NURS 241 Health Assessment Validation Notes Essays - Cranial Nerves

NURS 241: Health Assessment Validation Notes Vital sign should be taken for 5 Minutes General Survey Physical Appearance: What is your name? Can you state your age? Do you know where you are? Patient has stated her age Her level of consciousness is alert and oriented x 4 Her skin color is intact and even Her facial features are symmetric She is female Body Structure: Her statue appears appropriate for her age For nutrition, her weight appear to be appropriate for her height and body build Her body structure is symmetric and bilateral to each other Her posture is erect Her position was relaxed on the chair Mobility: Her gait is smooth, even and well balanced She did not use any form of assistive device. Behavior: Her facial expression is appropriate to the situation Her speech is within normal limits; there is no repeating of words or fleet of ideas Her dressing is appropriate for the season Her personal hygiene is clean and well groomed Her mood and affect is pleasant and not flat Cranial Nerve Cranial nerve 1: Olfactory: Sensory: Test of smell Ask the patient to compress one side of the nose at a time and sniff: To check for nasal patency Ask the patient to close their eye Ask the patient to occlude one nostril at a time and ask them what do they smell Cranial Nerve 2: Optic: Sensory: Visual Acuity and Visual fields I have previously tested for my patient's visual acuity using the Snellen Chart It is 20/20 without corrective lenses Testing for visual fields using the confrontational test. Up and Down Cranial Nerve 3: Oculomotor Motor: PERRLA: Extra ocular Movement Going to test for PERRLA. First I would perform the direct and consensual eye movement Performing Accommodation by moving the penlight near. The pupil are equal, round, reactive to light and accommodate Next I would test for cranial nerve 3, 4- which is trochlear and 6- which is Abducens, using the extra ocular movement. Cranial 4- is an inferior medial eye movement Cranial 6- is medial eye movement Perform the corneal light reflex by shining light on the breach of the nose. If there was an abnormality I would person the cover/uncover test. Cranial Nerve 5: Trigeminal: Sensory: Sensation of skin of face: Use a cotton and touch the forehead, checks and chin Motor: Palpate the temporal and masseter muscle Ask the patient to clench their jaw and try to separate it Cranial Nerve 7: Facial Sensory: Put sugar in their mouth and ask what did you taste. Taste on the 2/3 anterior of the tongue Motor: Ask the patient to raise their eyebrows, show their teeth, smile, puff out their checks, close their eye tightly Cranial Nerve 8: Acoustic Sensory: Perform the whisper test. By whispering Samford and Nursing by asking them to occlude their ear and whispering the words Perform the Weber test. Ask the patient if they can hear in both ears. Perform the Rinne test. Air conduction is greater than bone conduction. Cranial Nerve 9: Glossopharyngeal: Sensory: Taste in posterior 1/3 of the tongue Motor: Is testing gag reflex by stimulating the posterior pharyngeal wall. Cranial Nerve 10:Vagus Motor: Open your mouth and say "AH". I will watch the uvula rise and fall symmetrically. Cranial Nerve 11: Spinal Accessory Motor: Shrug should movement against resistance. Shrug your head against resistance Both muscle 5/5 in strength Cranial Nerve 12: Hypoglossal Motor: Ask the patient to protrude their tongue and push their tongue to their checks. Neurological System: Motor/Coordination: I have already assessed the my patient gait in general survey Rapid alternating movement: touching your finger against each other and turning your hand in your thighs Point to Point Movement: finger to nose touching and heel to shin by moving your leg on your other leg Romberg test: put your hand out and your legs together for 20 seconds Tandem Walking: put your leg in front of the other leg Shallow Knee Bend: bend down a little Sensory Pain and light touch: do it on your hand and leg Position sense: pull the hand up and down than ask the patient whether it is up and down. Do it on the hand and leg Vibration Sensation: Use the turning folk vibration place it on the hand and leg and ask where she feels the vibration Discriminative Sensation: Stereognosis: place something in her hand and ask what are you holding Graphesthesia: write a number on her hand and ask what is the number in both arms. 3 and 5 Two point Discrimination: touch a part of the body and ask where you touched. Both the hand and leg Point localization:

Understanding Parasocial Relationships with Celebs

Understanding Parasocial Relationships with Celebs Have you ever wondered what a movie character, a celebrity, or a TV personality would do, even when you’re not watching them on-screen? Have you felt close to a character or celebrity even though you’ve never met them in real life? If youve had one of these common experiences, youve experienced a parasocial relationship: an enduring relationship with a media figure. Key Terms Parasocial relationship: An ongoing, one-sided bond with a media figureParasocial interaction: An imagined interaction with a media figure during a discrete viewing situation Donald Horton and Richard Wohl first introduced the concept of parasocial relationships, along with the related idea of parasocial interaction, in the 1950s. Although the relationship is one-sided, it is psychologically similar to a real-life