Abortion misc3 essays

Abortion misc3 essays Abortion is the termination of pregnancy before birth, resulting in, or accompanied by, the death of the fetus. Some abortions occur naturally because a fetus does not develop normally. Or because the mother has an injury or disorder that prevents her from carrying the pregnancy to a full term. This type of abortion is commonly known as a miscarriage. Other abortions are induced. Induced abortions are intentionally brought on, either because a pregnancy is unwanted or presents a risk to a womans health. Induced abortion has become one of the most ethical and philosophical issues of the late 20th century. Modern medical techniques have made induced abortions simpler and less dangerous. But in the United States, the debate over abortion has led to legal battles in the courts, in the Congress of the United States, and state legislatures. It has proven to be spilled over into confrontations, which are sometimes violent, at clinics where abortions are performed. There are many different methods in having an abortion. Induced abortions are performed using one of several methods. The safest and most useful and appropriate method is determined by the age of the fetus, or the length of pregnancy, which is calculated from the beginning of the pregnant womans last menstrual period. Most pregnancies last an average of 39 to 40 weeks, about 9 months. This period of time is broken up into three parts known as trimesters. The first trimester is the first 13 weeks, the second trimester is from the 14 to 24 week and the third trimester lasts from the 25th week to birth. Abortions in the first trimester of pregnancy are easier and safer to perform, that is because the fetus is smaller. Abortions in the second and third trimesters are more complicated procedures, which present greater risks to a womans health. In the United States, a pregnant womans risk ...

How does Shakespeare build up the contrast between love and hate in Act 1 scene 5 Essay Example

How does Shakespeare build up the contrast  between love and hate in Act 1 scene 5 Essay Example How does Shakespeare build up the contrast  between love and hate in Act 1 scene 5 Paper How does Shakespeare build up the contrast  between love and hate in Act 1 scene 5 Paper The play Romeo and Juliet is about the relationship between two young people who are from feuding families. The two lovers are basically doomed from the start, as we can see from the title of the prologue The tragedy of Romeo and Juliet. Tragedy tells us that it the story will end in disaster, which it does. The prologue gives us an outline of the story telling us a brief history of the two families and what happens to Romeo and Juliet. The first few lines tell us about Two households alike in dignity. Dignity shows us that the two families are dignified, and probably have a good reputation in the city.We also see that they are very alike. Despite the families high standard, their mutiny is an act of rebellion against the prince; their fighting could put the whole city of Verona in danger. After telling us about the two families, the prologue then tells us about the fate of Romeo and Juliet. They were both born from the fatal loins of their parents, loins meaning the reproductive ar ea and fatal meaning anything made from them is doomed. This shows an idea of fate; as soon as they are born they are destined to die.The lovers are described as star crossed, their destiny is all planned out for them. Star crossed has probably got something to do with astrology, something people believed strongly in during Shakespeares time, because people believed that if stars or plants crossed each others path it meant good or bad things would happen. The whole reason why they die is because of their parents strife, the parents hold the grudge against each other strongly, hence the word strife, but Romeo and Juliet dont care about it, they bury their parents strife. On reading the prologue, the audiences will feel that because of the feud the story will end in tragedy as a result.Act 1 scene 5 is important in the play because this is when Romeo and Juliet first see each other and instantly fall in love. To contrast this, it is also where they will see Tybalt at his most furious and threatening. The audience will have a feeling something bad will happen in the scene because Romeo is unwelcome at the ball as a Montague. Romeos premonition of something bad happening will be proved right because of him gate crashing, as we can see from Tybalts anger. Romeos presence at the ball is obviously going to cause trouble, and him wanting to see a Capulet girl wont help much either, Romeo flirting with Juliet increases Tybalts determination to get revenge on RomeoAct 1 scene 5 is all set in the Capulet house, during a ball, so Shakespeare had to create an appropriate atmosphere for it. The atmosphere he creates is jovial, exciting and happy. The constant bustle of the servants creates a fast paced, exciting atmosphere. Wheres Potpan, that he helps not to take away? this develops the idea of the servants bustling about. The atmosphere is made welcoming by Capulet greeting them in a friendly manner, Welcome gentlemen! this make the guests feel accepted and protected in C apulets hands. The audience may feel anxious about the friendly atmosphere suddenly turning sour because of Tybalts reaction to Romeos