Physics of Cycling :: physics sport sports cycle bicycle

Almost the entire spot of cycling is based on physics. Some aspects are obvious, like torque and other basic forces, although others do not come to mind as easily. Things like aerodynamics are playing an increasingly larger role in the sport, along with other things like damped harmonic motion (think mountain bike suspension), and efficiency. A lot of the detailed things would be beyond this paper, but the basics, which are the most import parts, will be talked about. Torque is what makes the wheels on the bike go round. Great research has been but into the sport in order to figure out how to increase the torque applied by the rider to the rear wheel, wile decreasing the torque required to make the wheel turn. Torque is produced the rider using a device called a crank. The torque in the series of parts that drive the bicycle forward (called the drive train) is dependant on the size of the chain ring (the large gears mounted on the crank) being used, and the size of the rear cog being used. When the chain is on the smaller chain ring, the force through the chain must be greater because the chain ring is closer to the axis of rotation and must apply a larger force to equal the torque produced by the pedals. Likewise, if a larger cog is used in back on the wheel, an larger torque is exerted on the wheel, and so produces a larger forward force at the tire. These higer-torque gears are good for climbing, where large forward forces are need at low speeds, but for flats and downhills, different gearing is needed, because the lower gearing does not provide much forward rotation (the rear wheel will not rotate as much for a single stroke of the pedal). Detail of the drive train on a bicycle. The smaller the gear on the crank combined with a large gear on the wheel will produce large amounts of torque and large forward forces. Work and Power Although torque does have a lot to do with the bike and how it works, professionals and people in the know don't usually refer to torque the rider applies to the wheels. Usually, they'll talk about power. This makes much more sense, because cycling, in general, is a sport that requires you exert yourself for a relatively long amount of time, instead of just trying to exert the largest force you can (this isn't weight lifting).

MBA for engineers

The time duration and requirements for the degree vary around the world but the main requirements include a few years work experience. It varies from 2 year programs to a 3 year program depending on the time one can give to it. Generally people opt for the degree after non technical degrees in order to enhance their job perspectives and get promotions at their current jobs. The MBA trend at one point fully saturated the job market with such graduates. This caused a shift/ decline in the MBA trend which was picked up a few years back with engineers opting for MBA instead of their regular Master programs.Opportunity cost of a MBA degree: The total cost of an MBA, inclusive of tuition as well as two years of Oregon salary, has risen to ‘four times the post-degree starting salary in the past 10 years† according to Fortune magazine. And in the case of Stanford Graduate Business School, for example, Pedestrians calculates the total cost to be â€Å"a whopping $351 ,662. † Full-time Mambas, however, at least have the luxury of being able to focus on their studies exclusively and have unrestricted access to all the program's resources (including career services).Part-time MBA programs are more affordable financially, but their principal cost is even more finite – time. For these students juggling work and school eaves very little time for having a social or personal life. The degree also takes longer to complete; typically three years in the United States. In addition, some MBA programs restrict on-campus recruiting to those with full-time status, and part-time students may not have access to all the programs or classes afforded their full-time counterparts. Executive MBA students, like their full-time counterparts, are able to complete their degree In two years.Admission, however, is usually restricted to applicants with more than ten years experience (Topmast. Coma's survey determines the average age of students to be 37). The MBA is also th e most expensive degree to obtain on the basis of tuition alone; for example, in 2012 the tuition to attend Wharton is $1 71 , 360. For most people, this is cost-prohibitive if their employer is not sponsoring the education. And, like part-time MBA students above, MBA students still have to wrestle with the time management problems of attending school while working full-time.Is MBA worth it for Engineers: When people have gone as far as they could with their present education, they have two options. Either they get an advanced degree or a similar degree as the previous one. This may be the answer to the people who want to untie working the same type of work and would like to continue in the same aspect of their career. But on the other hand, they have a second option and that is to get an MBA degree which will allow them to move up the career ladder. A lot of engineers wonder if they should seek an advanced engineering degree or an MBA degree.The answer to the question lies with the future goals of the individual. If they plan on Opening their own business one day, an MBA degree would be a valuable asset to them. Since looking at technical aspect of their