social relationship. Origins In their 1956 article, â€Å"Mass Communication and Para-Social Interaction: Observations on Intimacy at a distance,† Horton and Wohl described both parasocial relationships and parasocial interaction for the first time. They used the terms somewhat interchangeably, but mostly focused their exploration on the illusion of conversational give-and-take a media consumer experiences with a media figure while watching a TV show or listening to a radio program. This led to some conceptual confusion. Although a great deal of research has been done on parasocial phenomena, especially since the 1970s and 1980s, the most widely utilized scale in that research, the Parasocial Interaction Scale, combines questions about parasocial interactions and parasocial relationships. However, today, scholars generally agree the two concepts are related but different. Defining Parasocial Interactions and Relationships When a media consumer feels like they are interacting with a media figure- a celebrity, fictional character, radio host, or even a puppet- during a discrete viewing or listening scenario, they are experiencing a parasocial interaction. For example, if a viewer feels like they are hanging out at the Dunder-Mifflin office while watching the TV comedy The Office, they are engaging in a parasocial interaction. On the other hand, if the media user imagines a long-term bond with a media figure that extends outside the viewing or listening situation, it is considered a parasocial relationship.  The bond can be either positive or negative. For instance, if an individual adores the host of their local morning program and often thinks about and discusses the host as if he is one of their friends, that individual has a parasocial relationship with the host. Scholars have observed that parasocial interactions can lead to parasocial relationships, and parasocial relationships can strengthen parasocial interactions. This process resembles the way that spending time with a person in real-life can result in a friendship that then gets deeper and more committed when the individuals spend additional time together. Parasocial vs. Interpersonal Relationships Although the idea of parasocial relationships may seem unusual at first, it’s important to remember that for most media consumers, this is a perfectly normal and psychologically healthy reaction to encounters with on-screen individuals. Humans are wired to make social connections. Media did not exist through a majority of human evolution, and so when consumers are presented with a person or person-like individual via video or audio media, their brains respond as if they were engaging in a real-life social situation. This response does not mean that the individuals believe the interaction is real. Despite media consumers’ knowledge that the interaction is an illusion, however, their perception will cause them to react to the situation as if it were real. In fact, research has shown that the development, maintenance, and dissolution of a parasocial relationship is similar in many ways to real-life interpersonal relationships. For example, one study found that when television viewers perceive a favorite television performer as having an attractive personality and as being competent in their abilities, a parasocial relationship will develop. Surprisingly, physical attraction was found to be less important to the development of parasocial relationships, leading the researchers to conclude that television viewers prefer to develop relationships with television personalities they find socially attractive and who are attractive for their capabilities.  Ã‚   Another investigation assessed the way psychological commitments to a media figure led to the maintenance of parasocial relationships. Two different studies showed that for both fictional television characters, like Homer Simpson, and non-fictional television personas, like Oprah Winfrey, people were more committed to their parasocial relationship when (1) they felt satisfied watching the figure, (2) felt committed to continue watching the figure, and (3) felt that they didnt have good alternatives to the media figure. The researchers used a scale originally developed to assess interpersonal relationships to measure commitment to parasocial relationships, demonstrating that theories and measures of interpersonal relationships can be successfully applied to parasocial relationships. Finally, research has demonstrated that media consumers can experience parasocial breakups when a parasocial relationship ends. This can happen for a number of reasons, such as a television or movie series coming to an end, a character leaving a show, or a media consumer deciding to no longer watch or listen to a show where a character or personality appears. For example, a 2006 study examined how viewers reacted when the popular TV sitcom Friends ended its broadcast run. The researchers found that the more intense the viewers’ parasocial relationships with the characters, the greater the viewers’ distress when the show ended. The pattern of loss Friends fans exhibited was similar to that displayed by those who have lost a real-life relationship, although the emotions were less intense overall. Of course, while this research demonstrates the similarities between parasocial and interpersonal relationships, there are also important distinctions. A parasocial relationship is always mediated and one-sided, with no