arrival. The atmosphere is quickly brought back down to stable by Capulet, as he stops Tybalt doing anything brash as he wants his ball to go well.In lines 43-52 Romeo sees Juliet for the first time, and her beauty overwhelms him. He describes Juliet as something extremely precious and bright, that her beauty makes her stand out from the rest of the crowd. Romeo says a list of contrasts which describe her, a rich jewel in an Ethiops ear being one of them. This gives the audience an image of a bright jewel against a black persons skin. This develops the idea of light against dark. This makes Juliet seem like an extraordinary person who stands out well against the mundane crowd.In lines 53-91 Tybalt has just noticed Romeos presence and in return he is furious. He could recognize the masked Romeo because of his typical Montague way of talking in rhyme, as we can see from This, by his voice, should be a Montague. So obviously Tybalt has grown accustomed to the Montagues way of speaking. Tybalts reaction is, again, impulsive and violent, Fetch me my rapier, boy. Tybalt instantly wants to fight, despite all the guests and the chance of ruining his uncles ball. Tybalt thinks the only reason Romeo has came to the ball is to mock the Capulets efforts, this fuels his hatred for Romeo, urging him on to fight. Tybalt uses words which show hate, like villain many times. This shows he thinks Romeo an enemy. This contrasts with Romeos little speech, as he used words that showed love and affection, Tybalts words show hate and loathing.Capulet isnt too happy with Romeos arrival at the ball, but he still doesnt let Tybalt fight him. He tells Tybalt to calm himself down and leave Romeo alone. He goes on to say that Verona brags of him and he is a well governed youth. This suggests that Capulet is not automatically assuming that Romeo is bad, and is giving him the benefit of the doubt. Capulet is acting like this because he doesnt want his ball ruined by a fight, or maybe because he is feeling very friendly. Also, the Montagues are his guests, so he has a duty to protect them anyway. Capulet starts to get angry about arguing with Tybalt, he starts to talk in a hushed voice, -You are a princox go: be quiet or- he is about to threaten Tybalt, showing that he can be just as angry as Tybalt can get, but he still has to attend to his guests.When Tybalt has stopped arguing with Capulet, he storms off threatening Romeo. He says that the intrusion that presently seems so sweet and innocent shall develop into bitterest gall, a strong hatred. Tybalt is saying that because he cannot avenge Romeos intrusion, at the moment, he will get him in the future with a lot more brutality. Tybalt has made the atmosphere very uneasy and the audience may feel a strong hatred linger.After this the play goes back to Romeo and Juliet, so the mood is sw itched back to love from hate. The two lovers are talking to each other in a sonnet. A sonnet is very appropriate in this section, because sonnets were a popular way of writing poetry about love. The lovers may or may not be aware that they are talking in a sonnet, but either way it shows love. Romeo speaks the first quatrain using imagery to describe his and Juliets hand as pilgrims worshipping at a shrine. He flatters her by saying that his unworthiest hand is profaning her hand, the holy shrine, so his lips, the two blushing pilgrims are ready to soften the roughness with a tender kiss.Romeo is hinting that he wants to kiss her hand. Juliet says in her reply, the second quatrain, that Romeos hand shows proper devotion in what is doing, and saints have hands that pilgrims hands do touch, she is suggesting that they hold hands instead of kissing straight away. She also says palm to palm is holy palmers kiss; she might be saying that it will still be like a kiss if they just hold ha nds. Romeo and Juliet then share the third quatrain. Romeo starts by asking if saints have lips as well as palmers, again developing the idea of Romeo wanting to kiss her, but this time on the lips. Juliet says they do have lips, lips they must use in prayer. Romeo cleverly turns this into a reason to kiss her, by saying let lips do what hands do! meaning hands touch when they pray, so their lips should touch. So Romeo kisses Juliet on the lips, and they are about to start another sonnet, but the nurse needs to talk with Juliet.The nurse tells Juliet that her mothers craves a word with her. Romeo is curious, about this, so he asks What is her mother? This is when reality breaks in on Romeo and drags him out of his happiness, the nurse replies Her mother is the lady of the house, so she is Lady Capulet, therefore Juliet is a Capulet, his enemy. Romeo has a very shocked reaction to this, he says his life is my foes debt, he thinks that he owes his life to his enemy, who is also his lo ver.Act 1 scene 5 is extremely important in the play because it is the main point of Romeo and Juliets relationship. It is also important because it is the starting point of Tybalts vengeance seeking with the Montages that will result in two deaths, Mercutios and his own. The contrast Shakespeare has built up is very strong, with the sensitive, gentle love between Romeo and Juliet, and the strong hatred from Tybalt. This scene sets out what will happen later on the play, the strong feelings of love and hate and the deaths, and the tragedy of Romeo and Juliet.