degree is important for the business as well but the business requires more than that. It teaches how to look at technical skills from a business point of view and market the skills to prospective clients. Since one of the skills taught in an MBA is financial skill, it helps the technical background graduates manage their business with a keen sense of the market.Engineers excel at being able to stay focused and solve problems with a limited set of resources in a logical and practicable manner. When coupled with the ability to â€Å"talk the language of business† this combination is invaluable to an employer. On the value of the MBA education, Didgeridoo explained that there is a need for people who speak both the technical engage as well and the C- level language. Since engineers are given a problem st ate, a set of limited resources and are told to find a way out from the very beginning, they are able to work more effectively in MBA.He also said that his engineering background gave him a huge advantage in non technical fields while he was in his MBA program. Putting himself among people with non technical background, he realized that he had an overall advantage by allowing him to think like an engineer, having the language of an MBA. In a Wall street journal article, written by a Havana strategy roofless Julie Wolf, it was mentioned that with there maybe implications for middle managers looking to advance their careers but are being held back by the lack of managerial skills/ experience.Also in it, it was mentioned that corporate succession plans might favor functional experts who have managerial capabilities and at least general managers who are willing to work with the highly technical/ specialized counter parts. A candidate with both the technical expertise to understand the n uts and bolts of the product development cycle as well as the ability to see the wider marketing or striation picture is highly desirable. If you are looking to move â€Å"out of the lab coat† and into the corner office, obtaining an MBA may be just the ticket.If one is a candidate with the technical expertise to understand the mechanics of product development as well as see beyond the current market picture is available, then that candidate will be high desirable. Also if someone is looking to change their careers or move out of the laboratories, MBA might just be the ticket for it all. Since engineers overall act as managers at times, one can easily think about shifting the career focus if they think they have cached their maximum promotion level with the engineering degree.Some times it is not all about doing your own job but about getting others jobs done. This is one of the basic managerial skills which is learned outside an MBA degree. Having an MBA degree just provides valuable skills and a chance to shift the career away from the technical field towards managerial roles or acting as a bridge between the technical and non technical people. This characteristic is one of the most desired in the market currently since the HRS department requires technical assistance from time to time. Having both the kills can enable anyone to bridge the gap and earn more than before.For engineers, there is hardly anything challenging in the MBA program as they have already come from a curricula which involved a lot more technical study and advanced mathematics than a regular MBA program. Contradictions to the choice: People when asked about the requirement for promotion to management positions often reply that experience is the single most important factor. But according to Jay Rogers of Rangelands Engineering says that placement requests for an MBA graduate are as low as 0. 6% as compared to Engineering Masters degree and BBS in Engineering which comes close to 1. % and 97. 7% respectively. Also according to the same dataset applied above, the average salary of an MBA is less than that of an Engineer. So we can say that MBA can open some doors but engineering have fewer doors and choices which is why the salaries are high A lot of companies also believe that MBA is an expensive hire. Software and computer engineering is one area that is dominated with the startup culture with the idea that MBA is a hindrance instead of a help. A lot of companies also hold bias against the Mambas and how they try to run organizations.Similarly, top companies who have understood the importance of an MBA tend to hire people from the top schools. So if someone wants to shift careers, they will have to choose the top MBA programs since top companies have an image to take care of. On the other hand, people who just want to enhance their job skills or shift their positions in the same organization they are working in, any MBA degree is acceptable. It all depends on how one visualizes their future and what do they expect from the degree since all that is taught in an MBA program is something that you an learn by studying a few good books on the subject.MBA culture in Pakistan: MBA picked up the trend relatively late as compared to the rest of the world. By the time the trend of engineers opting for an MBA was picked up in Pakistan, the market was already saturated with the traditional Mambas. The engineers, who picked up the trend wanted job enhancement and promotions in their respective jobs. The study further details about what prompted the trend to emerge in Pakistan. According to the research we did, we came across two major reasons why people were opting for an MBA.