opportunity for mutual give-and-take. People can engage in as many parasocial relationships as they want and and can break them off whenever they choose without consequence. In addition, parasocial relationships can be shared with family members and friends without jealousy. In fact, discussing a mutual parasocial relationship can actually strengthen the bond in a real-life social relationship. Parasocial Bonds in the Digital Age While much of work involving parasocial phenomena has centered on parasocial bonds with radio, movie, and especially television characters and personalities, digital technology has introduced a new medium through which parasocial relationships can be developed, maintained, and even strengthened. For example, a researcher examined the way fans of the boy band New Kids on the Block maintained their parasocial relationships with the band members by posting to the band’s website. The analysis was conducted following the announcement of the band’s reunion after a 14-year break. On the website, fans expressed their continued devotion to the band, their affection towards its members, and their desire to see the band again. They also shared stories about how the band had helped them in their own lives. Thus, computer-mediated communication assisted fans in their parasocial relationship maintenance. Before the dawn of the internet, people could write fan letters to achieve a similar experience, but the researcher observed that online communication appeared to make fans feel closer to media figures, and that this could make the disclosure of personal feelings and anecdotes more likely.  Ã‚   It stands to reason, then, that social networks like Facebook and Twitter would make an even more substantial contribution to the maintenance of parasocial relationships. Celebrities appear to write and share their own messages with fans on these sites, and fans can respond to their messages, creating the potential for fans to develop even greater feelings of intimacy with media figures. So far, minimal research has been conducted on the way these technological developments impact parasocial relationships, but the topic is ripe for future research. Sources Branch, Sara E., Kari M. Wilson, and Christopher R. Agnew. â€Å"Committed to Oprah, Homer, and House: Using the Investment Model to Understand Parasocial Relationships.† Psychology of Popular Media Culture, vol. 2, no. 2, 2013, pp. 96-109, http://dx.doi.org/10.1037/a0030938Dibble, Jayson L., Tilo Hartmann, and Sarah F. Rosaen. â€Å"Parasocial interaction and Parasocial Relationship: Conceptual Clarification and a Critical Assessment of Measures.† Human Communication Research, vol. 42, no. 1, 2016, pp. 21-44, https://doi.org/10.1111/hcre.12063  Eyal, Keren, and Jonathan Cohen. â€Å"When Good Friends Say Goodbye: A Parasocial Breakup Study.† Journal of Broadcasting Electronic Media, vol. 50, no. 3, 2006, pp. 502-523, https://doi.org/10.1207/s15506878jobem5003_9Giles, David, C. â€Å"Parasocial Interaction: A Review of the Literature and a Model for Future Research.† Media Psychology, vol. 4, no. 3., 2002, pp. 279-305, https://doi.org/10.1207/S1532785XM EP0403_04Horton, Donald, and R. Richard Wohl. â€Å"Mass Communication and Parasocial Interaction: Observation of Intimacy at a Distance.† Psychiatry, vol. 19, no. 3, 1956, pp. 215-229, https://doi.org/10.1080/00332747.1956.11023049 Hu, Mu. â€Å"The influence of a scandal on parasocial relationship, parasocial interaction, and parsocial breakup.† Psychology of Popular Media Culture, vol. 5, no. 3, 2016, pp. 217-231, http://dx.doi.org/10.1037/ppm0000068Rubin, Alan M., Elizabeth M. Perse, and Robert A. Powell. â€Å"Loneliness, parasocial interaction, and local television news viewing.† Human Communication Research, vol. 12, no. 2, 1985, pp. 155-180, https://doi.org/10.1111/j.1468-2958.1985.tb00071.xRubin, Rebecca B., and Michael P. McHugh. â€Å"Development of Parasocial Interaction Relationships.† Journal of Broadcasting Electronic Media, vol. 31, no. 3, 1987, pp. 279-292, https://doi.org/10.1080/08838158709386664Sanderson, James. â€Å"’You Are All Loved So Much:’ Exploring Relational Maintenance Within the Context of Parasocial Relationships.† Journal of Media Psychology, vol. 21, no. 4, 2009, pp. 171-182, https://doi.org/10.1027/1864-1105.21.4.171

Lab report about prism spectrometer Example | Topics and Well Written Essays - 1000 words

About prism spectrometer - Lab Report Example Those colors emanated from the, white, Hydrogen and Mercury light sources. The main objective of carrying out this study on prisms is to learn the aspects of prism spectrometer theory so as to enhance the ability of explaining the practicability of its components. This was mainly achieved through observation of the mercury spectrum discharge lamp while taking subsequent angle of deviation records regarding the spectral lines. This hence creates the capability of determining the refraction index of the given glass prism for a number of wavelengths. It also gives insights on how to utilize the calibrated prism for the ultimate measurement of unknown wavelengths. Finally, it enables one to make a general observation regarding color sensation that is caused by the prevailing light of specific wavelengths. The main tool that is used in this lab experiment is the spectroscope. This is an instrument that is used for production an ultimate viewing of spectra. It is often comprised of three main parts that includes; a collimator