Tourism in Turkey and its effects in the Grand Tarabya Hotel Term Paper

Tourism in Turkey and its effects in the Grand Tarabya Hotel - Term Paper Example This aspect stimulates the probable growth of the Grand Tarabya hotel across the country, while branching and enjoying economies of scale profitably. The research implements the overall impacts that the country, Turkey, and the Grand Tarabya Hotel enjoy from different practices towards international tourism sector. Tourism in turkey The country possesses a vast and beautiful Mediterranean coast that owns magnificent seaside beaches, with some of them having chronological factors (Bramwell, 2004). The country’s city of Istanbul bears a rich heritage of a distinct culture emanating from the music, dressing, to global business. The country owns a wide range of tourist attractions thus drawing many, for example, the country’s growing economy attracts international investors (Hall, 2006). There is a propellant reason that the country’s political stature maintains business-oriented views towards all the economic sectors, whilst maintaining a profound degree of stabilit y and heritage to draw positive attention towards the country’s activities. Turkey’s Istanbul city is the home of the historical Ottoman Empire that ruled for 653years, from the 13th to the 20th centuries. The empire stretched through the European, Asian, and African continents alike with a monarchical and stringent leadership. Another historical feature in turkey is the Blue Mosque that dates from the 1609-1616, yet the architectural features stand out for their exotic beauty. The Dead Sea in Turkey, with elongated lagoons from the land serves for beaches and resorts from all dimensions. The country owns a vast number of resorts with more than a thousand in the city of Istanbul. The country boasts of the wide attraction, drawing almost all races from different continents across the world (Bramwell, 2004). The Grand Tarabya Hotel The hotel situated at the historical Tarabya town inherits a great perspective of the towns’ history, formerly referred by the Greek a s Therapia with the notion that the offshore town had healing features. The notion created an avenue for the rich, wealthy, and the rulers to crave and establish their presence in the town accordingly. According to history, the grand Tarabya hotel was the home of ancient rulers of the Ottoman Empire. Therefore, the hotel inherits a foundation of rich culture and this aspect serves to draw visitors closer. The hotel, currently under renovation, draws attraction from local to the global tourism markets (Hall, 2006). The hotel further establishes a spectacle view to the sea, and the entire town, which serve for an attraction. Literature review The research project depicts relevance to the overall tourism effects to the country of turkey and the Grand Tarabya Hotel. In the research, tourism poses as an economic activity to Turkey and the importance relates directly to the hotel industry (Urry, 2011). The research implements findings on the following objectives: The push and pull factors to the international tourist, mainly these are the factors that draw tourists into the country. The research seeks to establish on the strategies that the country reinforces to the world thus drawing people’s attention towards the country. Mainly, the country may advertise on different contributing variables ranging from, economic to social factors that

Causes and Effects of Workplace Romances Essay Example | Topics and Well Written Essays - 750 words

Causes and Effects of Workplace Romances - Essay Example However, office romances have scores of negative implications at the workplace. First, office romances lead to sexual harassment and discrimination. At times, the employers discriminate other employees, who have a negative perception about office romances. Secondly, romances at the office may lead to favoritism. This is where the employers and managers favor the partners in romantic relationships while neglecting other employees. In many instances, the demands of some people are prioritized, rather than prioritizing demands of all the employees. Thirdly, romances at the office lead to distraction. The workers involved in a romantic relationship at the office have minute focus and concentration on their job. Apparently, they concentrate on propagating their romantic relations, rather than facing the ostensible task. This may lead to dismal performance, as the job is not a priority in such places. Fourthly, romances at the workplace may have an effect on the morale of other workers. Fo r example, envy from other employees may affect the working relations at the workplace. In conclusion, romances at the office are prevalent. Many people are involved due to various causative factors. Family life, environment, and personal interests initiate romances at the office. However, a number of effects can be cited. This includes unprofessional conduct, lowered productivity due to distraction and envy among workers. Although romances at the office can enhance working relations between two people, the negative effects are dire.