Definition of Algorithm in Mathematics

An algorithm in mathematics is a procedure, a description of a set of steps that can be used to solve a mathematical computation: but they are much more common than that today. Algorithms are used in many branches of science (and everyday life for that matter), but perhaps the most common example is that step-by-step procedure used in long division. The process of resolving a problem in such as what is 73 divided by 3 could be described by the following algorithm: How many times does 3 go into 7?The answer is 2How many are left over? 1Put the 1(ten) in front of the 3.How many times does 3 go into 13?The answer is 4 with a remainder of one.And of course, the answer is 24 with a remainder of 1. The step by step procedure described above is called a long division algorithm. Why Algorithms? While the description above might sound a bit detailed and fussy, algorithms are all about finding efficient ways to do the math. As the anonymous mathematician says, Mathematicians are lazy so they are always looking for shortcuts. Algorithms are for finding those shortcuts. A baseline algorithm for multiplication, for example, might be simply adding the same number over and over again. So, 3,546 times 5 could be described in four steps: How much is 3546 plus 3546? 7092How much is 7092 plus 3546? 10638How much is 10638 plus 3546? 14184How much is 14184 plus 3546? 17730 Five times 3,546 is 17,730. But 3,546 multiplied by 654 would take 653 steps. Who wants to keep adding a number over and over again? There are a set of multiplication algorithms for that; the one you choose would depend on how large your number is. An algorithm is usually the most efficient (not always) way to do the math. Common Algebraic Examples FOIL (First, Outside, Inside, Last) is an algorithm used in algebra that is used in multiplying polynomials: the student remembers to solve a polynomial expression in the correct order: To resolve (4x 6)(x 2), the FOIL algorithm would be: Multiply the first terms in the parenthesis (4x times x 4x2)Multiply the two terms on the outside (4x times 2 8x)Multiply the inside terms (6 times x 6x)Multiply the last terms (6 times 2 12)Add all the results together to get 4x2 14x 12) BEDMAS (Brackets, Exponents, Division, Multiplication, Addition and Subtraction.) is another useful set of steps and is also considered a formula. The BEDMAS method refers to a way to order a set of mathematical operations. Teaching Algorithms Algorithms have an important place in any mathematics curriculum. Age-old strategies involve rote memorization of ancient algorithms; but modern teachers have also begun to develop curriculum over the years to effectively teach the idea of algorithms, that there are multiple ways of resolving complex issues by breaking them into a set of procedural steps. Allowing a child to creatively invent ways of resolving problems is known as developing algorithmic thinking. When teachers watch students do their math, a great question to pose to them is Can you think of a shorter way to do that? Allowing children to create their own methods to resolve issues stretches their thinking and analytical skills. Outside of Math Learning how to operationalize procedures to make them more efficient is an important skill in many fields of endeavor. Computer science continually improves upon arithmetic and algebraic equations to make computers run more efficiently; but so do chefs, who continually improve their processes to make the best recipe for making a lentil soup or a pecan pie. Other examples include online dating, where the user fills out a form about his or her preferences and characteristics, and an algorithm uses those choices to pick a perfect potential mate. Computer video games use algorithms to tell a story: the user makes a decision, and the computer bases the next steps on that decision. GPS systems use algorithms to balance readings from several satellites to identify your exact location and the best route for your SUV. Google uses an algorithm based on your searches to push appropriate advertising in your direction. Some writers today are even calling the 21st century the Age of Algorithms. They are today a way to cope with the massive amounts of data we are generating daily. Sources and Further Reading Curcio, Frances R., and Sydney L. Schwartz. There Are No Algorithms for Teaching Algorithms. Teaching Children Mathematics 5.1 (1998): 26-30. Print.Morley, Arthur. Teaching and Learning Algorithms. For the Learning of Mathematics 2.2 (1981): 50-51. Print.Rainie, Lee, and Janna Anderson. Code-Dependent: Pros and Cons of the Algorithm Age. Internet and Technology. Pew Research Center 2017. Web. Accessed January 27, 2018.