for production of parallel light beams, a prism that is majorly responsible for light dispersion towards the spectrum, and the telescope that is ultimately meant for spectrum examination (GutieÃŒ rrez-Vega, Julio et.at, 2007). When there is transmission of light beam from air to the glass, the bending of the ray occurs with accordance to the Snells law. Therefore this can be summarized by an equation that is stated as sin q air = n sin q glass; whereby the subsequent measurement of subsequent angles is done on the normal surface in which n refers to the refraction index of the entire glass. The refraction index is hence a dimension-less value and is simply a clear measurement of the intensity in which the medium can bend light. The increase in the size of n is directly proportional to the increased bending of light. The usual refractive index of air is always 1. For a glass, n often varies from the value of between 1.3 and 1.8,

Critical Reading Reflection Essay Example | Topics and Well Written Essays - 2000 words

Critical Reading Reflection - Essay Example The author starts by stating that â€Å"this is a hopeful book about those who fail.† (Rose, M., 2005 p. xi) and provides an account of the education system in America, so the book can be said to be a book about the hope the author holds for people who may be struggling with the American educational system. He goes on to stipulate that the low level of literacy skills in remedial students is not as a result of lack of intelligence but is rather due to insufficient economic and social conditions to support these students, as well as a history of poor education. The author believes that educators should have more confidence in the literacy abilities of such students and that there must be greater equality as regards educational opportunities in America. This book details the story of how the author learned to read, write and think critically, and how he came to start teaching others to also be able to read, write and think in a critical way. This book can be divided into two sec tions. The first section discusses the author’s journey as a student, and as a teacher. In this first section Rose learns to read, analyze and write, while engaging critically with text, and making use of language in a correct manner. In the second section, Rose learned how to teach to others these things he had learned as a student. The main connection between these sections is the connection that was made by the author himself about his own experiences. In the book, one can also feel the effect that the author’s teachers had on him. The teachers (Mr.Jonhson, Mr.Macfarland and Dr.Carothers) all affected the author’s experience and influenced his perspective about the issue of teaching. In the book, the author illustrates some examples of the perceived cultural and language barriers that students have to deal with from day to day, and discusses his experiences with students, including high school graduates with reading or writing difficulties. Due to the reading and writing difficulties faced by these students, they are usually branded as remedial students and therefore placed in special classes, regardless of the real causes of their inability to read and write at the predetermined level. These students may go through their school years, and even later into their adult lives bearing this stigma. In the first chapter, rose outlines the main issues about the American educational system, and his prognoses on these issues relegate the reasoning behind his opinions as stated in the book. The history and the policies that led to the ‘back to basics movement’ are also discussed, and it seems that educators and administrators in America believed that American students are a largely illiterate and insufficient group. Although the author does not directly challenge the necessity of examining the social and economic conditions in the educational system, he argues against â€Å"framing our indictments in terms of decline, a harsh, laced -with-doom assault, as insisting that our current educational standards do not meet or exceed the supposed perfection of past standards we lose the historical and social realities of American education† (Rose, M., 2005 p. 7). The author also argues against labelling some students as remedial students or punishing those that do not measure up to a false reality of success and advocates a better understanding of the cultural and social conditions that students face. Rose explains that the American society as a whole clings to

Jazz Music between World Wars Essay Example for Free

Jazz Music between World Wars Essay The jazz craze in music during the 1920s reflected a general spirit of the times for many commentators like Seldes that this decade became known as the Jazz Age. Following World War I, jazz music certainly captured the popular imagination. The rapid popularity of jazz music led to its equally rapid spread among musicians. No other style up to this time in American popular music so quickly came to dominate popular performance. The American vernacular, which had already made significant inroads into the commercial popular music market, had captured popular tastes at an unprecedented level, seemingly sweeping aside the old â€Å"standards. † And just as ragtime and syncopated dance music became part of earlier commercial popular music, the dominance of jazz in the 1920s also represented a major triumph of the black vernacular in American