Sales Control Essay Example for Free

Sales Control Essay There must be efficient control of all food and beverage items issued from the various departments. 2. The system should reduce any pilfering and wastage to a minimum. 3. Management should be provided with any information they require for the costing purposes. 4. The cashier should be able to make out the customer’s bill correctly. 5. The system should show a breakdown of sales and income received in order that adjustment and improvement may be made. The main control taking methods 1. Order taking methods. 2. Billing methods 3. Sales summary sheets. . Operational statistics. Triplicate checking system This is an order taking method used in the majority of medium and large first class establishments. The food check consists of three copies. On taking the food order it is written from top to bottom of the food check. When only a table d’hote menu is in operation the customers would initially only order their first and main courses. The operation for an a la carte menu is similar, although customers may order by course according to their requirements. 1. The top copy of the food order goes to the kitchen and is handed to the aboyeur at the hotplate. . The duplicate goes to the cashier who makes out the customer bill. 3. The Flimsy or third copy is retained by the waiter at his/her sideboard as a means of reference. Any checks or bills that have to be cancelled should have the signature of either the headwaiter or supervisor on them, as should checks and bills which have alternatio n made on them. FLOW CHART OF FOOD AND BEVERAGE CHECK Control box Kitchen Food and beverage Service area Top copy Top copy after service Food copy- Top copy (BOT)Top copy Dispense Bar 1. 2. 3. 4. BeveragesTop copy after service Control Marry all duplicates with originals- bills and summary sheet Cashier 1. 2nd copy food or drink 2. Bill 3. Bill and payment. 4. Receipted bill. Manual systems Using hand written duplicate or triplicate checks for ordering from kitchen and bar and for informing the cashier. Often used with a cash till or cash register. This system is found on many high- level restaurants and in popular catering Duplicate checking system. This is a control system that is more likely to be found in the smaller hotel, popular price restaurants and cafes. It is generally used where table d’hote menu is in operation and sometimes a very limited a la carte menu. There are two copies of each of these food checks, each set being serial numbered. The top copy of the food check is usually carbon – backed but, if not a sheet of carbon must be placed between the top and duplicate copy every time a fresh order is taken. The top copy of the set of food and drink checks is made up of a number of perforated slips, usually 4-5 in number. There is section at the bottom of the food and drink check for the table for the table number to be entered. When writing out a customer’s order a different perforated slip should be used for each course. The server must remember to write out the number of covers and the price of the meal or the dish concerned on each slip. Before sending each slip to the hotplate see that the details ate entered correctly on the duplicate copy together with the price. Since the duplicate copy acts as the customer’s bill, the waiter must ensure that everything served is charged. Duplicate order pad with perforated sections 672464| | | | | | 672464| | | No of person waiter no table no price| | | QUICK SERVICE: Name of the establishment Table no 4No of covers 2 Retour 1 Roast chicken En place 1 poached chicken Date 2/2/12Sign DS Accident: It occasionally happens that the waiter may have an accident in the room and perhaps some vegetables are dropped. These must be replaced without any extra charge to the customer. Here a check must be headed accident. It will show the number of portion of vegetables required and should be signed by the headwaiter. No charge (N/C) is stated on the check to ensure that no charge is made to the customer. Name of the establishment Table no 4No of covers 2 Accident 1 Vegetables N/C Date 2/2/12Sign DS CASH HANDLING EQUIPMENT E. P. O. S (Electronic point of sale) It is a sophisticated system of point of sale to provide the quality of information to the management for control function. Advantages 1. Fewer error is there as the information entered will be more accurate because mistake in the sequence of entries required for a particular transaction are not permitted. 2. Transaction can be done more quickly and this may be achieved by single key entry of prices, elimination of manual calculation and automatic calculation of price tags. . Training time may be reduced from days on the conventional cash register to hours with the electronic systems. 4. Instant credit checking is possible by having terminals compare the account number with a central computer file or through on-line a connection. 5. Electronic system provides more direct and detailed information in a computer readable form. 6. Additional security system features such as locks wh ich permits the ECR (Electronic cash register) to be operated only by authorized personnel.

