Approach to care

Write a paper (1,250-1,750 words) describing the approach to care of cancer. In addition, include the following in your paper:
1.Describe the diagnosis and staging of cancer.
2.Describe at least three complications of cancer, the side effects of treatment, and methods to lessen physical and psychological effects.
3.Prepare this assignment according to the APA guidelines found in the APA Style Guide, located in the Student Success Center. An abstract is not required.

This assignment uses a grading rubric. Instructors will be using the
rubric to grade the assignment; therefore, students should review the rubric prior to beginning the assignment to become familiar with the assign

Intercultural Leadership

1. Consider a leadership position for which you are currently preparing or one that you hope to have in the future (or one that you currently hold, if applicable).

I’ve chosen the leadership role of: President & Founder of a 501(c)3 Non-Profit Company. That will be the base of this paper.

2. Describe the diverse organization (business, community, team, family, etc.) you might lead in the future (7 points). Describe the purpose of the organization and the nature of its members’ diversity (7 points). Describe the identity that you will bring to that position (6 points). Refer back to your pie chart (6 points) from module 1 and insights and knowledge you’ve gained from the class, etc

3. Within the context of your future leadership position (including challenges and opportunities, the nature of diversity within the organization, etc.), describe your approach (10 points) to leadership and the strategies (10 points) you will utilize given your personality and other characteristics identified above. Refer to the readings on leadership here.

4. Relate your discussion to at least three of the module 7 readings. Discuss important readings, articles, insights and knowledge gained from this class in general (9 points)

5. Discuss any change in your CQ cultural intelligence score after taking the post-test (10 points).

I’ve attached my pre & post test results. My score is a 30 point increase.

Logistics

10 points: At least three pages

3 points: Excessive run-on sentences

3 points: Excessive grammar and spelling errors

4 points: Lack of clarity

9 points: Incorporation of 3 in text citations

Papers should be between 3 pages (minimum) and 6 pages (maximum), be double spaced and use 12 pt font. Remember to incorporate your readings into your paper and use in-text citations. Points will be deducted if proper citations are not used. No separate works cited page is needed here unless you use other sources than I provided you. Aim to use your own words, but when you quote or paraphrase, remember that in addition to including the author and date in the citation, you also need to include the page number of the quote: (Smith, 2015, p.1). After completing your paper submit it by clicking the ‘Paper 7’ link above.

FYI: Paper must be at least three pages long. No abstract needed. The sources uploaded must be cited in-text. A sample research paper is attached for format review purposes

Essay Assignment 1

Following is a list of suggested topics for the first essay assignment. Answer any one of these questions, which relate to the material presented in Units 1 through 5.
1. Descriptive grammarians ask, “What is English (or any other language) like, that is, what are its forms, and how do these forms function in various situations?” By contrast, prescriptive grammarians ask, “What should English (or any other language) be like, that is, what forms should people use, and what functions should these forms serve?” In language, who is right and who is wrong, and who decides?
2. Speech errors that move, substitute, add, or delete sounds, words, or phrases indicate the existence of units of speech. Speech errors also tell us a great deal about the structure and organization of a person’s mental dictionary—the warehouse of all the words a speaker of a language knows. Discuss the usefulness of speech errors for research purposes. Include examples of speech errors; describe the phonological, lexical, or developmental problem that each error illustrates; and explain what each error reveals about correct speech.
3. Comparisons of different languages cause us to pay attention to language “universals”—the ways in which all languages are similar, and to language “particulars”—the ways in which each language (or type of language) is special or unique. Linguists and anthropologists who study language universals have formulated theories to describe and explain human language and human language behaviour in general terms as the “species-specific capacities of humans.” However, the idea that different languages may influence thinking in different ways is present in many cultures, and the concept has given rise to various philosophical treatises. The issue remains unresolved, largely because of the difficulty in pinning down the effects of a particular language on a particular thought pattern. Nevertheless, this concept goes in and out of fashion and often, considerable energy is spent on efforts to either confirm or refute it. Discuss or argue the case either for or against the idea that language influences thinking.
4. Language change inevitably leads to variation, and variation within a speech community often leads to placing a social value, such as “good” or “bad”, on the change. “Good” variants are generally considered to be superior, venerable, or both, while “bad” variants are considered illogical and/or recent inventions by the vulgar. Discuss these assumptions as well as the political implications of placing values within language.
5. It appears that language contact situations are subject to two often conflicting forces—the need to achieve communicative efficiency adequate for the purpose of interaction (dynamics of accommodation), and the need to preserve a distinct sense of group identity (group loyalty). The former encourages convergence or compromise between languages, while the latter encourages divergence or the preservation of language boundaries. Identify a case of language contact, and describe the subsequent specifics of language accommodations or divergences.