In What Ways Has the United Nations Organisation Influenced the Essay

In What Ways Has the United Nations Organisation Influenced the Conduct of Diplomacy - Essay Example Attitudes toward the UN are based on having governmental and international interference. This affiliation makes it easier for the government to work toward a resolution while national involvement with the conflict becomes secondary (Ernst, 1037: 2008). Actions of the UN The United Nations has not only suggested and become involved with resolving conflict at earlier stages. There are also initiatives that have been propagated and organized by the UN which serve individuals in various countries. An approach which has been taken is multilateralism. This strategy is based on diplomats of several countries working together to provide solutions to foreign affairs. Often, larger states work unilaterally to create a different approach to solving problems. Foreign policies, interference from governments working together and the development of councils in various countries to enhance the security of a nation are some of the outcomes of this approach. The security enhancement and other policies that have been implemented as a result can work to take proactive measures against conflict while ensuring that individuals have the capacity of overcoming challenges now emerging at a global and national level. Peacekeeping operations, government diplomacy, economic recovery, assistance with health programs and climate negotiations are some of the several programs that have developed as a result of this concept (Plenum, 2011). The concept of multilateralism works to overcoming challenges and to move into a higher sense of diplomacy. The UN has the ability to intervene and provide changes with the governance offered with the associations between nations. Intergovernmental organizations are able to work with finding solutions while offering higher security. If... This paper approves that the concept of foreign policy and the soft power of the UN are furthered by the overall sense of political barriers that naturally form within nations. The use of foreign policies and the need to have legalities within a specific nation is one that causes most who are in nations to be forced to take sides. The main view that is seen always has an opposing view, even when there is a common purpose. The conflict then comes from tensions that can’t be resolved by those in the UN or other regions and builds a sense of ideological interests that continue with the conflicts of various nations. This report makes a conclusion that the concept of diplomacy is one that is continuously being altered and re-defined. The United Nations organization has used various measures to change this particular outcome and to influence the way in which diplomacy works. The association with diplomacy is one that is regulated by education, suggestions and the overall ideologies that the UN has created. This is combined with the legal implications that the UN can reinforce and the agendas that are carried out by NGOs and other non – governmental organizations. These are all able to work by changing the influence within the UN. However, there is often the inability to create influence because of foreign policies and the nature of various governments. While the UN is able to spread specific levels of diplomacy through mediation and education, the limitations rely on national governments and the main approaches used to creating a sense of peace resolution and diplomacy within the region.

Research proposal-Anxiety levels of a new graduate family nurse Essay

Research proposal-Anxiety levels of a new graduate family nurse practitioners (FNP's) - Essay Example Results shall have implications on the means to facilitate the learning process and make it as effective, efficient, and as less stressful as possible. Numerous empirical studies have noted that nursing as a profession is intense and stressful. In fact, it has been noted that the likelihood of occupational stress-related burnout is specifically high in this field (BÃ ©gat, Ellefsen, & Severinsson, 2005). In fact, nurses’ psychosocial work environment, including their experience of anxiety and stress level, does strongly influence their sense of well-being (BÃ ©gat, Ellefsen, & Severinsson, 2005). The current study asserts that newly graduate nurses, particularly those in family practice settings, similarly experience stressful situations. Such stress may be discussed in light of the framework proposed by Benner (1982) taking off from the work begun by Dreyfus & Dreyfus (1980), which depicts the learning process undergone in becoming an expert in the profession (Benner, 1982). These stages, beginning from novice and incrementally progressing to expertise level, have been specially adapted to the learning stages that a nurse goes through (Davidson, 1992). The current study aims to determine the anxiety levels of new graduate family nurse practitioners in family practice settings. Apart from establishing these levels, these shall also be compared across time, through 3, 6, 9, and 12 months. In doing so, the research may impart data on how to address these anxieties, and to effectively expedite the learning process. Menzies (1960) investigation of nursing services in a general hospital is popular, and depicts numerous ways of dealing with the intense and complicated anxieties arising from the job. Nurses are in intensive and frequent contact with people who are physically ill or injured, often gravely. The recovery of patients is uncertain and will not always be