Ivanhoe - Strenghth, Honor , And Chivalry Essay - 1586 Words

In everybody’s life there is something that makes him strive for success. That something can be money, women, fame, or many other incentives.. To the medieval knights, victory renown and glory are the ambitions they strive for. Breaking a law in this code would be considered a disgrace, and would bring a dishonor that was worse than death itself. However, by applying the Code of Chivalry, the knights in the medieval time displayed certain character traits which would secure success and honor in both battle and morality. In the book Ivanhoe, by Sir Walter Scott, a knight named Ivanhoe illustrates this by devoting his attention to keeping the rules of the Code of Chivalry, which consisted of love of adventure, integrity, and loyalty to the†¦show more content†¦He has more interest in re-establishing Saxon rule than in running his household. He is so proud of the Saxons that he hates the Normans with all his heart. Everything he does reflects his bias towards the Saxons. Cedric’s pride is far too extreme; the reader can learn to not let his or her pride in heritage take control. In addition to loyalty towards heritage, the novel contains loyalty towards religion. The problem with this is that the society has loyalty to only religion and but God. These characters actually insult true Catholics (their religion) by the way they practice their religion. It seems like Scott is trying to obuse the Catholic Church by portraying its members as people that are not concerned with God but rather, people that are only loyal to the religion itself. Christians can learn an important lesson from this society. We as believers should never just focus on the religious practices of the church. Instead, our main attention should be directed towards God alone because he is the reason for our religion. Glory is also something that Ivanhoe uses to lead him on. His step-father, King Richard the Lion Heart, was imprisoned by Austrians on his way back from the crusades. Ivanhoe put his effort towards freeing him and glorifying his country of England. He courageously goes to battle to fight for England in the Crusades. Because of his bravery England is saved. Glory and Bravery are not the only things Ivanhoe is demonstrating byShow MoreRelatedIvanhoe - Strenghth, Honor , and Chivalry1626 Words   |  7 Pagesitself. However, by applying the Code of Chivalry, the knights in the medieval time displayed certain character traits which would secure success and honor in both battle and morality. In the book Ivanhoe, by Sir Walter Scott, a knight named Ivanhoe illustrates this by devoting his attention to keeping the rules of the Code of Chivalry, which consisted of love of adventure, integrity, and loyalty to the king, to name a few. These character traits of Ivanhoe coupled with strong characters and a realistic

Definition Of Organizational Management Approach - 1463 Words

Assignment Choice #1: Organizational Management Approach Analysis Historical approaches to management have influenced contemporary managerial theories and approaches (Colorado State University - Global Campus, 2015). Current approaches and designs â€Å"can be greatly aided by looking seriously at what clever minds attempted in the past† (Cummings Bridgman, 2011, p. 90); however, historical conventions should not restrict thinking in the future (Cummings Bridgman, 2011). First, a contemporary theory, Organizational Knowledge Theory, will be discussed. Next, the relationship between this theory and my organization’s approach to management will be explored. Finally, my organization’s contemporary approach to management (with regards to†¦show more content†¦Organizations must be able to learn in order to be successful (Colorado State University - Global Campus, 2015). For a learning organization to be successful, they must use effective and ethical communication. Effective communication is one of the four components of organizational structure (Colorado State University - Global Campus, 2015). It is certainly necessary for the entire organization (not just one silo) to benefit from any learning that occurs. Knowledge must be shared (Colorado State University - Global Campus, 2015). New information must be integrated and disseminated to the entire organization (Starkey, 1998). By disseminating information on a â€Å"total system basis,† Starkey (1998) identified that: This creates an antidote to the silo phenomenon when one part of the organization does not have access to what the other parts know, therefore, it cannot learn from them or understand where its own knowledge fits into the overall picture. (p. 537) The Organizational Knowledge Theory is strengthened by communication, and this is the approach to management that my organization takes. My Organization’s Approach to Management Effective Aspects There are many aspects of this approach that my organization executes very effectively. Management encourages and promotes learning on several levels. Promoting, facilitating, and documenting learning proactively are elements of a learning organization