popular music. The jazz craze began through the influence of non-professional musicians. While still marginal to most legitimate venues, non-professional musicians performing the jazz vernacular were attracting audiences to clubs, theaters, restaurants, and were popular in the speakeasies of the 1920s. They also had opportunities for their music to reach a broader audience in a booming record market following World War I. Professional musicians, however, quickly adopted jazz music in their orchestras and smaller bands. They co-opted the jazz fever while simultaneously distancing themselves from non-professionals. (Charters, 39-43) By occupying the most lucrative jobs in theaters, dance halls, hotels, and other venues, professional musicians positioned themselves as the premier interpreters of this new vernacular idiom in commercial popular music. The common defense of jazz as good music during the Jazz Age embraced the professional musicians and professional composers who performed and created jazz music, not the non-professional musicians who first introduced it. In adopting jazz idioms, professional musicians were simply continuing the process of cultivating the American vernacular. Black professional musicians were already adopting black vernacular idioms in their music making in earlier syncopated society orchestras and simply adopted jazz idioms as well as the name in their â€Å"jazz† orchestras. (Bushell, 72-75) White professional musicians had performed rags as part of their repertoire in the past, but with the jazz craze, many were quick to adopt syncopated dance and jazz practices in some form as the defining style of their profession. White professional musicians also quickly followed black professional musicians in transforming their bands into jazz orchestras, and just as quickly claimed to be the modern proponents of this new American popular music. Black and white professional jazz orchestras in the 1920s established the basic instrumentation, arrangement, and techniques of the big band dance orchestras that dominated American popular music until the 1950s. In the 1920s, an emerging new ideal of good music involved a balancing of the previous cultivated practices and cultivated music of professional musicians with popular vernacular idioms. The proper balance, however, was hotly debated. Professional musicians would constantly distance themselves from the pure vernacular of non-professional musicians. In defending their balance of the cultivated and the vernacular in popular performance, popular tastes, however, were demanding jazz music and a professional musician would be remiss to ignore his patrons in the popular music market as much as stodgy critics and some professional musicians would rail against the pernicious influence of jazz. Professional musicians in mediating the popular music market had to continue to navigate the moral, aesthetic, class, and racial construction of good music in America. While popular tastes in musical entertainment promoted the black vernacular in commercial popular music, the plight of the African American community in the United States continued to be dire. Some leaders in the black community had hoped that African Americans participation during World War I in both the military and in industry, and the Great Migration out of the Jim Crow South, would change their fortunes as segregated and oppressed second class citizens. The post-war years, however, dashed most hopes of any immediate positive change. (DeVeaux, 6-29) Race relations went in the opposite direction. Race riots sprung up across the nation while lynching continued to be a regular occurrence. Efforts continued to secure the legal segregation of black communities, and the labor movement continued to exclude blacks. The Ku Klux Klan reached its peak membership and popularity during the 1920s. The segregation and denigration of the black community was also reflected in the social organization of American music. (Hansen, 493-97) Besides the segregation of audiences and most venues, black professional musicians also remained outside the artistic community of white professional musicians in terms of unions, band organizations, and this communitys vision of a professional class of artist in America. The balance of the cultivated and the vernacular among professional musicians also continued to run against elitist conceptions of popular music and popular musicians as less legitimate than the music, musicians, and composers of the European cultivated tradition of classical and opera music. Black professional musicians also continued to strive to break through the barriers erected against them in the world of European cultivated music. This continuing tension in the implied lower status of professional musicians who performed American popular music erupted during the Jazz Age into an open rebellion against the European cultivated tradition. Professional musicians in jazz orchestras attempted to counter the singular role claimed by the European cultivated tradition. These musicians asserted that jazz was a true American or African American school of fine art music in contrast to cultivated European music – a populist appeal for high art legitimacy. This high art turn in American popular music, however, ultimately failed when the depression wreaked havoc on the popular music market. With the introduction of a new popular music market of live performances, records, broadcasts, and films, the