this idea and used this harmonic scale as a proportioning system in his buildings. He focused on the relationship found between four strings with lengths in a ratio of 6:8:9:12. When these strings were placed under equal amounts of tension and then vibrated they produced wavelengths of consonant tones, most importantly an octave, fourth and fifth. These proportions are noted in his plans published in the Quattro Libri. Le Corbusier and the Phillipsà ¢Ã¢â€š ¬Ã¢â€ž ¢s Pavilion The growth of subjective judgment slowly did away with the Renaissance search for an absolute beauty, but this did not stop the intersection of musical and architectural ideas. It did change them, leading to new investigations and ideas. Of particular importance is the work of Le Corbusier on the Phillipsà ¢Ã¢â€š ¬Ã¢â€ž ¢s Pavilion. He investigated both the translation of musical proportions to built form, but also the use of acoustics and sound to generate and convey a sense of space. In 1958, Phillips Company, a producer of electronic speakers, hired Le Corbusier to design and build a pavilion for the Brussels World Fair. The Phillips Companyà ¢Ã¢â€š ¬Ã¢â€ž ¢s goal was to show off the capabilities of their latest speakers and filled the pavilion with three hundreds of them. Le Corbusier proposed to give the Phillips Company an electronic poem with which to showcase their work. He worked with a team of Phillipsà ¢Ã¢â€š ¬Ã¢â€ž ¢ engineers and two modern composers: Iannis Xenakis and Edgard Varase. Xenakisà ¢Ã¢â€š ¬Ã¢â€ž ¢s role in the Phillips Pavilion was focused on the exterior shell of the building. His task focused on translating the sketches and abstract ideas of Le Corbusier (mainly dealing with geometry and proportions) into a buildable, architectural form. The end result, a curved, hyperbolic not only fulfills the mathematical ideals of Le Corbusier, but also evokes the glissandi of Xenakisà ¢Ã¢â€š ¬Ã¢â€ž ¢s 1953-1954 composition Metastasis. Steven Holl and the Stretto House Steven Holl took the investigation of a more complex musical idea that of stretto, as a departure point for a house built in Texas. This project focused on using both the compositional and experiential qualities of a particular piece of music as a means to solve the architectural problems presented by the site and the client. The Stretto House, a project by Steven Holl located in Dallas, Texas exemplifies a modern approach to marrying the ideas of architecture and music. While there is more to the project than just this aspect the ideas of music played an important part in the development and implementation of the design. The name of the house comes from the musical term à ¢Ã¢â€š ¬Ã…“strettoà ¢Ã¢â€š ¬?. à ¢Ã¢â€š ¬Ã…“Strettoà ¢Ã¢â€š ¬? is most commonly used in the fugue and in this context it refers to the theme of the piece being repeated and overlapped by different voices. The decision to explore this musical idea as a mode of design occurs during the initial sketching phase. This phase explored some of the vernacular materials of Texan architecture, specifically metal roofs and concrete blocks. This combined with the need to create shade and producing this via overlapping led to the exploration of the overlapping that occurs in stretto. Holl narrowed the study of stretto to one particular piece of music, Bela Bartokà ¢Ã¢â€š ¬Ã¢â€ž ¢s Music for strings, percussions and Celeste. The feature of this work is the distinct separation between heavy and light by carefully dividing the percussion and string sections. Holl literally took the basic composition of the music and composed his building in the same way. Bartokà ¢Ã¢â€š ¬Ã¢â€ž ¢s work is divided into four movements and its most compelling feature is the aforementioned division of instruments into two models. Holl designed his structure to have four distinct spatial sections and focused the work on two distinct elements: masonry, which mimicked the heavy role of the percussion and curved metal, which played the light nature of the spring section. The result is an overlapping and intersection of several elements. The curved metal roofs overlap with the heavy masonry structure, referred to as spatial dams. The different planes of the building, roof, floor and wall, pu ll space from each other to continue the overlapping effect. The materials of the building follow suit, as do the actual design drawings. The orthogonal plan of the main house drawing stands in contrast to the curvilinear section while the drawings of the guest house reverse this pattern, mimicking the inversion found in Bartokà ¢Ã¢â€š ¬Ã¢â€ž ¢s composition. This project was designed around a cohesive idea that can organize and guide the experiential qualities of the space. Holl notes that à ¢Ã¢â€š ¬Ã…“the concept that drives a design like the Stretto House disappears completely in the phenomena of the physical reality and yet intuitively the abundance of the idea may be feltà ¢Ã¢â€š ¬?. By combining the ideas of music and architecture Holl was able to create an analogue between the two practices. By treating music as something that has a materiality, one gained from its instrumentation, he was able to synthesize it with architecture through his use of light and space. The equation that Holl himself writes to explain this is à ¢Ã¢â€š ¬Ã…“material multiplied by sound and divided by time equals material multiplied by light and divided by space.à ¢Ã¢â€š ¬? The key to success of this lies in the distinction that both architecture and music have a material aspect, and this common factor allows parallels to be drawn. To summarize, the practice of architecture and the practice of music have intersected and impacted each other in a variety of ways throughout their histories. These instances can be divided into two distinct categories. The first category involves architecture taking proportional and compositional principles directly from musical theory. Palladioà ¢Ã¢â€š ¬Ã¢â€ž ¢s villas ?t into this category as many of the proportions that guided the design were taken from their eraà ¢Ã¢â€š ¬Ã¢â€ž ¢s understanding of music and the nature of sound. The second category involves architecture learning from the experiential qualities of music and trying to replicate them in built form. CHAPTER 3: LITERATURE REVIEW Writer Johann Wolfgang Von Goethe is famous for describing architecture as à ¢Ã¢â€š ¬Ã…“frozen musicà ¢Ã¢â€š ¬? in the 19th century. Music and architecture also share similar experiential aspirations. Architectural historian Sir John Summerson notes in his essay à ¢Ã¢â€š ¬Ã…“The vision of J.M.Gandyà ¢Ã¢â€š ¬? that architecture is an