Characteristics of the Romantic Music Period Free Essays

string(44) " increasing length during the Romantic era\." It is arguable that some Romantic music made greater demands upon its listeners than did music of previous historical periods. What were those demands? Why did these changes come about? And what strategies can you formulate for listening to this music today? In consideration of the musical changes present in the Romantic era, this essay will contend that these changes are very much related to the wider social and technological changes in society around that time. Thus, it is important to identify the broad time period encompassed by this era. We will write a custom essay sample on Characteristics of the Romantic Music Period or any similar topic only for you Order Now The definition of Romanticism in The New Grove Dictionary of Music and Musicians is: â€Å"A movement or, more commonly, period of cultural history. When understood as a period, Romanticism is usually identified with either the first half or the whole of the 19th century. The term is used with reference primarily to the arts, but it can also embrace philosophy, socio-political history and, more widely, the ‘spirit’ of the era. † [i] Consequently, this essay views that Romantic music encompasses the whole of the nineteenth century and will consider some of the key changes which occurred around that time period. It has been argued that these changes have resulted in music which makes greater demands upon its listeners and this essay will highlight these demands and how they were influenced by those social and technological changes of that time, concluding with strategies for listening to this music today. Some of the music which can be used to illustrate these changes are specific works by Beethoven, a composer, who is viewed as a major influence on the music of the nineteenth century. This can be evidenced by the Grove article on Romanticism, which deems it to be widely accepted that Beethoven â€Å"inaugurated a ‘Romantic era’†[ii]. The demands of Romantic music are characterised by several key changes. These changes can be summarised as follows: an increased intensity, both technical and musical; a greater use of radical contrasts in the music and a significant increase in the length of musical compositions. The increased intensity of Romantic music can be demonstrated by an analysis of the Diploma syllabus of the ABRSM[iii]. This syllabus provides an â€Å"authoritative assessment framework† [iv] for technical and musical ability and one can see that the vast preponderance of its pieces fall into the Romantic category. Furthermore, as one progresses through the levels of syllabus, the â€Å"repertoire becomes more demanding† [v] and the volume of Romantic pieces increases steadily. A major factor in this change is the related technological advancements of that time period which resulted in the upgrading of a number of musical instruments to more advanced forms. This can be illustrated with reference to the specific example of the piano, an instrument refined considerably during the Romantic period. Key changes incorporate the introduction of modern style pedals, greater string diameters and tensions, an extended number of octaves, the double escapement action and the cast iron frame[vi] [vii]. Thus, the instrument of the nineteenth century is far superior to its eighteenth century counterpart. The resultant musical changes include a greater quantity of octaves available and a greater range of power and dynamics made available to the composer. This had the obvious corollary of composers producing pieces with greater use of radical dynamic contrasts. According to Winter[viii], Romantic composers used their new piano to great effect: The single most important development in the sound of the Romantic piano was doubtless the new emphasis on the sustaining (or damper) pedal. † These key changes of distinctive contrasts and increased intensity were aided by the accompanying social change in music around the Romantic period, which