Art and Protest Paper Essay Example | Topics and Well Written Essays - 2000 words

Art and Protest Paper - Essay Example It is what makes us be well rounded and thoughtful human beings. Art exists in our daily life Art is created when a person, with the intention of joining another person or other people to himself so as to share one feeling expresses that feeling through certain external actions. To give an example: if a boy experiences, let us say, fear after encountering a wolf and relates to that that encounter, he may narrate that encounter to others in order to evoke the feeling of what he has experienced in other people. Even if the boy had not encountered a wolf but he was afraid of one, he may decide to evoke this fear in others by inventing an encounter with a wolf which he recounts to his listeners. This is a form of art. In the same way, it is art if a man, who has experienced either the attraction of enjoyment or the fear of suffering, expresses his feelings in marble or on canvas so that others share in these feelings. It is also art if a man imagines feelings and decides to express them through sounds so as to affect their feelings (Karen 2). Source: http://protestgraffiti.blogspot.com/ We cannot deny that art comprises a large portion of our daily life that we hardly even pause to think about it (Jasper 130). Everything we use from tables, desks are works of art because somebody designed them. That is art. We can as well define art as something that is functional and in most cases aesthetically pleasing the eyes. Art is always in a constantly changing state making it difficult to pin down a specific definition to it. The type of art will differ from one artist to another. For some, art is used as a means expression through the creation of fictional characters. For others, it is the establishment of a world no one else has seen (Jasper 140).   When it comes to writing, each and every writer is different. Some writers may spend an entire paragraph describing how a character moves across a room while other will directly state that the character moved across the roo m. Some will use a ton of punctuations when writing their poetry; others use just the basic amount, while others don't use any punctuation at all.  Some poets will always use perfectly rhyming words while others will prefer an open verse. A good example is Rick Riordan, a top seller yet he is a simplistic writer. In contrast Stephanie Meyer uses a lot of detail and is also a top seller. Writing As Art Using the stroke of a paintbrush, a painter expresses himself on the canvas. Add more paint, broader strokes, different colors and the artist gets an image, a creation. Just like a painter, with the stroke of his pen, a writer begins a creation, a work of art. By arranging words and sentences, the writer creates a big picture just like a painter uses paint and brush to produce a picture. Art involves creating significant or beautiful portrayals. When we picture the things that stir us and move us emotionally, many of them are pieces of writing. Some of them are hundreds of years old, but they still contain the power to elicit visceral and powerful responses. When we think of any sonnets by William Shakespeare, Martin Luther King’s ‘I Have A Dream’ speech or the Declaration of Independence we are reminded of the emotional moments when they were read out (Hooper 65). The word contained in these writings are no less powerful today than the when they were first heard yet it is many years since they were composed. This is the essence of art, to evoke emotions. There are hundreds of

Musical Psychotherapy: History, Effects, and Applications

Musical Psychotherapy: History, Effects, and Applications Samah El Saadi Abstract We all enjoy music as a form of art but we rarely take into consideration the effect of the music that we listen to. Music therapy is using music in a therapeutic manner in order to recover or stabilize a mental, physical or psychological state. This review will introduce music therapy and trace its origins back in history, and then it will give an insight on music related neurosciences explaining what parts of the brain and neurotransmitters are involved. Music can affect us on many different levels; however, this review will focus on the ability of music to aid in psychotherapy. It is important to highlight that the potential power within music can be either constructive or destructive depending on the choice of music. Musical Psychotherapy What is music therapy and what are the origins? Everyone sees music as a form of art that they enjoy playing or dancing on its rhythms as they tend to develop a preference to certain type of rhythms. However, seldom do people think of the impact of music on their health although through their experiences with music they would know that their favorite type of music can make them feel relaxed, happy or even anxious. But have you ever considered music as a form of therapy? Research showed that music does have an effect on our health and it can be either positive or negative depending on the music, yet these effects