art that is à ¢Ã¢â€š ¬Ã…“constantly attempting to realize in solid, stable form those effects which music is able to conjure up in an instantà ¢Ã¢â€š ¬?. He goes on to point out that music and architecture even use a similar vocabulary, specifically the use of mass, rhythm, texture and outline to achieve similar effects such as the colossal. It was Pythagoras who discovered that a vibrating string, stopped at its centre, produced the à ¢Ã¢â€š ¬Ã‹Å"octaveà ¢Ã¢â€š ¬Ã¢â€ž ¢; at two thirds of its length the à ¢Ã¢â€š ¬Ã‹Å"fifthà ¢Ã¢â€š ¬Ã¢â€ž ¢, and at three quarters, the à ¢Ã¢â€š ¬Ã‹Å"fourthà ¢Ã¢â€š ¬Ã¢â€ž ¢. From this he developed the series of ratios that result in the twelve tone scale used in western music today. The ratio between the full length of the string and the length stopped, or the ratios between the lengths making different notes have their direct equivalents in the ratios between the sides of the rectangles that have made up much of western architecture in the intervening centuries. Numerous aspects of this relationship between the underlying ratios of music and architecture have been developed and discussed and in this chapter we shall consider the aspects of rhythm, improvisation and emotional response in the light of some of these discussions, and the architecture of Palladio, Le Corbusier, Schindler and Holl. Rhythm Many architects have developed theories of proportion with which to govern and explain their work. These have generated in their turn a significant body of critical analysis and comment. Palladio, like Alberti a century earlier, expounded theories which took up and developed those first proposed by Vitruvius in the 7th Century BC. These were particularly attractive to the spirit of the Renaissance. à ¢Ã¢â€š ¬Ã…“To the minds of the men of the Renaissance musical consonances were the audible tests of a universal harmony which had a binding force for all the arts.à ¢Ã¢â€š ¬? In the 1930s R M Schindler, developed the ideas of module used by Frank Lloyd Wright in his Usonian houses. Here not only the architectural plans, but also the concrete floor slabs were inscribed with grids derived from the sizes of the materials to be used. Schindler took this pragmatic idea and incorporated it into a system of proportion which he described as à ¢Ã¢â€š ¬Ã‹Å"Reference Frames in Spaceà ¢Ã¢â€š ¬Ã¢â€ž ¢. The appreciation of this relationship between the mathematics of the ratios and proportions that underlie both music and architecture is of course a purely intellectual exercise. à ¢Ã¢â€š ¬Ã…“The analogy with music simply amounts to the transference of an established convention in one art to the purposes of anotherà ¢Ã¢â€š ¬? It does not help explain or evaluate the emotional responses that these media can evoke, which is a factor of how the underlying principles are used and manipulated to create the final work. Stretto, the musical term for the overlapping of subjects, and the only strict rule in the formation of fugues, provided Steven Holl with the basis to explore the relationship beyond this intellectual analogy in his à ¢Ã¢â€š ¬Ã‹Å"Stretto Houseà ¢Ã¢â€š ¬Ã¢â€ž ¢. The house is directly inspired by Music for Percussion, Strings and Celesta by BÃÆ' ©la BartÃÆ' ³k, in which stretto is used extensively. It is a choice which is particularly apposite as à ¢Ã¢â€š ¬Ã…“ the chief feature of his [BartÃÆ' ³kà ¢Ã¢â€š ¬Ã¢â€ž ¢s] chromatic technique is obedience to the Golden Section in every element.à ¢Ã¢â€š ¬? Improvisation In music improvisation is the impromptu or à ¢Ã¢â€š ¬Ã‹Å"in the momentà ¢Ã¢â€š ¬Ã¢â€ž ¢ creation and performance of music as well as spontaneous response to other musicians. It is distinct from untutored or casual composition, in that it requires discipline and a rigorous understanding of the forms and rules in order to be sufficiently coherent to evoke an emotional response. à ¢Ã¢â€š ¬Ã…“ improvisation is a performative (sic) act and depends on instrumental technique, improvisation is a skill.à ¢Ã¢â€š ¬? Because the creation of a work of architecture requires rigorous planning and control of all its elements, improvisation is not usually associated with it. The usual view is that architecture cannot be impromptu, it must be planned, detailed and explained thoroughly if all those involved in its production are to collaborate effectively. In his BBC Proms lecture in 2002 Daniel Libeskind confirmed that it is difficult to have improvisation in architecture à ¢Ã¢â€š ¬Ã¢â‚¬Å" à ¢Ã¢â€š ¬Ã…“to have rotating players, to have players interpretà ¢Ã¢â€š ¬?. He suggested, however, that if the spatiality and materiality is open, then the public can à ¢Ã¢â€š ¬Ã…“ form its own operation on the building.à ¢Ã¢â€š ¬? This being, perhaps, the closest that architecture can come to improvisation. Certainly the villas of Palladio, with the proportions of their components controlled by a strict series of ratios, and their spaces assembled according to harmonic sequences, must be considered as careful exercises in composition rather than improvisations. Le Corbusierà ¢Ã¢â€š ¬Ã¢â€ž ¢s villas too are compositions which follow a set of rules governing their proportions; Le Modulor. Within these cool, intellectual compositions, however, there are elements which are freer in form and which play off against, and highlight, the orthogonal correctness of the remainder. Coming finally to Schindler, Sarnitz observes that as his work evolved à ¢Ã¢â€š ¬Ã…“ the great importance attached to proportion in his early work gradually receded; he never repeats the complexity of the Lovell Beach House.à ¢Ã¢â€š ¬? This move away from strict adherence to the system of proportion that he himself developed, to more lyrical or spiritual values, is directly analogous to that of a musician who has learnt the disciplines of his instrument and the rules of music to the highest level but feels able to express himself more fully and coherently through improvisation. Schindler, having developed and established his competence in his early work, chose to follow this route after recognising the limitations that a purely intellectual approach can bring to a potentially lyrical art. à ¢Ã¢â€š ¬Ã…“Most of the buildings which Corbusier and his followers offer us as à ¢Ã¢â€š ¬Ã‹Å"machines to live inà ¢Ã¢â€š ¬Ã¢â€ž ¢ are crude à ¢Ã¢â€š ¬Ã‹Å"contraptionsà ¢Ã¢â€š ¬Ã¢â€ž ¢ to serve a purpose. Mere instruments of production can never serve as a frame for life.