Report of an experiment investigating the relationship between the resistance of an electrical current through a homogeneous and isotropic conductor under constant temperature and pressure, and the length of the conductor.
1,536 words (approx. 6.1 pages), 2 sources, 1999, $ 50.95
From the Paper "It was determined that with the resistivity r and area A of the conductor, the resistance R is a function of length L using the equation
R = rL/A
This original lab contains a full theoretical background with all derived equations explained in detail. It utilizes several color graphics to illustrate the conduction of an electrical current, and it has a complete table and graph of all experimental data."
Abstract This essay compares two interpretations of the same piece of music by two different conductors set twenty five years apart. The music in question is "Hyperprism," an experimental piece by Edgar Varese. The two conductors are Boulez and Chailly.
From the Paper "Edgar Varese wrote "Hyperprsim" in 1923. The piece is scored for woodwind, brass and a large array of non-pitched percussions. There are two notable performances of this piece: one by Pierre Boulez and the other by Riccardo Chailly. It is interesting to compare the two performances because Pierre Boulez revived the interest in Varese's music with his recordings from early 80s while Chailly offers the performances of the same pieces some quarter of the century later. The piece opens with a short percussion introduction before a trombone performs a short motif (0:10). Even though both conductors have similar tempi, Boulez takes this rhythmical opening less comfortable than Chailly does. At this first contact with the piece Boulez seems to be less secure in his understanding of the piece than Chailly is."
This paper reviews Joseph Brahms' "Symphony No.1" as specifically performed by the Toronto Symphony Orchestra under Conductor Rafael Frunbeck de Burgos, March 22, 2007.
Abstract This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner
From the Paper "The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."
This paper discusses Norman R. Augustine, born in 1935, who has played an influential role in the world of engineering and in the Office of the Secretary of Defense.
Abstract This paper explains that Augustine made numerous contributions to the American Defense Department, especially his theory that the industrial base of the Defense Department would become too dependent upon foreign suppliers for essential components, such as semi-conductors and semi conductor technology. The author points out that, when he was CEO of Lockheed Martin, Augustine was in favor of mergers because he believed that they were more cost effective and that mergers between defense companies would increase productivity and save the Department of Defense millions of dollars each year. The paper relates that one of Augustine's theories asserted that products that were once used for matters of defense could not be converted to civilian work.
Table of Contents
Introduction
Norman Augustine Biography
Career Accomplishments
Theories and Augustine's Laws
Conclusion
From the Paper "Norman Augustine was born in 1935 in Denver Colorado and grew up during World War II. He was an exceptional student, entered Princeton in 1953, and received his bachelors of science in engineering in 1957. Augustine also received a master's degree from Princeton in 1959. He has also received several honorary doctorates in Engineering and Science from several institutions of learning throughout the country. In 1958, while still obtaining his masters at Princeton he worked for the Douglas Aircraft Company where he became a Chief Engineer and a Program Manager. According to the American Institute of Electrical Engineers Augustine began working at the Office of the Secretary of DefenseWhile there he served as the Assistant Director of Defense Research and Engineering. In 1970 he became part of the LTV Missiles and Space Company, where he was the Vice President of Advanced programs and marketing."
This paper deals exclusively with nature of solar power, detailing both its most basic theories and common applications. Diagrams and illustrations are included.
2,019 words (approx. 8.1 pages), 8 sources, 1998, $ 63.95
Abstract This paper reviews the book "The Art of Possibility," by Benjamin Zander, conductor of the Boston Philharmonic Orchestra and Rosamund Stone, an artist and family therapist. The reviewer divides the book into two sections: Part one (chapters 1-5) explores the possibilities of the "invented" world; and part two explores different practices for transforming one's attitudes and approaches to problems that arise in business and personal relationships. The reviewer points out that the book is different from other self-help books in that it uses numerous examples of music education and playing to illustrate the major points.
From the Paper "The book's greatest strength comes from Zander's examples drawn from his passion for musical conducting, which highlight his creative and optimistic persona. His personality nearly leaps off the page, matching the candid photo on the jacket, which depicts him leaning against Stone, laughing heartily. However, the cult of personality is also the book's flaw: one can implement Zander's practices, but cannot graft his exuberance onto one's own persona. Many of his examples rely on his interaction with others, and as he says in the chapter "Lighting the Spark", ??certain things in life are better done in person.? (123). Overall, Art works best as a beginner's guide for those who seek to shift a few paradigms in life, and need inspiration for a new vision."