Photography Essays Bernd and Hilla Becher

Photography Essays Bernd and Hilla Becher Identify what you consider to be the legacy of the artist Bernd and Hilla Becher for the importance of the photographic image. ‘The modern photographer is the architect’s greatest publicist’; that is, if one considers architectural photography a dumb copying device, and a pure record that informs the onlooker only of the building and its functionality.   However banal a series of photographs depicting only water towers may seem, Bernd and Hilla Becher dedicated much attention to photographing such icons of post-war Germany and so created a historical document.   In this way, the Bechers’ living legacy is ‘a narrative of socio-historic reality based on photography’s potential to retain some indexical trace of its subject’, but as mentioned by Mack, the Bechers are amongst those photographers who are also ‘involved in some level of construction or fabrication, distinct from the realist and objective position which is usually attributed to [photography]’.   Their photography and teachings represent a time when photography was winning serious cons ideration by the European art scene and so are undeniably important and influential, but perhaps the most pointed question to ask of their work is the exact nature of its influence on other artists, on the nature of the photographic image, and on the landscape of Germany of which the mine shafts and silos they photographed were a vital part. Just as an historic text is the subject of the author’s interpretation of the reality of the times, a photograph is the product of the photographer’s choice and manipulation of an image.   It is plain that the Bechers were not attempting to flatter architects or approve of the design and function of the buildings they photographed, as is often the case in the classic understanding of architectural photography.   Although it cannot be denied that their many images, like those of August Sander, create a social document for posterity’s sake, the photographs are in no way a sentimental harking back to the past or a reassurance of German identity.   The technology depicted in the Bechers’ typological sequences, often in a state of deterioration or abandonment, could be said to represent a time of spiritual poverty and the ‘erosion of inherited cultural and moral values’.   In light of this suggestion, Bernd and Hilla Becher seemed to be see king to document their subjects in a clinical, objective manner; remaining fascinated with but shedding the past in the hope that ‘the unburied industrial sources of Modernist imagery be sanitized and distanced from us, lest [they]†¦ invade the minds of another generation’.   Therefore, unlike August Sander, the Bechers are more interested in showing us death (rather than Sanders life study of the classes of Germany); the photographs can be said to be looking ahead to a better future only if the viewer interprets it so. Shouldnt these photos then, fascinated by death to the point of necrophilia, be filed away and forgotten?   Rather, it should be said that the photos enlarge our understanding of the photographic image, precisely because they serve as a stark reminder of a past away from which the world has moved.   As much as it was tactful for German artists to deny history in the immediate post-war period, Bernd and Hilla Becher chose to show it, with characteristically functionalist honesty and truth.   Viewing the photographs, we know that the spiritually repressive time to which the buildings belong has passed and so view our position favourably.   Photography is the art form that is most closely comparable to our reality; whether they meant to or not, the Bechers have created art through which we view history with a clarity that cannot be gained through memory or other art forms. Photography has always been associated with some notion of cutting out and keeping the past in order that it is not forgotten, although not necessarily in order to commend or legitimate the events therein.   An extensive collection of nakedly truthful architectural portraits such as the Bechers’, could be said to be a way of preserving the buildings and what they represent, rather than a way of banishing them to ‘the registers of the dead’ in order that society moves forward (or at least away from the faux progression of industrialisation).   Preservation, yes, and as important to the renewal of German identity as is the conservation of Auschwitz.   Indeed, the Bechers were heavily involved in the German industrial preservation movement that started in the 1950s and resulted in numerous icons of the country’s economic and cultural history being listed and their demolition prevented.   