à ¢Ã¢â€š ¬? Emotional response The emotional impact of both music and architecture is generated not by the intellectual understanding and appreciation of the ratios and proportions that govern the relationships of their parts and overall composition. It is a response produced by the composer or architect or improviser by manipulating the à ¢Ã¢â€š ¬Ã…“material multiplied by sound divided by timeà ¢Ã¢â€š ¬? and the à ¢Ã¢â€š ¬Ã…“material multiplied by light and divided by spaceà ¢Ã¢â€š ¬? which Holl proposes as the equivalent formulae for the creation of music and architecture respectively. The power of the piece to move the listener or viewer is in direct ratio to the skill of the creator. Both music and architecture are immediate rather than mediate forms of communication. That is they do not require the intermediation of language. They affect the listener and viewer respectively, of all backgrounds and languages, directly with no need for translation or interpretation. They also both have a physical element to their means of communication. à ¢Ã¢â€š ¬Ã…“Music can recall the serenity and grandeur of a seascape; so also, says Viollet, [le Duc] can architecture when it has occasion to give us long, unbroken, horizontal lines. Then he compares the emotional effect of a low broad crypt with that of a soaring knave; he notes the physical reactions of a man in these two settings, à ¢Ã¢â€š ¬? And both directly affect the emotions and understanding. à ¢Ã¢â€š ¬Ã…“The very same numbers that cause sounds to have that concinnitas [a certain harmony] pleasing to the ears, can also fill the eyes and mind with wondrous delight.à ¢Ã¢â€š ¬? The cool but powerful emotional response generated by the composed serenity and authority of Palladioà ¢Ã¢â€š ¬Ã¢â€ž ¢s villas is not simply the result of the principles of proportion that govern the elements of the elevations, but also the extension of these principles to the way that the spaces and volumes are arranged. à ¢Ã¢â€š ¬Ã…“ the systematic linking of one room to the other by harmonic proportions was the fundamental novelty of Palladioà ¢Ã¢â€š ¬Ã¢â€ž ¢s architecture, à ¢Ã¢â€š ¬? At the other end of the architectural scale, Hollà ¢Ã¢â€š ¬Ã¢â€ž ¢s fugue in the Stretto House generates a similar response in the viewer to that, which stretto in music evokes in the listener, namely à ¢Ã¢â€š ¬Ã…“ excitement, acceleration, fuller realization, a certain indescribable ecstasy with the sensation of heightened simultaneity.à ¢Ã¢â€š ¬? Another aspect of emotional impact, which may be more mundane but is nevertheless worthy of consideration, is the cumulative effect of the music and architecture that surrounds us as distinct from the impact of a particular work. Emily Thompson posits the importance that advances in sound engineering made to the aural perception of life in the early years of the century, giving rise to the phenomenon that is sometimes referred to as the à ¢Ã¢â€š ¬Ã‹Å"soundtrack of our lifeà ¢Ã¢â€š ¬Ã¢â€ž ¢. The idea of a parallel à ¢Ã¢â€š ¬Ã‹Å"stage set of our livesà ¢Ã¢â€š ¬Ã¢â€ž ¢ has been hinted at by author Will Self, à ¢Ã¢â€š ¬Ã…“ if Brutalism is heavy metal, then what was Modernism, Schoenbergs dodecaphony? Clearly the Little Englander Palladian nostalgia of the Prince of Wales, the Quinlan Terry partnership, and even Barratt Homes, is of a piece with light classical music: Viennese waltzes, frozen in red brick, à ¢Ã¢â€š ¬? Chapter 4: Improvisation after the Renaissance and after Modernism In the earlier chapter I have established that improvisation in architecture can be considered as the departure of a skilled practitioner from the rules he has mastered in order to express himself more fully or to give coherent expression to new or developing ideas. Albertià ¢Ã¢â€š ¬Ã¢â€ž ¢s De Re Aedificatoria (written about 1450) may be seen as the theoretical foundation for the re-establishment of classical order and proportion in the Renaissance. A century or so later Palladioà ¢Ã¢â€š ¬Ã¢â€ž ¢s Quattro Libri (published in 1570), re stated these classical rules, and his buildings followed them strictly. At the same time, however, other architects were interpreting these established rules with varying degrees of freedom. In his two villas on the Capitoline Hill in Rome Michaelangelo took the conventional Corinthian order, enlarged it and ran it through two stories; something that the Romans had never done. Vignola, in his Castello Farnese at Caprarola, designed an entablature that, à ¢Ã¢â€š ¬Ã…“[I]s a departure from the strict grammar of the antique à ¢Ã¢â€š ¬Ã¢â‚¬Å" a departure in the direction of inventive modelling, of designing a faÃÆ' §ade as a pattern in light and shade, a pattern through which runs a play of meaning rather than any precise series of statements.à ¢Ã¢â€š ¬? Giulio Romano was even freer in his interpretation of the rules of antiquity. His Palazzo del Te, with its affected dilapidation and à ¢Ã¢â€š ¬Ã‹Å"droppedà ¢Ã¢â€š ¬Ã¢â€ž ¢ stones in the entablature and his Cortile della Cavallerizza with its extravagant rustication and twisted Doric finds its equivalent in the developing mannerism of the music of the time. à ¢Ã¢â€š ¬Ã…“In the late 16th century, as the Renaissance era closes, an extremely manneristic style develops. In secular music, especially in the madrigal, there was a trend towards complexity and even extreme chromaticism (as exemplified in madrigals of Luzzaschi, Marenzio, and Gesualdo).à ¢Ã¢â€š ¬? Chromaticism in particular is an essential characteristic of the mannerist style at this time. It demonstrates a departure from the rules regulating the fundamental ratios underlying musical theory which is directly equivalent to that executed by Romano upon the rules of classical architecture as restated by Alberti and Palladio. à ¢Ã¢â€š ¬Ã…“The Pythagorean tone, with a ratio of 9:8, consists of a minor and a major semi-tone; But only the minor semitone can be used in actual music. For this reason, progressions between Bb à ¢Ã¢â€š ¬Ã¢â‚¬Å" B natural or F à ¢Ã¢â€š ¬Ã¢â‚¬Å" F#, or any other equivalent intervals, are forbidden. When the chromatic madrigal begins to abound in such progressions, it raises a flurry of controversy.à ¢Ã¢â€š ¬? The relationship between mannerism in architecture and in music may be illustrated by comparing the use of chromaticism by Guesaldo with Romanoà ¢Ã¢â€š ¬Ã¢â€ž ¢s use of rustication in the Palazzo del TÃÆ' ¨. On the one hand, Guesaldoà ¢Ã¢â€š ¬Ã¢â€ž ¢s madrigals are, à ¢Ã¢â€š ¬Ã…“full of unresolved dissonances, illogical modulations, and chromatic progressionsà ¢Ã¢â€š ¬?. These are used to powerful effect to create, à ¢Ã¢â€š ¬Ã…“disruptive and restless changes of mood, so that the end result is rather like eavesdropping on some unresolvable, private agony.