are mediated through psychology and neurosciences (News in Health [NIH], 2010). Music therapy is applying music as a tool in order to improve, stabilize or restore an emotional, mental, or physical health. It is conducted by accredited music therapists who are able to skillfully use music and music elements in assessing patients, developing treatment plans, evaluating progresses and contribute in research (Music Therapy Association [MTAO], 2010). Music therapists plan music sessions for individuals or groups and may use active or passive approaches in the therapy depending on the patients’ need. The therapy may include listening to music, making music, talking about the lyrics or even writing songs, but definitely it is not restricted to people with musical abilities. Since music is accessible everywhere, music therapy is not limited to a place and sessions can be arranged at homes, hospitals, hospices, care centers or any calm place people may prefer (American Cancer Society [ACS], 2008). The nonverbal emotional entity of music makes it a universal langu age that can ease the self-expression, personal development and social interactions which would aid in psychotherapy. Music can always have a positive impact on people whether they are ill, disabled or perfectly healthy (MTAO, 2010). The principle of therapeutic use of music is not new, ancient cultures were aware of music power which for some was part of their traditional healing practices such as the case of Native Americans (ACS, 2008). The musical power of healing was marked in different ethnic ancient inscriptions like that of Rome, India, China and Egypt (Music as Medicine, 2014), as it was mentioned in the writings of Greek philosophers such as Aristotle, Pythagoras and Plato (ACS, 2008). However the modern music therapy dates back to World War II when music was used to help in the treatment of soldiers who were suffering from shell shock, and it was in 1944 when Michigan State University initiated the first degree program in music therapy (ACS, 2008). Music related neurosciences For many years research was ongoing to understand the means of action of music and why it does have this strong impact on our lives. Since the impact is mediated neurologically, scientists intensively investigated the brain regions and with the help of the emerging imaging techniques such as functional magnetic resonance imaging (fMRI) they noticed that it activates unexpected regions involved in emotions and memory, in addition to the brain’s motor regions that are responsible for coordinating physical movements. The neuroscientist Dr. Petr Janata in his recent studies proved that the area of the brain serving as a central hub between music, emotions and memories is the medial prefrontal cortex. In an attempt to understand the medial prefrontal cortex activity, young adults were subjected to extracts of childhood songs while being monitored with fMRI and it was noticed that the activity was optimal when they heard a familiar song that call to mind an emotion or memory (NIH, 2 010). Dr. Janata stated that in Alzheimer patients the medial prefrontal cortex is one of the last brain regions to deteriorate, hence this explains why patients with Alzheimer may recall childhood tunes whereas other memories are lost. In further investigation on the medial prefrontal cortex activity, Dr. Allen Braun and Dr. Charles Limb monitored via magnetic resonance imaging (MRI) scanner the medial prefrontal cortex in a jazz musician as he played his music. The doctors noticed that the region was not active when the musician played a memorized tune; however, it became active when the musician was improvising concluding that the medial prefrontal cortex also has a role in the creative expression of music (NIH, 2010). Going deeper into the music impact on the neurological level, an experiment was done to check the neurotransmitters involved and the time of their release. Via the ligand-based positron emission tomography (PET) scientists discovered that music triggers dopamine release in both the dorsal and ventral striatum. Nevertheless, this discovery was not surprising since dopamine is known to be responsible for the pleasure sensation whether due to sex, drugs or just music. But the more interesting discovery was the monitoring of the increase in dopaminergic voxels in the right nucleus accumbens (NAcc) preceding a favorite part and peaking when the favorite part was reached. The phase of increased dopaminergic voxels prior to the favorite part was termed Anticipatory phase, as depicted in the figure 1, and it prepares us for the subsequent musical part that we love and will cause the dopamine peek giving us the pleasure sensation (Salimpoor et al, 2011). To have a better understanding, scientists took a closer look on the music itself. Early theories about music argued that we get affected by music through the connotative meanings and mental images that it reflects; however, according to the musicologist Leonard Meyer it is the ambiguity and not knowing what the next note will be is what keeps us waiting in excitement. Repetitive expected patterns in music is boring and can be annoying like an alarm clock, hence it is the unpredictable patterns that give us the chills. Meyer stated that the uncertainty is what triggers the release of dopamine as we try to figure