The power of the Bechers art, and therefore part of their renderi ng of photography as an important form, is tangible in that the photographs were so compelling that they became a part of a movement which changed (or maintained) Germany’s landscape. It can also be said that, in preserving the winding gear, the framework workers’ houses and silos in their art, the Bechers’ ‘industrial archaeology’ was an investigation into specific communities.   Despite claims that their subjects are completely isolated from their environment, the photographs are often dated and their locations documented, and therefore offer a pertinent reminder of a specific space and time for each similar but significantly different image.   From there, a viewer can take time to study the stilled physicality of the buildings, their silent watch, whilst remaining aware of their specialised existence within individual societies. Whilst this is a large part of the Bechers’ typological studies’ legacy, their way of showing buildings is most certainly not anthropocentric.   Never do they purposefully use the human form to legitimise or enrich their industrial subjects.   Indeed, it is the very absence of the human form that makes these photographs so interesting because actually ‘the handiwork of men is everywhere visible’ and the collection stands partly as a testimony to humankind’s inexhaustible ingenuity and inventiveness.   The Bechers’ fascination with metal and all that goes with its production could not be a more powerful statement about that which is alien to human fleshly existence, but in the same way it is a comment on the extents to which industrial people are forced to go because of their reliance on the laws of nature. Not directly interested in the human form, but nevertheless a product of the human mind and skill, the Bechers’ art shows humankind’s flagging attempt to master nature, to reign it in and use it or, indeed, to ‘make nature in the image of their own desires’.   Such a battle can only end in failure as, with water towers for instance, the very function of the buildings remind us that we are utterly reliant on the earth’s resources; only when we combine our understanding of forces such as gravity with our desire to remain alive are we able to create technologies that serve us whilst abiding by nature’s laws.   In so saying, it is interesting to note that the static image of the photograph reminds one of the denial of evolution.   The Bechers help the viewer see, through their almost exhaustive collection of similar images, the differences between the humans self and the buildings in the photographs.   The most pointed distinction being ho w each succumbs to the processes of evolution.   Whilst we move on from war, from old ideas about art, from economic peak to economic trough, these buildings stay very much the same.   This becomes part of the distancing process that seems to make the Bechers’ work so important; the photographic image is unchangeable, undeniable truth that will always remain in the past whilst we move on ourselves.   The photographs come to deny the ‘progress’ they originally stood for, and so reaffirm our place in the present and, more importantly, suggest our continuation into a future that will be different. The Bechers’ work has received much attention; even winning a prestigious prize for sculpture.   The framing of the photographed buildings, the uniform lighting used and the subjects’ apparent freedom from their visible environment allows a neutralisation, which brings the buildings closer to sculptural treatment than the two-dimensional reportage that is often the lot of the photographic image.   As Klaus Bussmann states in his introduction to the Bechers’ Industrial Faà §ades; ‘in these photographs the function of the architecture does not emerge from its form’.   Unlike the art of the Neue Sachlichkeit, the Bechers’ photography does not celebrate the ‘dynamic and dramatic functionality of the industrial machine’; indeed it does not invest them with any meaning at all.   We invest them with meaning and memories – but the Bechers were seemingly fascinated by their deadness, their static place in history and their comparison with the vibrancy of human existence. The Bechers’ work made a remarkable impact on the art world, and the affect of their legacy is partly due to the manner in which they chose to display their photographs when their work was exhibited.   If there is an argument that depicts the photographic image as a bland record of what we can all see as it exists or existed in nature, then the Bechers’ typological constructs deny this.   