à ¢Ã¢â€š ¬? On the other, Romanoà ¢Ã¢â€š ¬Ã¢â€ž ¢s use of rustication gives the impression that, à ¢Ã¢â€š ¬Ã…“Everything is a bit uneasy, a bit wrong.à ¢Ã¢â€š ¬? It also à ¢Ã¢â€š ¬Ã…“[R]ecalls ruins [and] ancient buildings left half-finished. But it has great power and this is very largely because of the dramatic use of rustication.à ¢Ã¢â€š ¬? Just as Schindler developed a more à ¢Ã¢â€š ¬Ã‹Å"improvisationalà ¢Ã¢â€š ¬Ã¢â€ž ¢ style in his later works as he became disillusioned or cynical about the ethos of the à ¢Ã¢â€š ¬Ã‹Å"Machine Ageà ¢Ã¢â€š ¬Ã¢â€ž ¢,[38] so Le Corbusier may also be considered to have undergone a major shift following the Second World War. This is exemplified by the chapel at Ronchamp, the monastery at La Tourette and the Courts of Justice at Chandigarh, all of which may be considered to be improvisational, with regard to the strict principles of Le Modulor. Charles Jencks observes that this perceived change in direction was seen to condone a new turn for modern architecture. He lists a range of diverse range of architectural movements that drew inspiration from Le Corbusierà ¢Ã¢â€š ¬Ã¢â€ž ¢s later works. CHAPTER 5: CABARET MUSIC and MODERNIST ARCHITECTURE Architecture and cabaret music are closely affiliated, not least because both focus on creating unique atmospheres for a variety of purposes. During the early to mid twentieth century American architecture and cabaret were born out of and represented similar cultural concerns. This chapter considers some of the ways in which architecture and cabaret interact and how cabaret uses principles of architecture, such as the utilisation of space, the division of à ¢Ã¢â€š ¬Ã‹Å"stageà ¢Ã¢â€š ¬Ã¢â€ž ¢ space, the distinction between public and private space, and the use of synthesis in design. Examples of Modern architectural designs, including those of Frank Lloyd Wright and Le Corbusier, built during the thirties and forties will be considered with the aim of identifying shared cultural affiliation between cabaret music and architecture during the mid twentieth century. Cabaret à ¢Ã¢â€š ¬Ã¢â‚¬Å" the trend of combining music, dance, comedy, and theatre in a public place à ¢Ã¢â€š ¬Ã¢â‚¬Å" was first established in France in 1881. Throughout both world wars and the Great Depression in America, Cabaret afforded a means of relaxation and the opportunity to celebrate, through shared performance, a variety of cultures, talents and tastes. Monmartre, in France, is recognised as the place where buildings were first constructed specifically for cabaret performance. The Moulin Rouge was built in Pigalle in 1889. At the time, the traditional Monmartre windmills were being pulled down at an alarming rate, which accounts for the construction of the large red windmill on the roof of the Moulin Rouge. The turn-of-the-century interior of Moulin rouge expresses the late Victorian Romantic sensibility, just before the introduction of the Modernist Art Nouveau movement. Elegantly and richly decorated, the cabaret setting was described in 1952 as possessing an à ¢Ã¢â€ š ¬Ã‹Å"atmosphere of tawdry luxury [..] much like that of a bordello.à ¢Ã¢â€š ¬Ã¢â€ž ¢ At the time this would have befitted the styles of music which it was built to stage. Artists such as Henri de Toulouse-Lautrec recorded in paint various scenes from this early era of cabaret, such as music-hall singers, women dancers, and women preparing themselves to take to the stage. The flamboyance of early cabaret and the suggestiveness of dances, such as the can-can, paved the way for a relationship between the architectural setting and the music. In the late Victorian era, when more sensual forms of entertainment tended only to be considered as an underground activity, cabaret legitimised more diverse forms of theatre, music and dance, allowing men and women to mingle freely in a public space specifically designed for that purpose. At the time of the popularisation of Cabaret, the pursuit of pleasure had become a popular activity. During the twentieth century new dance halls were erected throughout Europe and in America in order to accommodate the rising popularity of the sociable and edgy form of cabaret entertainment. Cabaret music traditionally involves singing and orchestra, and American cabaret stars included artists such as Eartha Kitt, Nina Simone, and Bette Midler. However, as an art form cabaret declined in popularity during the sixties due to the rising popularity of alternative forms of music, such as rock. Due to the glamour of its beginnings the architectural setting of cabaret traditionally retained elements of luxury, wealth, and flamboyance. On the relationship between Romanticism à ¢Ã¢â€š ¬Ã¢â‚¬Å" which the late-Victorian introduction of cabaret was celebrating à ¢Ã¢â€š ¬Ã¢â‚¬Å" and the poetic sensibility, Geoffrey Scott observes that à ¢Ã¢â€š ¬Ã‹Å"Romanticism may be said to consist in a hig h development of poetic sensibility towards the remote,à ¢Ã¢â€š ¬Ã¢â€ž ¢ in that it à ¢Ã¢â€š ¬Ã‹Å"idealises the distant, both of time and place and à ¢Ã¢â€š ¬Ã‹Å"identifies beauty with strangenessà ¢Ã¢â€š ¬Ã¢â€ž ¢. The elaborate dÃÆ' ©cor of cabaret stages, often including plush red or plum coloured velvet, idealise the sensual and were designed to encourage maximum comfort, pleasure and enjoyment of the entertainment. The designs of traditional cabaret stages were such that the audience area was only minimally lit, with the main focus being on the stage. In Modernist architecture there is suggestion that the culture of cabaret at least crossed over into and was in part incorporated into design. With the introduction of jazz and Broadway style music, cabaret became recognised as being seedier than during the years of its Victorian beginnings. We can explore the parallels between the responses of the two arts to the exigencies of the time by looking at three of the distinguishing qualities of cabaret music and architecture. The popular appeal of cabaret Cabaret deals with emotional or sentimental themes that easily evoke strong responses, rather than intellectual concepts that require esoteric knowledge to be fully appreciated. Frank Lloyd Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s Usonian homes, built during the 1930à ¢Ã¢â€š ¬Ã¢â€ž ¢s and 1940à ¢Ã¢â€š ¬Ã¢â€ž ¢s, embody the cultural concerns and ideals of the Modern era, and reflect the complexities associated with the Great Depression of the thirties. During this time, many American families looked to cabaret and its music as the solution, albeit temporary, to the stresses of the quotidian drudge associated with the same economic, social and political forces. Usonian