quest for legitimacy among professional popular musicians would have to take another route. It was a period where professional popular musicians in adopting the jazz vernacular went against the reigning cultural hierarchy in America. (Peretti, 234-40) The period following World War I was a crucial turning point in American popular music. The American vernacular in general was storming the ramparts of the old edifice of good music as Tin Pan Alley song and dance dominated popular performance. Both professional and nonprofessional musicians also were benefiting from more affluent times and the growing importance of entertainment in the lives of most urban Americans. To the chagrin of elite and moral defenders of nineteenth century cultural idealism, most urban Americans were readily joining a Cultural Revolution in commercial popular entertainment. And at the center of this revolution was the national craze for jazz music and jazz dance. The jazz craze made syncopated rhythms and other black vernacular idioms central elements of American popular music making. While many small jazz bands performed a black vernacular style of music from the Delta Region of New Orleans, jazz music in the 1920s encompassed not only this style but syncopated dance music, blues music, piano rags, and virtually any tune jazzed up by musicians. The jazz craze in essence was the craze for the black vernacular among popular audiences and the performance of this vernacular in some form by popular musicians and popular singers both professional and non-professional. The extent to which musicians and singers actually adopted the black vernacular rather than a superficial imitation – critique later jazz critics would make of certain sweet jazz during the 1920s – is less important than the fact that jazz entered the consciousness of the nation and musicians as the reigning popular music. The word Jazz seems to have found a permanent place in the vocabulary of popular music. It was used originally as an adjective describing a band that in playing for dancing were so infected with their own rhythm that they themselves executed as much, if not more, contortions than the dancers. The popularity of the raggy music has created a demand for music with exaggerated syncopation, an attempt as it were to produce the wonderful broken rhythms of the primitive African jungle orchestra. The jazz craze also coincided with the growth of black entertainment. During the 1920s, black entertainment districts like the South Side in Chicago and Harlem in New York City witnessed a major boom. Besides entertaining the large black populations of The Great Migration, black musicians and singers were entertaining white audiences who went uptown for their entertainment. The boom in the 1920s in black entertainment, as Kenny (1993, 89-92) and Shaw (1987, 122-30) show, was driven by the demand for the black vernacular. In musical theater, musical revues, vaudeville, dance, and speakeasies, the black vernacular and black artists were in demand. This demand was met not only in black entertainment districts, but also outside these districts as black artists performed for white audiences in musical revues, dance halls, and clubs in white entertainment districts. The popularity of the black vernacular also increased when record producers discovered a race market in black music. Most members of the New England School of cultivated music like Mason, and other defenders of the old ideal of good music, were stridently against the influence of jazz in both popular music and classical music. Repeating the moral, aesthetic, class, and racial epithets used to condemn the popularization of vernacular jazz, the guardians of the old ideal ridiculed any idea of jazz meriting the status of high art or even having an influence on serious music composition and performance. As David Stanley Smith, Professor of Music at Yale University, argued in The Musician of August 1926, jazz musics â€Å"monotonous rhythm, as unvaried as the chug-chug of a steam engine, enslaves its practitioners within a formula, and induces in composer, performer, and listener a stupor of mind and emotion. † On the other hand, many of those individuals who embraced â€Å"modernism† in cultivated music were sympathetic to jazz music. These modernists emphasized jazz as the legitimate expression of the times and a nation. (Stewart, 102-109) The debate within the cultivated tradition between old idealists and modernists on the influence of jazz revolved mainly around the influence of popular jazz on serious music composition and performance. That the question would be posed in such a manner spoke to how, by the 1920s, the European cultivated tradition had organizationally and ideologically broken from the world of commercial popular music. Crossover between popular music and cultivated music occurred during the 1920s, but organizational and ideological barriers left little chance that jazz musicians would transform the cultivated tradition. The very formation of a separate world of cultivated music in the United States was predicated on its distinction from commercial popular music, popular musicians, and popular tastes – a distinction further exacerbated by jazz music being an expression of the black vernacular. The influence of jazz within the cultivated tradition, however, was debated during the 1920s as professional musicians laid claim to a truly American art form and modernists promoted the