Seen in groups; one building in comparison to a dozen others of almost (but pointedly not) identical appearance, the subjects of the photographs are recreated anew, and suddenly become something other than their pure physicality.   The viewer is irresistibly invited to take note of those differences, to see the similarities and variations all at once – are they impersonal or not, beautiful or ugly?   Seen together, the images become a greater challenge to the viewer’s notion of banality, of universality and the fundamental core of human needs. Alongside their fellow post-war photographers, the Bechers recreated photography as an art form, which is as legitimate as any other.   Their subject matter is not directly passionate, does not reveal the interior workings of the photographers’ identity and does not even deal with emotional issues, as is the common arena of the art world.   Instead, their calm, measured series of photographs introduces a part of western industrial society in the most honest way.   Because of its closeness to our experience of reality, we react very deeply to photography; the experience of looking at a framed portrait is intensely emotional whether the subject is treated in an emotional manner or not.   The legacy of the Bechers runs deep, especially in light of their teachings at Dà ¼sseldorf and the photographers who have come after them.   Bernd and Hilla truly understood the power of photography and have had a hand in investing the medium with the ‘power to influence our pe rception of the world around us’.   Their legacy is complex and the personal reaction to their work can be confusing as one finds a fascination with the deadness of their subjects at the same time as being instilled with some semblance of hope for the future.   Their ‘industrial archaeology’ will remain with us to aid the excavation of man-made landscapes and, indirectly, lead to a better understanding of the human condition. References Becher, B.  Ã‚   Tipologie, Typologien, Typologies – Bernd and Hilla Becher.   Munster: Klaus Bussmann, Bonn: 1990 Becher, B.   Industrial Faà §ades – Bernd and Hilla Becher.   Cambridge, Massachusetts: MIT Press: 1995 Becher, B.   Water Towers – Bernd and Hilla Becher.   Cambridge, Massachusetts:   MIT Press: 1988 De Mare, E.   Architectural Photography.   London: B T Batsford: 1975 Gillen, E (ed.) German Art from Beckman to Richter: images of a divided country.   London: DuMont: 1997 Homburg, C (ed.) German Art Now.   London: Merrell: 2003 Honnef, K Sachsse, R Thomas, K (eds.)   German Photography 1870 – 1970: power of a medium. Cologne: DuMont: 1997 Mack, M.   Reconstructing Space: architecture in recent German photography.   London:   AA Publications: 1999 Robinson, C Herschmann, J.   Architecture Transformed: a history of the photography of buildings from 1839 to the present Cambridge, Massachusetts: MIT Press: 1987 Rosselli, P. (ed.) Architecture in Photography Milan: Skira: 2001 Sander, A.   August Sander: citizens of the twentieth century: portrait photographs 1892 – 1952.   Cambridge, Massachusetts: MIT Press: 1986   http://www.arts.monash.edu.au/visarts/globe/issue6/dptxt.html   31.03.05

American Airlines Flight 1420 Essay -- Essays Papers

American Airlines Flight 1420 American Airlines flight 1420 crashed in Little Rock, Arkansas. The crash killed 11 people, after running off the runway and impacting an approach lighting structure. The causes of the crash are still being investigated but the likely causes include the plane touching down 2000 feet passed the runway threshold, the rapidly deteriorating weather, and a fatigued flight crew. The American Airlines McDonnell Douglas MD-82 carrying 143 passengers attempted a landing in fierce winds just shy of midnight on June 2, 1999. As the flight was en-route to Little Rock the Air Traffic Control (ATC) facility at the Little Rock Airport reported to the pilots that a thunderstorm had moved into the area with strong wind gusts. Despite these reports the flight crew decided to continue on. While the plane was on final, ATC informed the crew of rapidly deteriorating weather and two wind shear alerts. The co-pilot said that they had sight of the runway the entire time they were on final; he said it was like â€Å"a bowling alley effect† (Lunsford 1) where they were able to see between the clouds. As the plane touched down things started to go wrong. Immediately after touching down the plane started hydroplaning down the runway. The crew did not feel the typical deceleration forces that are normally associated with the reverse thrusters that are used when landing. With the strong wind on the field the plane started to yaw to the right due to a strong crosswind...