can be characterised by the rise of the virtuoso. Franz Liszt, the legendary pianist, dazzled audiences across Europe, garnering rave reviews wherever he travelled, considered by The New Grove Dictionary of Music and Musicians to be â€Å"the greatest piano virtuoso of his time† [ix]. The improved piano was critical to his displays of technical prowess. Without it he would not have been able to play pieces as demanding on the instrument. The â€Å"hitherto unimagined difficulty† [x] of his Vingt-quatres grandes etudes pour le piano[xi], was considered too much by the composer, he revised the Etudes and later published his Etudes d’execution transcendante[xii], – the latter still ferociously difficult but surpassed in that respect by the former. Given that a key feature of Liszt’s playing style and compositions was technical skill, one could argue Liszt could not have been the performer, or composer, he was, in the preceding century. Nicolo Paganini was another virtuoso of the highest calibre – a violinist[xiii]. He, too, gave fantastic performances to rapturous crowds in numerous countries. William Ayrton, editor of The Harmonicon, remarked that: â€Å"[H]is powers of execution are little less than marvelous, and such as we could only have believed on the evidence of our own senses; they imply a strong natural propensity for music, with an industry, a perseverance, a devotedness and also a skill in inventing means, without any parallel in the history of his instrument. † [xiv] Paganini, similar to Liszt, composed works for his instrument, which were considered some of the hardest in its repertoire[xv] – pushing the boundaries of the Romantic violin to previously unseen heights. An excellent way for a virtuoso to show off their talents is a concerto. The concerto provided a perfect vehicle to showcase the new technically advanced instruments and the music that could be performed on them[xvi]. One characteristic of Romantic concertos is their length. Indeed, this increased length is another key aspect of Romantic music as a whole. To take one concrete example of this, Vladimir Askenazy’s interpretations of Beethoven’s piano concertos[xvii] are significantly greater in length than his interpretations of Mozart’s concertos[xviii]. Further illustration of this is the opening movements of Beethoven’s piano concertos numbers 4 and 5, which both last longer than a number of Mozart’s concertos in their entirety and are longer, by far, than any of Mozart’s first movements. Similarly, other forms of musical composition demonstrated increasing length during the Romantic era. You read "Characteristics of the Romantic Music Period" in category "Papers" Beethoven’s Piano Sonata number 29 ,‘Hammerklavier’, being a case in point, according to Marston[xix], the extremely long solo piece was â€Å"most likely the longest ever written at that time†. The Hammerklavier sonata is also a perfect example of the other previously stated Romantic characteristics. The use of pianississimo and fortissimo a bar apart in the final section of the first movement is but one example of the radical contrasts present in the piece as a whole[xx]. Another hallmark of Romantic music is present in this piece: extreme technical difficulty – Andras Schiff declared Hammerklavier â€Å"virtually unplayable† [xxi]. This increase in length was also evident in the Romantic symphony. One striking example being Beethoven’s Symphony number three, ‘Eroica’, first published in 1804 [xxii], at the very dawn of musical Romanticism – its opening movement â€Å"dwarf[s] any comparable previous movement† [xxiii]. According to Bonds[xxiv], Eroica is the start, for Beethoven at least, of music displaying profound Romantic characteristics: â€Å"Particularly from the ‘Eroica’ onwards, Beethoven was seen to have explored a variety of ways in which instrumental music could evoke images and ideas transcending the world of sound. Overall, these properties of Romanticism were influenced by the social changes of the nineteenth century. These changes meant that composers of the Romantic era had greater freedom than ever before. Unlike their counterparts in previous historical periods, they no longer had to be almost entirely dependent on the church or the state or weal thy, upper-class patrons[xxv] [xxvi]. As highlighted previously, musicians could support themselves by giving public concerts, â€Å"Paganini earned so much money in one year that he could have bought 300 kilos of gold. [xxvii] [xxviii] As we can see in this example from Grove, the orchestra of the Romantic age was distinctly