out what the next note is. We may be able to predict some of the notes but not all of them and that is what cause our brains to plead for those notes that will unleash the uncertainty and completes the pattern, yet these notes are usually spared till the end to keep us listening (WIRED, 2011). Music therapy in clinical trials Now that we had an insight on the neuroscience that relies behind the effects of music, we should note that music has effects on both physical level and psychological level. Some of the physical effects are enhancing immunity, decreasing anxiety, and altering the blood pressure and heart rate (NIH, 2010), whereas at the psychological level music has the power to alter our mood and aid in psychotherapy. In this review we will be focusing on the psychological effects and its role in psychotherapy. Several clinical trials have been conducted in order to ensure the effectiveness of music therapy. In a clinical trial 46 patients diagnosed with depression were randomly separated into two groups. Group 1 was subjected to the standard care that includes antidepressant medication, psychotherapy and psychiatric counseling, whereas group 2 underwent 60 min music therapy sessions in addition to the standard care. The patients were assessed after 3 months and results showed that people who received music-therapy had less depressive symptoms from those who didn’t. Professor Christian Gold, one of the two study leaders, said: Music therapy has specific qualities that allow people to express themselves and interact in a non-verbal way even in situations when they cannot find the words to describe their inner experiences.† (Erkkilà ¤ et al, 2011). Another similar clinical trial that was done on 79 patients with low- and medium-grade depression revealed results that reinforces the ones that were retrieved by the first clinical trial mentioned here (Castillo-Perez et al, 2010). In a clinical trial on 80 schizophrenic patients, 42 patient where assigned to do music therapy for 60 minutes twice a week while 38 other patients were assigned to undergo standard care. After 3-month follow-up the results indicated improvement in the depression status and psychiatric symptoms of the patients (Lu et al, 2013). It is important to note that there is dose-effect relationship in music therapy by which more recurrent sessions would result in more considerable improvements (Gold et al, 2009). Can music be destructive? The power of music is just like any other power that can be either constructive or destructive depending on the usage. Nice music can lift you up and motivate you, but on the contrary sad or violent music can be destructive. In a study published in 2003 by the American Psychological Association (APA), researchers from Iowa State University examined the effect of violent lyrics by which they made students listen to seven violent songs and 8 nonviolent songs being sung by the same artist and using the same musical style in order to control the other factors, and then they were assessed for their aggressive thoughts and feelings through psychological tasks. The results showed an increase in the aggressive interpretations where Dr. Anderson, a lead researcher, stated that violent and aggressive music makes people biased toward aggressive interpretations, and this form of interpretations will eventually manifest in aggressive verbal and physical expressions and antisocialism (APA, 2003). What complicate things more is the fact that classification of music as beneficial or destructive can be subjective. In an investigative study 80 people were played the same songs but prior that some of them were told that the music is suicide-inducing and others were told the music is life-affirming. The study shows that depending on the prior labeling of the music the same songs were perceived by listeners as either suicide-inducing or life-affirming, thus it is the censorship and prior labeling that might give songs their harmful effects on listeners (North Hargreaves, 2005). As some people argued by saying that negative music gives them sensation of relief due to knowing that someone else felt in a particular way but was able to recover and be creative enough to express their emotions in such a way, hence for them it is perceived as a form of hope if they were in a similar situation (Baker Brown, 2014). Music therapy today and its other potential powers Nowadays degrees in music therapy are becoming more available worldwide as people are becoming more aware of the therapeutic role of music whether it is physical, mental or psychological. There are a lot more potential powers in music yet to be discovered such as its role when played in businesses and retails stores and how it can affect the customers’ behavior (Yalch, 1993), its effect on fetuses by which some claim that the choice of music of the pregnant women will affect their children later on (Kisilevsky et al, 2004), and how effectively does music help hospitalized patients in recoveries and in lessening their pain (ACS, 2008). Music is an entertaining form of art that is easily accessible to everyone and flexible enough to satisfy different tastes; these characteristics makes music a potential power that if people knew how to utilize it correctly, they would be seeking a better state of a harmonic life. References American Cancer