Child Abuse in A Child Called It by Dave Pelzer Essay -- A Child Calle

In American society today we fail to address several issues that need to be addressed. Unfortunately, child abuse is one of the major issues that our country is plagued with, yet we neglect to bring this to the attention of the entire nation. It is often over looked because everyone has a different view of what exactly defines child abuse. The International Child Abuse Network (ICAN) uses four basis categories to docunment the child abuse cases. They are: emotional abuse, neglect, physical abuse, and sexual abuse. I will be describing the first three. Emotional Abuse, (also known as: Verbal abuse, mental abuse, and psychological cruelty) includes acts or the failures to act by parents or caretakers that have caused or could cause serious behavioral, cognitive, emotional or mental disorders. This can include parents and/or caretakers using extreme or bizarre forms of punishment, such as the child being confined in a closet or dark room, being tied to a chair for long periods of time, or threatening or terrorizing a young mind. Less severe acts, but no less damaging is overly negative criticism or rejecting treatment, using degrading terms to describe the child, constant victimizing or blaming the child for situations. Neglect (the failure to provide for the child?s basic needs) can be physical, educational, or emotional. Physical neglect can include not providing adequate food, clothing, appropriate medical care, supervision, or proper weather protection (heating or coats) to the child. Educational neglect can include failure to provide appropriate schooling or special educational needs, allowing excessive truancies, to the child. Psychological neglect is the lack of any emotional support and love, never attending to the child, spousal abuse, or drug and alcohol abuse including allowing the child to participate in drug and alcohol use. Physical abuse is to cause or inflict physical injury upon the child. This may include, burning, hitting, punching, shaking, kicking, beating, or otherwise harming a child. The parent or caretaker may claim not to have intended to hurt the child, that the injury was an accident. It may have however, been the result of over-disciplines or physical punishment that is inappropriate to the child?s age. In 1998 NCANDS (National Child Abuse and Neglect Data System) calculated the Fatalities by Maltreatment, Child Abuse... ... Year Published:  2004 3. The Child Welfare League of America. (1999). State Child Welfare Agency Survey. US Bureau of the Census; ?Estimates of the population of state by age, sex, race & Hispanic origin: 1990 to 1999;? published 12/29/99 Administration for Children and Families Fact Sheets and Publications Table of Contents: Child Maltreatment 2000 Chapter 5 4.  Ã‚  Ã‚  Ã‚  Ã‚  The World Wide Web Virtual Library: The Men's Issues Page  Ã‚   Child Abuse and Neglect Statistics from the National Committee to Prevent Child Abuse April, 1994 and 1995 Number of Child Abuse and Neglect Reports Nationwide  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  American Association for Protecting Children (AAPC). (1988) Highlights of Official Child Neglect and Abuse Reporting, 1986. Denver, CO.: American Humane Association.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ogintz, E. The Littlest Victim. Chicago Tribune, Thursday, October 6, 1988.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Sedlak, A. (1990) Technical Amendments to the Study Findings--National Incidence and Prevalence of Child Abuse and Neglect: 1988. Rockville, MD: Westat, Inc.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Wiese, D. and Daro, D. (1995) Current Trends in Child Abuse Reporting and Fatalities: The Results of the 1994 Annual Fifty State Survey. Chicago, IL.: NCPCA. Child Abuse in A Child Called It by Dave Pelzer Essay -- A Child Calle In American society today we fail to address several issues that need to be addressed. Unfortunately, child abuse is one of the major issues that our country is plagued with, yet we neglect to bring this to the attention of the entire nation. It is often over looked because everyone has a different view of what exactly defines child abuse. The International Child Abuse Network (ICAN) uses four basis categories to docunment the child abuse cases. They are: emotional abuse, neglect, physical abuse, and sexual abuse. I will be describing the first three. Emotional Abuse, (also known as: Verbal abuse, mental abuse, and psychological cruelty) includes acts or the failures to act by parents or caretakers that have caused or could cause serious behavioral, cognitive, emotional or mental disorders. This can include parents and/or caretakers using extreme or bizarre forms of punishment, such as the child being confined in a