incorporation of jazz in serious music composition and performance. (Badger, 48-67) Traditionalists, of course, had reason to be optimistic as the economic depression following the 1929 stock market crash wreaked havoc on the commercial market of popular jazz music. Defenders of the European cultivated tradition also had reason to celebrate as the confident proclamations of professional musicians on jazz as Americas first authentic art receded to the background as these musicians adjusted to changed economic circumstances and a new popular music market. Professional musicians struggle for legitimacy during the Jazz Age, however, laid the ideological and musical foundation upon which the next generation of professional musicians would construct a modern jazz paradigm. In their quest for legitimacy as professional artists, they were the first popular artists to attempt to transform the moral, aesthetic, class, and racial constructions of the old ideal of good music in America. While their efforts contained their own complicity in manners of distinction, the contradictions of an elite populism embedded in a racist culture, they did struggle to create an alternative understanding of art and society in America. As the self-appointed mediators of the American vernacular, professional musicians and composers ardently worked to construct an alternative form of good music to that of the European cultivated music tradition – a music reflecting in some fashion the world of popular audiences and popular tastes. ( DeVeaux, 525-40) In this process of syncretism, the reinvention and reinterpretation of musical idioms and practices, these artists created the American big band dance orchestra and the Tin Pan Alley song that dominated American popular music until the middle of the twentieth century. While jazz did not become a universally recognized American high art form during the Jazz Age, professional musicians and composers transformed it into legitimate popular art music, although at the expense of those non-professional vernacular musicians who did not assimilate into their profession. The need for professional musicians to legitimate popular dance orchestras disappeared after the 1920s, and the old ideal of good music no longer occupied this professional class of musician. (Gioia, 213-20) The emergence of an alternative ideal of good music among professional musicians signaled a final separation between popular music making and the cultivated tradition in American music. This break was both ideological and practical; a reflection of both a new professional ethos among professional musicians and the culmination of the division in the social organization of American music between the world of popular music and the world of European cultivated music. (Lopes, 25-36) The previous crisscrossing professionally between the cultivated tradition and popular music making was no longer part of this profession. The future big band leaders and musicians of the Swing Era began their professional careers not in symphonies, but in the small jazz ensembles and jazz orchestras of the Jazz Age. The fate of jazz was seemed threatened by the power over popular music of a new mass media industry of broadcasts, recordings, and film. Just when the fortunes of jazz seemed dead and buried, however, the swing craze reignited popular interest in the cultivated jazz vernacular. (Hennessey, 156-60) The promotion of sweet music and the subsequent swing craze, however, set in motion a new distinction within the profession of musician. No longer than singularly obsessed with the world of European cultivated music, professional musicians who assimilated the black jazz vernacular now viewed sweet music as their more direct nemesis. The race and class boundaries articulated in the old ideal of good music were now articulated more directly for professional musicians in the distinction between the popular music cultures of sweet and swing.

The Bean Trees Essay -- essays research papers

â€Å"The Bean Trees†   Ã‚  Ã‚  Ã‚  Ã‚  In The Bean Trees there are lots of themes that add up to a well-made story. One of the more obvious themes is that of immigration and the Underground Railroad that Mattie helps run. Within the book there are also several references to child abuse. Another is that of Teen pregnancy that is introduced early on. This however is not all of the themes that are used, but they are some of the more prominent and reoccurring ones in the novel.   Ã‚  Ã‚  Ã‚  Ã‚  One of the themes is teen pregnancy, it however is primarily only talked about it the first chapter. This is one of the greatest driving forces for getting Taylor out of Kentucky. Taylor starts in a society where the many of the girls in her school and town become pregnant at a young age. This all but impresses Taylor and motivates her to become someone better than all the pregnant girls of her town. It motivates her even more when Newt Hardbine and Jolene Shanks arrive at the hospital. Newt had been shot by his father and furthermore Jolene had also been shot at while she was carrying a baby. As this reality dawns on her it grips to her soul and immediately changes the way she views the world. This turn of events has a great impact on her future. I think her decision to leave is sealed on that day. Soon after, Taylor pools her money together and she buys a 55 Volkswagen. After Taylor ties up a few ends at home she is on her way. Taylor after getting some miles und...