Society. (2008). Music Therapy. Retrieved May 23, 2014, from http://www.cancer.org/treatment/treatmentsandsideeffects/complementaryandalternativemedicine/mindbodyandspirit/music-therapy American Psychological Association [APA]. (2003). Violent music lyrics increase aggressive thoughts and feelings, according to new study; Even humorous violent songs increase hostile feelings. ScienceDaily. Retrieved May 23, 2014, from http://www.sciencedaily.com/releases/2003/05/030505084039.htm Baker C. Brown B. (2014). Suicide, Self-Harm and Survival Strategies in Contemporary Heavy Metal Music: A Cultural and Literary Analysis. J Med Humanit. PMID: 24682627. Retrieved May 23, 2014, from http://www.ncbi.nlm.nih.gov/pubmed/24682627 Castillo-Perez S., Gomez-Perez V., Velasco M.C., Perez-Campos E. Mayoral M. (2010). Effects of music therapy on depression compared with psychotherapy. The Arts in Psychotherapy, volume 37(5), pp.381-390. Retrieved May 23, 2014, from http://www.sciencedirect.com/science/article/pii/S0197455610000857?np=y Erkkilà ¤ J., Punkanen M., Phil L., Fachner J., Ala-Ruona E., Pà ¶ntià ¶ I., Tervaniemi M., Vanhala M. Gold C. (2010). Individual music therapy for depression: randomized controlled trail. The British Journal of Psychiatry. Retrieved May 23, 2014, from http://bjp.rcpsych.org/content/199/2/132.full?sid=b97bc6bf-4b35-4c4f-8000-3111d1ef35f9#content-block Gold C., Solli H.P., Krà ¼ger V. Lie S.A. (2009). Dose-response relationship in music therapy for people with serious mental disorders: Systematic review and meta-analysis. Clinical Psychology Review, volume 29(3), pp.193-207. Retrieved May 23, 2014, from http://www.sciencedirect.com/science/article/pii/S0272735809000026 Kisilevsky S., Hains S.M., Jacquet A.Y., Grranier-Deferre C., Lecanuet J.P. (2004). Maturation of fetal responses to music. Dev Sci,volume 7(5):550-9. PMID: 15603288. Retrieved May 23, 2014, from http://www.ncbi.nlm.nih.gov/pubmed/15603288 Lu S.F., Lo C.H., Sung H.C., Hsieh T.C., Yu S.C., Chang S.C. (2013). Effects of group music intervention on psychiatric symptoms and depression in patients with schizophrenia. Complement Ther Med, volume 21(6):682-8. PMID: 24280478. Retrieved May 23, 2014, from http://www.ncbi.nlm.nih.gov/pubmed/24280478 Music as Medicine. (2014). History of Music Therapy. Retrieved May 23, 2014, from http://www.musicasmedicine.com/about/history.cfm Music Therapy Association of Ontario [MTAO]. (2010). Music Therapy Definition. Retrieved May 23, 2014, from http://www.musictherapyontario.com/Default.aspx?pageId=1090464 News in Health [NIH]. (2010). Music Matters for Body and Mind. Retrieved May 23, 2014, from http://newsinhealth.nih.gov/2010/January/feature1.htm North A.C. Hargreaves D.J. (2005). Brief report: Labelling effects on the perceived deleterious consequences of pop music listening. J Adolesc, volume 28(3):433-40. PMID: 15925693. Retrieved May 23, 2014, from http://www.ncbi.nlm.nih.gov/pubmed/15925693 Salimpoor V.N., Benovoy M., Larcher K., Dagher A. Zatorre R. J. (2011). Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature neurosciences, volume 14(2), pp.121-269. Retrieved May 23, 2014, from http://www.nature.com/neuro/journal/v14/n2/full/nn.2726.html WIRED. (2011). The Neurosciences Of Music. Retrieved May 23, 2014, from http://www.wired.com/2011/01/the-neuroscience-of-music/ Yalch R.F. (1993) Using Store Music For Retail Zoning: a Field Experiment. Advances in Consumer Research, volume 20, pp.632-636. Retrieved May 23, 2014, from http://www.acrwebsite.org/search/view-conference-proceedings.aspx?Id=7531

Dimitri Shostakovich Essay -- essays research papers fc

Dmitri Shostakovich Dmitri Shostakovich, born on September 25, 1905, started taking piano lessons from his mother at the age of nine after he showed interest in a string quartet that practiced next door. He entered the Petrograd (formerly St. Petersburg, later Leningrad) Conservatory in 1919, where he studied the piano with Leonid Nikolayev until 1923 and composition until 1925 with Aleksandr Glazunov and Maksimilian Steinberg. He participated in the Chopin International Competition for Pianists in Warsaw in 1927 and received an honorable mention, after which he decided to limit his public performances to his own works to separate himself from the virtuoso pianists. Prior to the competition, he had had a far greater success as a composer with the First Symphony (1924-25), which quickly achieved worldwide recognition. The symphony was influenced by composers as diverse as Tchaikovsky, Paul Hindemith, and Sergey Prokofiev. The cultural climate in the Soviet Union was, compared to the Soviet Union at its peak, free at the time. Even the music of Igor Stravinsky and Alban Berg, then in the avant-garde, was played. Bela Bartok and Paul Hindemith visited Russia to perform their own works, and Shostakovich toyed openly with these novelties. His first opera, The Nose, based on the satiric Nikolay Gogol story, displayed a thorough understanding of what was popular in Western music combined with his "dry" humor. Not surprisingly, Shostakovich's undoubtedly finer second opera, Lady Macbeth of the Mtsensk District (later renamed Katerina Izmaylova), marked a stylistic retreat. However, this new Shostakovich was too avant-garde for Stalin. In 1928, Joseph Stalin inaugurated his First Five-Year Plan, an "iron hand fastened on Soviet culture," (Johnson) and in music a direct and popular style was demanded. Avant-garde music and jazz were banished, and for a while even Tchaikovsky was looked down upon. Shostakovich remained in good favor for a time, but it has been said that it was Stalin's personal anger at what he heard when he attended a performance of Lady Macbeth of the Mtsensk District in 1936 that sparked the official condemnation of the opera and of its creator. The focus of the opera was based around murder, conspiracy, and trickery, all of which were the worst things that a Russian could speak of. Shostakovich was brutally attacked in ... ...obert Dearling. The Music of Dmitri Shostakovich: the symphonies. Tantivy Press, 1979 Brown, Royal S. ‘Interview with Shostakovich.’ High Fidelity, 23 (October 1973). Fanning, David. The Breath of the Symphonist: Shostakovich’s Tenth. Royal Musical Association, 1988. Fay, Laurel E. ‘Shostakovich vs. Volkov: whose Testimony?’ The Russian Review (October 1980), pp. 484-93. Johnson, Priscilla and Leopold Labdez (eds.). Khrushchev and the Arts: the politics of Soviet Culture, 1962-64. MIT Press, 1965. Kay, Norman. Dmitri Shostakovich. Oxford University Press, 1972. MacDonald, Ian. The New Shostakovich. Northeastern University Press, 1990. Norris, Christopher. Bibliography of Russian Composers. White Lion, 1976. Olkhovsky, Andrei. Music under the Soviets: the agony of an art. Praeger, 1955. Salisbury, Harrison. ‘A Visit with Dmitri Shostakovich.’ New York Times, 8 August 1954. Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983. Sollertinsky, Dmitri and Ludmilla. Pages from the Life of Dmitri Shostakovich. Hale, 1981. Volkov, Solomon (ed.). Testimony: the memoirs of Dmitri Shostakovich. Harper & Row, 1979. Dimitri Shostakovich Essay -- essays research papers fc Dmitri Shostakovich Dmitri Shostakovich, born on September 25, 1905, started taking piano lessons from his mother at the age of nine after he showed interest in a string quartet that practiced next door. He entered the Petrograd (formerly St. Petersburg, later Leningrad) Conservatory in 1919, where he studied the piano with Leonid Nikolayev until 1923 and composition until 1925 with Aleksandr Glazunov and Maksimilian Steinberg. He participated in the Chopin International Competition for Pianists in Warsaw in 1927 and received an honorable mention, after which he decided to limit his public performances to his own works to separate himself from the virtuoso pianists. Prior to the competition, he had had a far greater success as a composer with the First Symphony (1924-25), which quickly achieved worldwide recognition. The symphony was influenced by composers as diverse as Tchaikovsky, Paul Hindemith, and Sergey Prokofiev. The cultural climate in the Soviet Union was, compared to the Soviet Union at its peak, free at the time. Even the music of Igor Stravinsky and Alban Berg, then in the avant-garde, was played. Bela Bartok and Paul Hindemith visited Russia to perform their own works, and Shostakovich toyed openly with these novelties. His first opera, The Nose, based on the satiric Nikolay Gogol story, displayed a thorough understanding of what was popular in Western music combined with his "dry" humor. Not surprisingly, Shostakovich's undoubtedly finer second opera, Lady Macbeth of the Mtsensk District (later renamed Katerina Izmaylova), marked a stylistic retreat. However, this new Shostakovich was too avant-garde for Stalin. In 1928, Joseph Stalin inaugurated his First Five-Year Plan, an "iron hand fastened on Soviet culture," (Johnson) and in music a direct and popular style was demanded. Avant-garde music and jazz were banished, and for a while even Tchaikovsky was looked down upon. Shostakovich remained in good favor for a time, but it has been said that it was Stalin's personal anger at what he heard when he attended a performance of Lady Macbeth of the Mtsensk District in 1936 that sparked the official condemnation of the opera and of its creator. The focus of the opera was based around murder, conspiracy, and trickery, all of which were the worst things that a Russian could speak of. Shostakovich was brutally attacked in ... ...obert Dearling. The Music of Dmitri Shostakovich: the symphonies. Tantivy Press, 1979 Brown, Royal S. ‘Interview with Shostakovich.’ High Fidelity, 23 (October 1973). Fanning, David. The Breath of the Symphonist: Shostakovich’s Tenth. Royal Musical Association, 1988. Fay, Laurel E. ‘Shostakovich vs. Volkov: whose Testimony?’ The Russian Review (October 1980), pp. 484-93. Johnson, Priscilla and Leopold Labdez (eds.). Khrushchev and the Arts: the politics of Soviet Culture, 1962-64. MIT Press, 1965. Kay, Norman. Dmitri Shostakovich. Oxford University Press, 1972. MacDonald, Ian. The New Shostakovich. Northeastern University Press, 1990. Norris, Christopher. Bibliography of Russian Composers. White Lion, 1976. Olkhovsky, Andrei. Music under the Soviets: the agony of an art. Praeger, 1955. Salisbury, Harrison. ‘A Visit with Dmitri Shostakovich.’ New York Times, 8 August 1954. Schwartz, Boris. Music and Musical Life in Soviet Russia, 1917-1981. 2nd edition. Indiana University Press, 1983. Sollertinsky, Dmitri and Ludmilla. Pages from the Life of Dmitri Shostakovich. Hale, 1981. Volkov, Solomon (ed.). Testimony: the memoirs of Dmitri Shostakovich. Harper & Row, 1979.