closet or dark room, being tied to a chair for long periods of time, or threatening or terrorizing a young mind. Less severe acts, but no less damaging is overly negative criticism or rejecting treatment, using degrading terms to describe the child, constant victimizing or blaming the child for situations. Neglect (the failure to provide for the child?s basic needs) can be physical, educational, or emotional. Physical neglect can include not providing adequate food, clothing, appropriate medical care, supervision, or proper weather protection (heating or coats) to the child. Educational neglect can include failure to provide appropriate schooling or special educational needs, allowing excessive truancies, to the child. Psychological neglect is the lack of any emotional support and love, never attending to the child, spousal abuse, or drug and alcohol abuse including allowing the child to participate in drug and alcohol use. Physical abuse is to cause or inflict physical injury upon the child. This may include, burning, hitting, punching, shaking, kicking, beating, or otherwise harming a child. The parent or caretaker may claim not to have intended to hurt the child, that the injury was an accident. It may have however, been the result of over-disciplines or physical punishment that is inappropriate to the child?s age. In 1998 NCANDS (National Child Abuse and Neglect Data System) calculated the Fatalities by Maltreatment, Child Abuse... ... Year Published:  2004 3. The Child Welfare League of America. (1999). State Child Welfare Agency Survey. US Bureau of the Census; ?Estimates of the population of state by age, sex, race & Hispanic origin: 1990 to 1999;? published 12/29/99 Administration for Children and Families Fact Sheets and Publications Table of Contents: Child Maltreatment 2000 Chapter 5 4.  Ã‚  Ã‚  Ã‚  Ã‚  The World Wide Web Virtual Library: The Men's Issues Page  Ã‚   Child Abuse and Neglect Statistics from the National Committee to Prevent Child Abuse April, 1994 and 1995 Number of Child Abuse and Neglect Reports Nationwide  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  American Association for Protecting Children (AAPC). (1988) Highlights of Official Child Neglect and Abuse Reporting, 1986. Denver, CO.: American Humane Association.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ogintz, E. The Littlest Victim. Chicago Tribune, Thursday, October 6, 1988.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Sedlak, A. (1990) Technical Amendments to the Study Findings--National Incidence and Prevalence of Child Abuse and Neglect: 1988. Rockville, MD: Westat, Inc.  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Wiese, D. and Daro, D. (1995) Current Trends in Child Abuse Reporting and Fatalities: The Results of the 1994 Annual Fifty State Survey. Chicago, IL.: NCPCA.

A comparison of Haydn and Beethoven Essay

Franz Josef Haydn and Ludwig van Beethoven are two of the greatest classical composers in the history of music, rivaled only by the masterful Wolfgang Amadeus Mozart. Beethoven, who was much younger than Haydn, moved to Vienna when he was young to study under Haydn. However, due to Haydn’s increasing age, and Beethoven’s increasing temper, the lessons only lasted for a little over a year. The lessons, if only for a short period, clearly left a mark on Beethoven, as can be seen in his compositions. Make no mistake, however, Haydn and Beethoven were not carbon copies of one another. When comparing compositions of the two composers, namely Haydn’s symphony No. 95 in C minor and Beethoven’s symphony No. 5, the two composers differ in various areas, including form, theme, tonality, orchestral structure, and the overall effect their work had on the audience. The only way to truly understand the similarities of these two legendary composers is to delve into their music, comparing them movement-by-movement of the two aforementioned pieces. Only then will we truly understand what makes Haydn and Beethoven so similar, yet so different. The first movement of both pieces start out in their own special way. Haydn’s piece starts out loudly with a quick timpani strike accompanied by the strings, followed by an almost somber sounding melody in C-minor. The second theme of Haydn’s first movement is much more cheerful sounding as it is in C-major. After the exposition is finished, Haydn goes through an eventful developmental period followed by recapitulation. Beethoven’s first movement starts out with the infamous short-short-short-long, which is then repeated. This becomes the motive of Beethoven’s piece, which can found intertwined throughout the entire piece. The intertwining of this single motive creates a consistency throughout the entire symphony; making all four movements feel as one. Although Beethoven may have not intentionally