houses were intended to deal with the day to day living requirements of the average American family. A large living room for family life, à ¢Ã¢â€š ¬Ã…“with a big fireplace in It,à ¢Ã¢â€š ¬? a triplicate bathroom with sections for the man, the wife and the children and enough space for dressing rooms, closets and à ¢Ã¢â€š ¬Ã…“perhaps a couch in eachà ¢Ã¢â€š ¬?, and airy bedrooms, all with easy access to a garden. A significant aspect of popular appeal is the recognition afforded to the performer; the phenomenon of à ¢Ã¢â€š ¬Ã‹Å"starsà ¢Ã¢â€š ¬Ã¢â€ž ¢. In this regard Wright, at this time, was actively marketing himself as à ¢Ã¢â€š ¬Ã…“the possessor of a unique, truly American architectural vision,à ¢Ã¢â€š ¬? and promoting his reputation as one of the great architects of the century. Variations in cabaret Cabaret offers variety. The subjects of its songs and dances range from tragedy to comedy and its forms from ballad to blues to jazz. It was popular for certain shows to be given to a select audience à ¢Ã¢â€š ¬Ã¢â‚¬Å" part of the growing consumer culture in which greater emphasis was to be placed on the needs of the patron. In a similar way that cabaret performances were customised, Wright designed buildings with specific elements for patrons. Scholars have already drawn parallels between the designs of Lloyd Wright and music. For example, as expressed by Brooks Pfeiffer and Nordland, Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s unit system was as an intrinsic part of the organic process of design and construction: à ¢Ã¢â€š ¬Ã‹Å"just as the warp is discipline for a woven textile, and as the scale and notes are disciplines for the composer of music, so Wright used the unit system as a discipline for design.à ¢Ã¢â€š ¬Ã¢â€ž ¢ The modular unit system, based on rectangular and square units, à ¢Ã¢â€š ¬Ã‹Å"unifiedà ¢Ã¢â€š ¬Ã¢â€ž ¢ and à ¢Ã¢â€š ¬Ã‹Å"simplifiedà ¢Ã¢â€š ¬Ã¢â€ž ¢ the construction process, and involved the repetition of components such as doors and windows, with an emphasis on geometric pattern and symmetry. Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s designs were remarkable for their unification of different component parts and ideas, which were directly relevant to the patron. This form of architecture is resonant with the movement of dance, thea tre and music in the form of cabaret à ¢Ã¢â€š ¬Ã¢â‚¬Å" which, during the time that Wright was designing and building, was a highly popular entertainment. Usonian houses were Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s response to a problem that faced America during the great depression of the 1930s and the years following World War II: the need for good, moderately priced housing. Wright used the term Usonian to describe the residents of a culturally reformed America and applied it broadly to describe most of the 140 or so houses that he built between 1936 and his death in 1959. They were the result of the application of his principles of Organic Architecture. à ¢Ã¢â€š ¬Ã…“Suppose, then, we consider briefly a much broader application of the principles of an organic architecture: the moderate house for the citizen in moderate circumstances. . Five or six thousand dollars seems to be as much as the better part of the average citizenship of the United States can afford to pay for a house and the lot that he builds it on.à ¢Ã¢â€š ¬? Having described in general terms the principles underlying the specific house for Herbert Jacobs in Madison, Wisconsin Wright concludes, à ¢Ã¢â€š ¬Ã…“ [W]e are developing building schemes that utilize the economies of standardisation without its curse, using the simple unit system applied to building, meaning buildings put together upon a horizontal and vertical unit system much as a rug is woven on its warp. The implications are as aesthetic as they are scientific and economic.à ¢Ã¢â€š ¬? These houses provided, à ¢Ã¢â€š ¬Ã…“ unique, unprecedented solutions to the needs of American families of the time;à ¢Ã¢â€š ¬? Although commonly referred to as a body of work, the Usonian houses offered great variety of form, scale and material. They were carefully tailored to the particular requirements of the individual clients, just as the songs and dances would be tailored to suit the particular audience and the mood of the evening. The sensuality of cabaret Cabaret is physically sensual. Its costumes are revealing, its movements sensual. The essential physical characteristics of the Usonian houses are sensual; their close relationship to the ground, expressed and reinforced by their low horizontal lines, and their honesty in the expression of the materials used; timber, brick, render. In addition we should note that as part of the efficiencies that Wright sought to embody in his Usonian houses he adopted a unit system both to set out and to describe the arrangement of the elements of the work. This involved the inscription of a grid, (based on the modular sizes of the materials to be used), on the drawings to regulate the location of the elements of the design, and the incision of the same grid on the concrete floor slab to aid the builder in setting out those elements on site. This grid and the indication of the various elements shown in relation to it, thereby fixing their location in the building, may be considered to be equivalent to the musical stave within which the relative pitch and duration of a note, and thereby its location in the soundscape, are described. Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s standardised system may be equated to the standardised notation system in music, and to Rudolph Labanà ¢Ã¢â€š ¬Ã¢â€ž ¢s notation system for dance. It enables a builder to à ¢Ã¢â€š ¬Ã‹Å"readà ¢Ã¢â€š ¬Ã¢â€ž ¢ the drawings in the same way as a musician à ¢Ã¢â€š ¬Ã‹Å"readsà ¢Ã¢â€š ¬Ã¢â€ž ¢ the notation on the musical stave, without having to learn a different à ¢Ã¢â€š ¬Ã‹Å"languageà ¢Ã¢â€š ¬Ã¢â€ž ¢ for the drawings used for each individual building. From this it is possible to consider individual Usonian houses as the equivalent of the cabaret songs or dances of an individual performer. Cabaret offers a temporary escape to a world of alternative utopia A Utopia is an ideal world as distinct from an escapist or fantasy world. During the post-Depression years in America cabaret became a sought after form of entertainment and a form of cultural emblem à ¢Ã¢â€š ¬Ã¢â‚¬Å" not least because of its celebratory style and the temporary alleviation it offered from financial and social concerns of a country in economic and political disarray. Cabaret stage sets often lent themselves to surreal visual performances which contained elements of the chaotic. The unique mix of theatre and dance afforded a new sort of narrative and image for early twentieth century entertainment. Simultaneous with this development the Utopian buildings of architects such as Lloyd Wright sought to represent à ¢Ã¢â€š ¬Ã‹Å"utopia as spectacleà ¢Ã¢â€š ¬Ã¢â€ž ¢ and à ¢Ã¢â€š ¬Ã‹Å"utopia as the à ¢Ã¢â€š ¬Ã…“world upside downà ¢Ã¢â€š ¬?