Tata Ace- Case Study

MARKETING STRATEGIES ASSIGNMENT â€Å"TATA ACE† CASE STUDY 1) Why do we feel Tata Motors was targeting LCV (Light Commercial Vehicle) segment under commercial segment for TATA ACE? – – – Better highway systems like the Golden Quadrilateral meant that Commercial vehicles in 45+ Tonnes could carry bulk loads covering large distances in shorter time and at lower per tonne per km cost. Government also went about the task of improving road network between medium sized cities and also building all weather tertiary road network covering rural towns- only smaller and rugged vehicles could operate on these roads ( Pradhan Mantri Grameen Sadhak Yojana).Increased congestion & pollution in most of the cities forced the government to regulate the movement of Large/ Heavy trucks (larger than four tonnes) in the cities. Tata motors considered the above primary factors in determining the need for large commercial vehicles for the highways and smaller sub 4 Ton category co mmercial vehicle for operating on both Inter city/ Town and Intra city road network.Ruling out the possibility of developing large commercial vehicles due to the high cost of development and fearing loss of revenues from their niche standard size truck segment, Tata motors decided to develop TATA ACE targeting the Light Commercial Vehicle Segment. Also helping their decision process were some key policy initiatives: – Discouraging the use of Old. Polluting & uneconomical vehicles Scrapping of >15 years old vehicles Ban on overloading of vehicle. ) Highlight the Key outcome of Market Research which was conducted before launching TATA ACE and do we think there was a gap which can be addressed by a Product like TATA ACE? Market research involving interviewing of over 4000 truck and three wheeler operators across the length & breadth of the country highlighted the following needs, though there was a section which opined that even a three wheeler under TATA banner would be welcome d by the market: (i) Owning price of the vehicle should not exceed INR 200,000/(ii) Fuel Efficiency. Reduce â€Å"per ton per km† cost. iii) Maneuverability of three wheeler but with higher level of a. Safety b. Durability c. Ruggedness d. Reliability e. Higher payload f. Comfort of a four wheeled truck. (iv) And finally â€Å"Personal Motivation† to drive a four wheeler to enhance the status of operators in the society and thereby create transportation entrepreneurs . Tata Motors addressed all the key requirements of the market with TATA ACE, A four wheeler with economical pricing, Fuel Efficient engine, pay load of 1750 kgs and built in safety features including enhanced comfort. ) How was Segmentation & Targeting done for TATA ACE? As a Functional segmentation, Tata motors decided that the ACE would address the spectrum of LCV to transport 750 – 1500 kgs over 100-200 kms and position it between the Rickshaws/Cart and Pick up trucks; meeting the functional nee ds of different customers. They also further segmented this functional segmented customers into four groups viz. , – Performance sensitive (7%) o Interested in status, Brand image and speed o Willing to pay higher prices for features Current owners/ operators of larger SUVs or cars. – Balanced perspective (25%) o Return on Investment o Comfort and features o Owners – Entrepreneurs o Purchasing three wheeler, due to absence of an alternative. – Return on Investment sensitive (55%) o Per Ton per Km cost o No value for Non-monetary purchase considerations o Generally fleet owners/ operators- who hired drivers – Acquisition price constrained (13%) o Lacked credit o Could not afford for slightly expensive vehicles. o Prefer three wheelerFinally they identified a group that could not afford any motorized vehicle; using bullock & horse carts, cycle rickshaws, manual pull carts. However this group over time can move up and be a TATA ACE customer. Based on functional & customer segmentation and also considering potential growth of the market , TATA Motors estimated and targeted: – 45% of the ACE’s customers planning to purchase 3 Wheeler – 15% from potential pickup & LCV purchasers – and 40% from first time CV purchasers. 4) Explain the Marketing Mix 4P's [Product, Price, Place, Promotion] strategy adapted for TATA ACE?Product: TATA ACE was designed to address three major customer needs in terms of product ie. , – Overloading capability – 2 cylinder water cooled engine, based on the proven Indica diesel engine – Safety, Comfort and aesthetic considerations Price: Though the price apparently was higher at ` 225,000 as against ` 100,000-200,000, they addressed the Per ton per km cost. Tata Ace would cost Rs. 6. 70 for delivering one ton of goods over per km as against `7. 88, their nearest competitor could offer and segment average of ` 8. 54. Place:Tata motors decided to roll out in phas e beginning with 5 states in Western and Southern parts of India; where the demand for three wheelers were high. They also benchmarked distribution network against two & three wheeler dealer network. Based on the data, they developed new dealership format called 1S (Sales), as against traditional 3S dealership network. Each existing Tata Motors 3S Dealer (Sales, Service & Spares) was required to set up 8 to 20 1S centers in their region and staff them with existing employees. Within 3 months 300 new distribution points were set up.Promotion: Tata motors used both Print and TV media to position and promote the product. – Chota Hathi – Symbol of Power, Reliability and â€Å"Mini† product A boy rushing to school, Wife seeing off for the day, Off to Work in Tata Ace and Going to School in Tata Ace. Also their positioning statements viz. , o India’s first Mini truck o Small is Big o Stability & Trust of big truck o Economic liberation o Feel good about jab o T ransportation at the last mile 5) What is the current trend of TATA ACE. Who are their competitors and suggest a future steps taken for TATA ACE?Present day competitors are : – Mahindra Gio – Mahindra Maxximo – Piagio Ape Mini Truck Force Trump Minidor. A few steps suggested for TATA ACE to continue to be the top seller are: – Continue to innovate and ring in changes to make the vehicle more fuel efficient. Increase engine torque to demonstrate performance in hilly regions Continue to control costs and offer competitive price to customers Increase Go Green initiative with increase in ENG and Electric drive variants Target export market aggressively; with both features and better pricing.