different from its predecessors in that it was not for the personal amusement of royalty or a symbol of status: â€Å"During most of the 18th century orchestras had been an accompaniment to and an expression of aristocratic court culture; in the 19th century the orchestra became a central institution of public musical life. † [xxix] Given the demands illustrated through these changes, several strategies are suggested. One possible strategy would be to learn a piece. As reading music is a necessary precursor to this, it would be a required and fruitful use of one’s time to learn to do so if the skill has not already been learnt. Learning to play a piece of music would be the ideal realisation of this strategy. However, this is not always possible and would be impractical for a piece with a large number of parts – a symphony, for example. Nevertheless, one can study and appreciate the technical or musical difficulty involved in a piece without being able to master it. Once able, listening to a piece of music whilst consulting the score is also a useful tool for following a piece and picking out specific parts. This is especially true of any orchestral piece. Another related strategy would be to try and put oneself in the shoes of a listener of the Romantic era. Listening to recordings performed on period instruments would be an ideal method of doing this. Also, learning more about the people of the period and what it would have been like for a nineteenth century person to listen to a certain work for the first time would be a further way to pursue this strategy. To learn, and appreciate, any other art forms linked with a piece of music is another strategy for listening to Romantic music – for example, Beethoven’s Symphony number 9. Beethoven based the final movement on the poem ‘Ode to Joy’ by Friedrich Schiller[xxx] – the movement is scored for orchestra, four vocal soloists and a choir – who sing the words of the poem. The case can be made that, to fully appreciate this work, one must appreciate the poem on which it is based. Additionally, understanding of the language the words are in – German – would take this strategy even urther. Separating a piece of music into parts is another strategy for listening to Romantic music. For example, a symphony or sonata can be listened to as individual movements, easier to absorb than, perhaps, thirty minutes or an hour’s worth of music. Exploring huge compositions or collections at one time is not the correct strategy, the sheer volume of n otes can be daunting and there is a danger that listening to too much music dulls one to the finer points of that music, it simply becomes noise. The distinct movements many composers put in their music should be utilised when first discovering a work, only once more understanding is cultivated should one attempt to listen to an entire concerto, sonata or symphony. Conclusively, it has been shown that Romantic music made greater demands upon its listeners than did music of previous historical periods. These demands were: increased technical and musical intensity; the use of bold, vivid contrasts and a considerably augmented duration of musical compositions. These changes came about due to technological advancements of the period, less reliance on patronage and the ‘musician’ became a respected and viable profession in the nineteenth century. There are many strategies which can be devised for listening to Romantic music, in the present day. These are: learning how to read and play music; to put oneself in the shoes of a listener of the time period; to study any art forms which are linked to a piece of Romantic music and dividing a composition into more easily manageable sections. These strategies will further aid the listener in appreciating and understanding Romantic music. ———————- [i] Jim Samson, â€Å"Romanticism†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] [ii] Jim Samson, â€Å"Romanticism†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (1. History of usage) [iii] ABRSM, â€Å"Music Performance Diploma Syllabu s from 2005†, [Accessed 2 December 2009] [iv] Ibid. [v] Ibid. [vi] Philip R. Belt, Maribel Meisel/Gert Hecher, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (5. The Viennese piano from 1800. ) [vii] Michael Cole, â€Å"Pianoforte†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (6. England and France, 1800–60. ) [viii] Robert Winter, â€Å"Pianoforte†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (2. Romantic period) [ix] Alan Walker, et al. , â€Å"Liszt, Franz†, Grove Music Online. Oxford Music Online, , [Accessed 