à ¢Ã¢â€š ¬Ã¢â€ž ¢. The image of musical performance, which was concerned largely with public space, functioned as an ideological bridge between cabaret and architecture. The construction of stage design throughout early modern theatre also furthered the association between cabaret and architecture. Lloyd Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s design à ¢Ã¢â€š ¬Ã‹Å"Falling Waterà ¢Ã¢â€š ¬Ã¢â€ž ¢ places importance on the movement and the musical sound of the waterfall which is almost part of the structure itself. The three tier ed space bears strong similarities to the tiered stage productions of cabaret during the same era in which some acts involved backing singers or lines of dancers. Cabaret placed emphasis on providing perspective for the viewers, as did architecture on providing perspective in both a functional and creative way. As expressed by Brooks Pfeiffer and Nordland: The term grammar of the building was frequently used by Wright to indicate the individual characteristics that make a building what it is. Just as the flora and fauna of the sea or the desert develop individual characteristics of colour, form, and structure relating directly to their environment, function, and naturetheir grammarso also does Frank Lloyd Wrights organic building develop its individual thematic correctness, proper to its environment, while incorporating the special functional needs and/or idiosyncrasies of its user. This recognition of the importance of synthesising functional aspects of design with the practical was a feature of Modern architecture. Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s designs, most especially the importance he placed on the concrete block, embodied his belief that the future of the democratic system was reliant upon the independent stake of individuals. His invention of the modular system of construction meant that many more families could afford to build and occupy their own homes during and after the Great Depression. Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s work is closely related to other artistic movements, such as New Deal Art and music, all of which sought to provide entertainment for a wider audience and to resuscitate artistic movements which had suffered during the economic downturn. As an accessible form of entertainment, one that was open to all, Cabaret triumphed as a cultural symbol that sought to embody the Utopian dream of the early twentieth century. Le Corbusierà ¢Ã¢â€š ¬Ã¢â€ž ¢s designs expressed a need for the à ¢Ã¢â€š ¬Ã‹Å"formal purityà ¢Ã¢â€š ¬Ã¢â€ž ¢ as seen in the design of machines. During the twenties Le Corbusier adapted his designs to become consistent with the cubist movement, in which the aesthetic merged with his logic in a new and unique way. As Francoise Choay says of Cubism, it was one of the decisive moments of the general revolution, as it sought à ¢Ã¢â€š ¬Ã‹Å"a truth of the object the way architecture seeks a truth of the function.à ¢Ã¢â€š ¬Ã¢â€ž ¢ Le Corbusierà ¢Ã¢â€š ¬Ã¢â€ž ¢s work was based on the principle of equality, despite the diversity of cultures which prevailed during the twenties. As Choay phrases it, Le Corbusier believed that à ¢Ã¢â€š ¬Ã‹Å"men are all equal, endowed with the same fundamental needs, no matter what their cultural levels; because of this, they all have a right to happiness; this must be assured by the progress of technique, put at the service of the architect.à ¢Ã¢â€š ¬Ã¢â€ ž ¢ In a similar way, cabaret was part of the same cultural movement in which greater emphasis and belief was placed on the significance of the individual, but also the potential of the collective. Modern Utopian architecture was closely associated with visual cultures, which embodied the increased commodification of the object. Architecture brought about the recognition of space and its function as a commodity of its own; a concern that was also shared by other cultural movements of the time. Like some of the public spaces created by Utopian buildings Cabaret afforded a bridge between public and private space; a versatile space that could be used in a variety of ways and which was extremely lucrative as a commodity of its own. As expressed by Zevi et al, à ¢Ã¢â€š ¬Ã‹Å"the problem of how to represent space [is] far from being solvedà ¢Ã¢â€š ¬Ã¢â€ž ¢ but its interpretation has traditionally been approached in a wide variety of ways. Principles of Utopian architecture placed importance on proportion symmetry and rhythm in design; principles which are applicable to the understanding and performance of music. When prohibition came to an end in 1933, nightclubs à ¢Ã¢â€š ¬Ã¢â‚¬Å" such as The Copacabana, The Diamond Horseshoe or The Cotillion Room became increasingly more popular. Such places often had capacities of hundreds of paying customers, seeking to unite all present through live performance. Cabaret Music and Art Deco Architecture Corbusian modernism is very much a product of its intellectual, theoretical underpinnings and without some understanding of these any appreciation of the works will be incomplete. The more decorative styles appeal more directly to the senses and are more susceptible to an immediate appreciation by the viewer. Cabaret, on the other hand, is not underpinned by a single, rigid, set of rules, (in fact breaking rules and questioning boundaries is more in the ethos of cabaret à ¢Ã¢â€š ¬Ã¢â‚¬Å" e.g. the can-can, Bette Midler). à ¢Ã¢â€š ¬Ã…“[L]ate hours and sophisticated audiences meant all sorts of boundaries could be stretched.à ¢Ã¢â€š ¬? It is eclectic in its sources, and is properly considered as a part of popular culture, depending on the evocation of an emotional rather than an intellectual response for its impact. It was also pervasive in a way that music had never been before; the music, if not the spectacle and ambience, being available to anyone with access to a radio as part of the developing soundscape of the time. à ¢Ã¢â€š ¬Ã…“A soundscape, like a landscape, ultimately has more to do with civilization than with nature, and as such, it is constantly under construction and always undergoing change. The American soundscape underwent a particularly dramatic transformation in the years after 1900. By 1933, both the nature of sound and the culture of listening were unlike anything that had come before.