tried to do this, as it was never really done before, it really gives the symphony a special sound as a whole, something that Haydn’s symphony no. 95 lacked. Beethoven’s first movement is sonata form, something that he inherited from Haydn, and starts out in C-minor, just as symphony no. 95 does. The first theme of Symphony no. 5 is made up of imitations and sequences of those first 4 bars, which give off a tense, conflicted feel. The second theme ofBeethoven’s first movement is much more lyrical than the first theme. Here Beethoven completely changes keys to E-flat, rather than simply switching to a major tonality like Haydn does. In the second movement, however, Haydn starts out in E-flat major. The second movement, as per usual, is a much slower piece to contrast the strong, fast, first piece. Haydn uses a series of variations in this movement to keep the audience attentive, switching between major and minor tonalities from time to time. The amount of variation in this second movement is extensive, and really adds a lot to the movement. Beethoven’s second movement is in A-flat major and opens with two themes being presented, which are then varied in alternations. The second theme of this movement incorporates a harmony that features the clarinets, which are present due to Beethoven’s expansion of the orchestra over Haydn. Other instruments that Beethoven uses that Haydn does not in these symphonies are the piccolo, contrabassoon, and trumpets. By expanding his orchestra, Beethoven is able to create a larger, more diverse sound than Haydn is able to do. Beethoven’s second movement includes a 3rd theme that has thirty-second notes played by the strings with a counter phrase being played in the winds simultaneously, and the movement ends loudly in fortissimo, with many crescendos. Although these two composers first movements were somewhat similar in form and style, it is clear in the second movement that were starting to see the similarities morph into differences between the two composers, which continues into the third movement. Haydn’s third movement follows the prototypical minuet, trio, minuet form. However, this is a stylized dance piece, rather than an actual dance piece due to Haydn throwing in little twists that would throw off any attempted ballroom dance. The minuet returns to the original tonality of C-minor, while the trio switches to C-major. The trio form consists completely of even eighth notes played by a solo cello, which Haydn included to satisfy his audience in London. Beethoven does something very different in his third movement, as he forgoes the typical minuet-trio-minuet form for the scherzo-trio-scherzo form. Scherzo, which translates to â€Å"joke† in Italian, is derived from the minuet. The main difference is that scherzo form is played much more playfully and somewhat humorously, like a joke. Beethoven, like Haydn, returns to the starting tonality of C-minor for this movement. At the end, the short-short-short-long motive from the beginning of the symphony returns, and begins to take over the piece as it moves directly into the fourth movement without any hesitation. The fourth movements of these two symphonies also differ in form, as Haydn chooses to go with a rondo form while Beethoven chooses a variation of the sonata form. Haydn’s rondo form allows the music to transition beautifully into the finale. Haydn’s finale consists of loud, furious music including brass fanfares that is starkly different than a normal classical finale. Beethoven’s fourth movement is a fast, unusual sonata that begins immediately following the third movement. His finale is played in C-major, and consists of 29 bars of chords played in fortissimo. These chords allow Beethoven to conclude the symphony by ending the tension that has been furiously building throughout the entire piece. Beethoven’s incredible finale, as with Haydn’s, are perfect endings to these two monumental symphonies that surely leave a lasting effect on their respective audiences. As can be seen throughout Haydn’s symphony no. 95 and Beethoven’s symphony no. 5, the two composers were very similar, yet very different from one another. Beethoven uses a lot of what he learned from his time with Haydn, but is able to expand on those ideals and create something of his own being. His ideals, however, are soundly built off of the foundations that Haydn paved for him, which is a benefit from being the student rather than the teacher. Even through all of the differences in the two symphonies, such as Beethoven’s expansion of his orchestra or Haydn’s refusal to stray form minuet form in the third movement, these two composers share one main thing in common, and that is their ability to create beautiful pieces of art that won’t be soon forgotten in the minds, and the hearts, of their listeners.