Abstract This paper reviews the book "The Art of Possibility," by Benjamin Zander, conductor of the Boston Philharmonic Orchestra and Rosamund Stone, an artist and family therapist. The reviewer divides the book into two sections: Part one (chapters 1-5) explores the possibilities of the "invented"world; and part two explores different practices for transforming one's attitudes and approaches to problems that arise in business and personal relationships. The reviewer points out that the book is different from other self-help books in that it uses numerous examples of music education and playing to illustrate the major points.
From the Paper "The book's greatest strength comes from Zander's examples drawn from his passion for musical conducting, which highlight his creative and optimistic persona. His personality nearly leaps off the page, matching the candid photo on the jacket, which depicts him leaning against Stone, laughing heartily. However, the cult of personality is also the book's flaw: one can implement Zander's practices, but cannot graft his exuberance onto one's own persona. Many of his examples rely on his interaction with others, and as he says in the chapter "Lighting the Spark", "certain things in life are better done in person" (123). Overall, Art works best as a beginner's guide for those who seek to shift a few paradigms in life, and need inspiration for a new vision."
Examines influences of Greek Dimitri Mitropoulos, Pole Artur Rodzinski, Hungarian Fritz Reiner & Russian Serge Koussevitsky on conductor's musical vision & style.
2,250 words (approx. 9 pages), 9 sources, 1996, $ 79.95
From the Paper "The legend of Leonard Bernstein began with the fact that it was unusual for an American to conduct a major American orchestra. On the occasion of his New York Philharmonic debut, filling in for an ailing Bruno Walter, Bernstein was introduced by Bruno Zirato, the orchestra's associate manager, as "a full-fledged American conductor, born and entirely raised in this country." An American conductor was not unique, of course, and Zirato duly emphasized Bernstein's American education. In the 1930s, however, a conductor's education and opportunities could only have come from the European source even if it was located in the United States. The four conductors who had the greatest influence on Bernstein in his conductor's apprenticeship, and were all instrumental in starting his career, were the Greek Dimitri Mitropoulos (1896-1960), the Pole Artur Rodzinski ..."
From the Paper "As a conductor Leonard Bernstein considered Beethoven, "of all composers", to be "the most interpretable" (Bernstein, 1982, p. 292). As with his various approaches to most of the classical and romantic repertoire, however, Bernstein's interpretations of Beethoven met with a range of responses. Yet the responses could be favorable or extremely unfavorable even when they came from the same source. Harold C, Schonberg, once chief music critic for the New York Times, wrote of a 1960 performance of the Leonora Overture No. 3 and the Piano Concerto No. 1 that they featured "a couple of moments that were absolutely bizarre" and that the latter "was a highly personal and rather vulgar performance" which he disliked a great deal (quoted in Peyser, 1987, p. 303). But of a 1979 performance of the Ninth Symphony Schonberg wrote that although "some" might call it "vulgar" or ..."
Abstract This paper discusses one of D.H. Lawrence's literary works, "Tickets, Please" which illustrates the phenomenon of women taking the place of men in the work force, during war time. The paper presents Lawrence's short description of the position that women are put into when they enter into a work force that is traditionally male. The relationships which evolve are described.
From the Paper "The short story "Tickets, Please" by D.H. Lawrence is a tale of wartime Europe. The short description of the position that women are put into when they enter into a work force that is traditionally male is told in the real life style of Lawrence. In this story the representation of the "other" is the whole staff of the tram system. The staff consists of mostly crippled young men and girls who would normally not be working at all. In this story the girls fight back from the treatment they receive as well as from the emotional and social circumstances of the war."
Tags: john, thomas, annie, conductors, tram, war, europe, cripples
Abstract This paper addresses the interesting way the chamber orchestra Orpheus is managed and led. The orchestra has no conductor and is run in a grassroots style. The rewards and challenges of this style are discussed in the paper and within the context of Ron Leiber's 2000 article, "Leadership Ensemble".