à ¢Ã¢â€š ¬? Cabaret music was ideally suited to this new technology. It consisted of short pieces which were specifically aimed at a popular market, and the mass distribution of the radio both supplied and fuelled demand for the product. Similarly, Art Deco and Modern buildings take their place in popular culture. They tend to be individual à ¢Ã¢â€š ¬Ã‹Å"show offà ¢Ã¢â€š ¬Ã¢â€ž ¢ pieces within a loose genre rather than buildings that occupy a place in an evolutionary sequence of work developed within, and regulated by, an extensively worked out world view, proportion system or philosophy. The immediacy of their impact is derived from the appearance of their surface and form. This corresponds with the characteristic of cabaret music and dance being relatively short, highly individual pieces, rather than grand works of classical music, ballet or modern dance. The primary function of both is to elicit an immediate response. As a result of this, cabaret music and dance and contemporary popular music and dance as well as decorative or eclectic styles of architecture are representations of fantasy or escapist visions, which entertain by provoking an immediate response rather than thoughtful contemplation. CHAPTER 6: FURTHER RESEARCHES and DISCUSSIONS Musical analogy in composing architecture and its resulted spatial experience Architectural projects impose more extensive limitations and external constraints than any faced by a composer, and these are magnified on larger works making the clear and literal expression of any musical inspiration extremely difficult. Where the purpose of the building dictates a sequence of movements through it, however, this may be considered analogous to the movements in a symphony or concerto. à ¢Ã¢â€š ¬Ã…“There has always been a close relationship between music and architecture, in terms of structure, pattern and aesthetics, even though sound ultimately describes immaterial spaceà ¢Ã¢â€š ¬?. The composition of the elements of architecture is just as susceptible to formal analysis as a musical composition. Indeed as Tzonis and Lefevre state, à ¢Ã¢â€š ¬Ã…“The isolation of formal aspects and their independent analysis is necessary, however, if one is interested in understanding architecture as a coherent system rather than as a haphazard collection of shapes and details.à ¢Ã¢â€š ¬? However the actuality of architecture as a three dimensional object present in space over an extended period of time, in contrast to the transient presence of music in both time and space imposes more extensive limitations and external constraints than any faced by a composer of music, making the clear and literal expression of any musical inspiration extremely difficult. à ¢Ã¢â€š ¬Ã…“Contrary to tragedy or music, architecture is seen most frequently in a reversible way. One can return to the end part of a building and make it read as the beginning; one looks at a building from right to left and vice versa. The same convention does not apply, however to the top and bottom parts. They are not accepted as equivalent; their arrangement is not reversible.à ¢Ã¢â€š ¬? Taxis, or the orderly arrangement of the parts, is the first level of formal organisation to be considered. à ¢Ã¢â€š ¬Ã…“Taxis divides a building into parts and fits into the resulting partitions the architectural elements, producing a coherent work. In other words, taxis constrains the placing of the architectural elements that populate a building by establishing successions of logically organised divisions of spaceà ¢Ã¢â€š ¬?. This is clearly exemplified in the Usonian houses of Frank Lloyd Wright with their unit system based on a three dimensional grid derived from the module of the materials to be used. This not only generates efficiency in the use of materials and their placement by the builder, but also gives the houses themselves a great harmony and coherence. à ¢Ã¢â€š ¬Ã…“[Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s structural vocabulary] consists of a three dimensional field of grid lines through which the solid elements of the building are slid and located, the use of the grid allows what is implied by the perceived form of the building to be as important as what is explicit. It is this quality that gives the houses their perceptual richness and meaning,à ¢Ã¢â€š ¬? It could not be said that the taxis of the Usonian houses was inspired by a specific musical form. Smaller projects, such as individual houses do, however, potentially afford greater control, and we have seen how Stephen Holl took inspiration from a specific piece of music and the Stretto form in general in designing the Stretto House. Sequential movement in music and spatial experience Where the purpose of the building dictates a sequence of movements through it, however, this may be considered analogous to the movements in a symphony or concerto. etc. Examples of buildings where an experiential sequence is imposed would be a church, (gate, precincts, portico, nave, chancel), mosque, (precincts, courtyard, ablutions fountain, narthex, prayer hall) and concert hall, (precincts, lobby, foyer, auditorium). As progress is made through the sequence of spaces, attention is gradually directed to the event in prospect, concentrated and finally brought to a focus on the climax of the altar, mihrab or stage respectively. Smaller projects, such as individual houses potentially afford greater control. We have seen how Stephen Holl took inspiration from a specific piece of music and the Stretto form in general in designing the Stretto House. Another form that offers relative freedom to the architect is the temporary exhibition pavilion. At the Philips Pavilion at the World Fair in Brussels in 1958 Le Corbusier conceived a piece of architectural sculpture to house a son et lumiere. Ità ¢Ã¢â€š ¬Ã¢â€ž ¢s principal designer was the architect and composer Iannis Xenakis, who had also worked with Corbusier on the projects at Ronchamp and La Tourette. à ¢Ã¢â€š ¬Ã…“The exterior of the Pavilion was based on the parabolic curves that Xenakis had discovered in mathematics and which he used to structure his early musical works, such as Metastasis; it was a symphony in swooping steel and concrete, and seeing it today in photographs, it still looks like the future made fleshà ¢Ã¢â€š ¬?. Whether the musical inspiration can be read directly in the resulting building is uncertain, and probably not necessary for the appreciation of the architecture. In this