2 December 2009] [x] Howard Ferguson and Kenneth L. Hamilton, â€Å"Study†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] [xi] Franz Liszt, Vingt-quatres grandes etudes pour le piano, 1839, Vienna: Haslinger [xii] Franz Liszt, Etudes d’execution transcendante, 1852, Leipzig: Breitkopf Hartel xiii] Edward Neill, â€Å"Paganini, Nicolo†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] [xiv] Edward Neill, â€Å"Paganini, Nicolo†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (7. France and Great Britain, 1831–4, and last years, 1835–40. ) [xv] Ibid. [xvi] Arnold, Denis and Timothy Rhys Jones, â€Å"conc erto†, The Oxford Companion to Music Oxford Music Online, [Accessed 2 December 2009] [xvii] Ludwig van Beethoven, Beethoven: The Piano Concertos, Vladimir Ashkenazy, Chicago Symphony Orchestra, cond. by Georg Solti, (Decca, 1995) xviii] Wolfgang Amadeus Mozart, Mozart: The Piano Concertos, Vladimir Ashkenazy, Philharmonia Orchestra, cond. by Vladimir Ashkenazy, (Decca, 1995) [xix] Nicholas Marston, â€Å"Approaching the Sketches for Beethoven’s ‘Hammerklavier’ Sonata†, Journal of the American Musicological Society, Vol. 44, No. 3 (Autumn, 1991), p. 404-450, University of California Press on behalf of the American Musicological Society, p. 404 [xx] Ludwig van Beethoven, Piano Sonata no. 29 ‘Hammerklavier’, 1891, Stuttgart: J. G. Cotta Final three bars of first movement – â€Å"Allegro† [pic] [xxi] Andras Schiff, Lecture on Piano Sonata no. 9 ‘Hammerklavier’ by Ludwig van Beethoven, Wigmore Hall, May 2006, Publis hed by The Guardian, [Accessed 2 December 2009] [xxii] â€Å"‘Eroica’ Symphony†, The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online, [Accessed 2 December 2009] [xxiii] Mark Evan Bonds, â€Å"Symphony†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (II. 19th century, 2. Beethoven) [xxiv] Ibid. [xxv] Joseph Dyer, â€Å"Roman Catholic church music†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (V. The 19th century, 1. Catholic church music and the Romantic aesthetic. [xxvi] Joseph Dyer, â€Å"Roman Catholic church music†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (IV. The 18th century) [xxvii] John Spitzer and Neal Zaslaw, â€Å"Orchestra†, Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (7. The Romantic orchestra (1815–1900). ) [xxviii] Edward Neill, â€Å"Paganini, Nicolo†,Grove Music Online. Oxford Music Online, [Accessed 2 December 2009] (8. Playing style. ) [xxix] John Spitzer and Neal Zaslaw, loc. cit. [xxx] Ludwig van Beethoven, Symphony no. 9, ca. 1925, Leipzig: Ernst Eulenburg How to cite Characteristics of the Romantic Music Period, Papers

Descartes Dream Argument Summary free essay sample

Checkering Descartes spends the beginning of Meditations on First Philosophy by discussing his skepticism of the senses. Though the entire dream sequence in Meditations was not more than a few pages, it is easily one of the most discussed topics of the book. The dream argument can be broken down into three parts. 1st is that while I am asleep and dreaming I often feel sensations and perceptions that I feel when I am awake. ND Is that there are no definitive signs to tell me If I am awake or dreaming, and this brings forward the 3rd point which Is that I could be dreaming right now and not now It. The main objection to the dream argument Is that the only way we can form Images In our dreams Is from seeing things and experiencing things In real life which would feed our minds.Descartes knows that his Image of everything he knows Is built on his sense experiences which make them unreliable so he must tear down everything he knows and start again with the foundations of true knowledge. We will write a custom essay sample on Descartes Dream Argument Summary or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Descartes realizes that he Is often convinced when he Is dreaming that the things he sees are real objects. An example could be that I KNOW that I am sitting at a computer writing this paper, but hill I am dreaming I can dream the exact same thing and be completely convinced that is it real.After pondering this situation Descartes realizes that though the things we see in dreams are fake, they can be drawn from real objects. Even though we may dream of something completely new, Descartes concluded, we cannot doubt simple universal units and the parts they represent such as time, size, shapes, etc. This helps Descartes to discover that we cannot doubt the studies of simple things (such as geometry) but instead can doubt the studies of more collected ideas such as medicine and astronomy.