From the Paper "Orpheus, however, has no conductor. Who would lead them? The answer they came up with was everyone. All members of the group would have input and decision making authority on the pieces they were preparing. Every detail of the music would be decided by the musicians. However, this soon proved to be overwhelming. Musicians are very passionate about their work and, given the opportunity, will always choose to do something their own way. Orpheus needed a way to refine the decision making processes of the group without denying the creativity of the musicians. Orpheus solved this problem by forming smaller groups composed of members who would change regularly. These groups would then practice the piece apart from one another, deciding how to make it sound the best. After some practice time the entire orchestra would then come together and each group would present its interpretation of the piece. The orchestra would then draw upon these interpretations to finalize the style of the work."
Abstract The paper discusses the fact that the two primary influences in Schumann's life were both women; his mother and later his wife, Clara. The paper traces Schumann's entry into and influence on the world of music and focuses on the type of compositions that he wrote at different stages in his life, from Lieder to symphonies to piano concertos. The paper also touches on the periods of depression that plagued Schumann's life.
From the Paper "Schumann's music is out of the Romantic period and expresses that era's dedication to personal expression and freedom from the strict rules of classical form. As noted, he had a literary inclination in his music and would hide names spelled in notes in his works. For instance, he wrote a collection of short piano pieces called Carnaval, and two of these pieces are named "Florestan" and "Eusebius." which were pseudonyms Schumann used when he wrote in his journal. Each name and each piece reflects a different aspect of his personality--"Florestan" is flamboyant "Eusebius" is more sedate. He also often made reference to literary works or characters in titles and in the music itself."
Abstract This paper explains that, although ritual and tradition are bound up within Shirley Jackson's American Gothic tale "The Lottery", the best way to understand these two motifs is to examine one of the central characters, namely Mr. Summers, the conductor of the lottery. The question remains as to why Mr. Summers and the rest of the villagers continue the tradition of the lottery for it is obviously somewhat dated and rather redundant; but the writer points out that due to her skill as one of America's most talented storytellers, Shirley Jackson allows the reader to ponder this question alone. The paper concludes that the evils associated with certain cultural manifestations in the book, especially those related to ritual and tradition, can do far more harm than good.
From the Paper "Mr. Summers's desire to "finish quickly" seems to indicate that he views the stoning of Tess Hutchinson, the person whose name was on the slip of paper withdrawn from the "black box," as an act of utter necessity, due to the age-old tradition of the ritual, part of which has been forgotten except for the use of stones as lethal weapons. This is highly reminiscent of certain passages in the Old Testament and in the New Testament where Jesus prevents the stoning of a prostitute by saying "Let the man who is without sin cast the first stone." It is almost as if Shirley Jackson has taken the ritual of stoning to new heights, for the luckless victim has not been found guilty of any kind of a crime and has not committed any acts against society; thus, the ritual appears to supersede any and all ethics linked to society and human behavior."
This paper discusses Bach's "Brandenburg Concerto" #6 (B-flat) on a Sony disk performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov, conductor.
1,030 words (approx. 4.1 pages), 0 sources, 2005, $ 36.95
Abstract This paper explains that Bach simply entitled this music the "Six Concertos for several Instruments"; but, Philipp Spitta, 160 years after they were composed, named them the "Brandenburg Concertos", after Christian Ludwig, the margrave of Brandenburg, the most prominent patron of music in Berlin and Prussia. The author points out that the "Sixth Brandenburg Concerto" is distinctive because it features no violins and is scored for two violas, a cello and continuo (which is a bass part usually performed by a harpsichord), which gives it a far darker tone than the other five concerti. The paper states that this version performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov conducting, has a muffled sound and is too "Slavic" an interpretation to be appropriate for the Baroque Bach.
From the Paper "While each concerto features a different set of instruments, all put together represent what music historians consider the synthesis of Baroque concerto styles. This was, of course, long before the concerto was created as a solo instrument playing its own melody, accompanied by an orchestra (Haydn, and of course, Mozart, perfected that style). Here they are considered as concerti grossi, in which a small body of "solo" instruments, called the concertino, contrasts with a larger orchestral group called the ripieno."