case the fact that the design is based on hyperbolic paraboloids is obvious but the relationship to Xenakisà ¢Ã¢â€š ¬Ã¢â€ž ¢ music would be apparent only to those familiar with the composerà ¢Ã¢â€š ¬Ã¢â€ž ¢s work and the fact that he was involved with the design. Non-Western music and architecture The idea of a parallel between music and architecture does not appear to have been as extensively considered in relation to non western musical systems and the architecture of the corresponding cultures. There are a number of possible reasons for the consideration of the parallels in western culture. The belief that proportion is an expression of a universal harmony may be peculiar to western culture. It may be argued that it is specifically a product of the Renaissance when art and science were developed in parallel, often by the same people. The architect, exemplified by Palladio, Leonardo and, in England, Christopher Wren, was regarded as à ¢Ã¢â€š ¬Ã‹Å"Uomo Universaleà ¢Ã¢â€š ¬Ã¢â€ž ¢ during the 16th and 17th centuries. A wealthy Church and powerful States provided patrons for which the expression of the buildings they produced was of great symbolic significance. In addition there was a pool of individual patrons who not only had the money to build and a desire to leave a lasting monument to attest to their status and power, but also had an intelligent interest and understanding of the contemporary developments in science and the arts and their consideration as complementary pursuits. Music theory had become formalised, with a standard system of notation by the 14th century, thus rendering it susceptible to intellectual analysis as well as aesthetic appreciation. There are also a number of possible reasons why this parallel has not been developed to the same extent in other cultures. Architecture may not play as important a role in the other culture. In China, for example, painting has traditionally been the pre-eminent art form. Music developed an important ritual function since being advocated by Confucius in the 5th Century BC, whereas architecture was held subservient to merely human needs or being designed followed the cosmic principles. Court, monumental and religious architecture may use a more direct form of symbolism which overwhelms any consideration of a relationship with music. With regard to Indian architecture Bannister Fletcher observes, à ¢Ã¢â€š ¬Ã…“ in the East decorative schemes seem generally to have outweighed all other considerations, and in this would appear to lie the main essential differences between Historical [Western] and Non-Historical [Non Western] architecture.à ¢Ã¢â€š ¬? although this à ¢Ã¢â€š ¬Ã‹Å"regionalistà ¢Ã¢â€š ¬Ã¢â€ž ¢ view has been challenged by contemporary critics such as GÃÆ' ¼lsÃÆ' ¼m Baydar Nalbantoglu and Chong Thai Wong. The music may be less formalised, or so complex as to defy formalisation. It may lack a standard notation or have several or developing systems, such as the Ome Swarlipi system in Indian music. This complexity and diversity may militate against a coherent and comprehensive analysis of the musical forms and a comparative analysis of the relationships between music and other forms of expression within that culture. Dance movements and Architecture The most apparent common characteristic of architecture and dance is that they both occupy and describe three dimensional space; dance transiently and architecture more permanently. Although the primary purpose of the space occupied by a building is functional, architecture is also capable of gestures analogous to those made by the human figure and typically used in dance. The sweeping parabolas of the Philips pavilion by Le Corbusier and Xenakis may easily be compared with the drama of a dancerà ¢Ã¢â€š ¬Ã¢â€ž ¢s out flung arm or high kick. The pinnacles of the Chrysler and Empire State Buildings (figure 14) are expressive architectural gestures rather than functional spaces and are used to complete and extend the forms of the building, increasing their height and dominance in the skyline. The work of the choreographer and the architect is to organise the use and expression of the space by the dynamics of human movement and gesture, and the arrangement of solid and void respectively. In dance, à ¢Ã¢â€š ¬Ã…“Every movement and every space has its own dynamics. In a choreographic work it is the different choices made by the choreographer concerning space, and the dancers relation to space, that conveys the dynamics to the audience. Rudolf Laban created a geometrical figure he called the Icosahedron, which shows the different directions the dancer could reach out for. à ¢Ã¢â€š ¬? In Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s Usonian houses, à ¢Ã¢â€š ¬Ã…“[Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s structural vocabulary] consists of a three dimensional field of grid lines through which the solid elements of the building are slid and located, the use of the grid allows what is implied by the perceived form of the building to be as important as what is explicit. It is this quality that gives the houses their perceptual richness and meaning,à ¢Ã¢â€š ¬? In both forms it is the degree of control and the skill and sensitivity with which it is exercised by the choreographer or the architect that determines the ability of the work to evoke an emotional response in the viewer. This may be the heart-stopping thrill engendered by a spectacular leap or the primal sensual response to the low horizontal lines that connect Wrightà ¢Ã¢â€š ¬Ã¢â€ž ¢s houses so strongly to the ground they spring from. Conclusions In conclusion, the parallels between architecture and cabaret are best understood by placing both art forms in their shared cultural and historical context. During the Modernist era both embraced the principles of rhythm, synthesis and performance in different yet intersecting ways, although architecture did so as a structured discipline rather than purely an aesthetic or entertaining art form. What both art forms share is the importance of building and music being accessible to a wide audience and providing an affordable service and entertainment to cultures which at the time still epitomised and strove towards the Utopian ideal. This research has pointed out some possible parallels between cabaret music and architect. Learning about their similarities would be a useful way of expanding the design repertoire. This study has confirmed the notion that architecture can become more experientially enriched by studying the perspective cabaret music has on the common aspects the two shared .