MARGINS Use margins on both sides of the page

JUSTIFY Left justify the paper and Reference/Work Cited page. Centre the information on the title page.

SPACING Use 1.5 or double spacing.

INDENTS Indent each new paragraph five to seven spaces or double space between paragraphs.

FONTS Use ten or twelve-point type such as Times New Roman

PAGES Do not use a page number for the title page. Do use page numbers on all other pages. Page numbers appear in the upper right corner of the essay.

TITLE PAGE Provide a title page with title, author’s name and ID number, course name and number.

*Always provide a Reference Page/Work Cited page and always be sure your name is on any material submitted.

Please use Textbooks Hickerson, Nancy Parrott 2010 Linguistic Anthropology. Custom edition. Fort Worth, TX: Harcourt College Publishers. Rowe, Bruce M., and Diane P. Levine 2012 A Concise Introduction to Linguistics. 3rd edition. Boston, MA: Pearson Education as the two sources. And the other four sources please find it by yourself.

Make sure to cited the sentences properly and use your own words and own idea. Do not cited too much.

Case study assignment 600 words:

Ms Kay Kruzowski, aged 76, Ms Kruzowski had been taking an oral antibiotic (Augmentin Forte) for a chest infection. Additionally, two weeks ago, she sustained fractures of two ribs after tripping over her cat. She has a past history of hypertension, back pain (exacerbated by her recent fall), and a deep vein thrombosis in her right leg (2 years ago).
her blood test: INR 3.2 her target range 2.0 – 3.0, Urea 9.0 (2.0 – 8.5), Creatinine 0 .19 (0.05 – 0.09).

Her medication:
Warfarin OD for DVT, Perindopril 10mg OD for HTN, Felodipine 10mg OD for HTN, Spironolactone 25 mg OD for HTN, Paracetamol 1g every 6 hr for Pain, Ceftriaxone 1g BID, Erythromycin 1200 mg every 6 hr, garlic capsule 250 mg BID on patient request.

PRN medication: Aspirin and Voltaren rapid for pain.

Describe the strategies a nurse may take to prevent/manage the specific risks you have identified which are. Your answer should focus on Ms Kruzowski’s needs rather than a discussion on the actual medicines. 30 marks

Body one 200 Words:
First significant risk: bleeding.
Areas to consider when addressing this question are:
Pharmacological strategies (specific to the particular drug)
Specific nursing assessment
Specific patient education (if applicable)
Relate your answer specifically to Ms Kruzowski

Body two 200 Words:
Second significant risk: hyperkalemia.
Areas to consider when addressing this question are:
Pharmacological strategies (specific to the particular drug)
Specific nursing assessment
Specific patient education (if applicable)
Relate your answer specifically to Ms Kruzowski

Body three 200 Words:
Third significant risk: hypotension.
Areas to consider when addressing this question are:
Pharmacological strategies (specific to the particular drug)
Specific nursing assessment
Specific patient education (if applicable)
Relate your answer specifically to Ms Kruzowski

NOTE:
referenceAcademicjournals. avoid non-gov websites. APA style not more than 7 years.
This assignment will be uploaded to Turnitin no more than 5% of similarity.

Case study assignment 900 words:

Ms Kay Kruzowski, aged 76, MsKruzowski had been taking an oral antibiotic (Augmentin Forte) for a chest infection. Additionally, two weeks ago, she sustained fractures of two ribs after tripping over her cat. She has a past history of hypertension, back pain (exacerbated by her recent fall), and a deep vein thrombosis in her right leg (2 years ago).
her blood test: INR 3.2 her target range 2.0 – 3.0, Urea 9.0 (2.0 – 8.5), Creatinine 0 .19 (0.05 – 0.09).

Her medication:
Warfarin OD for DVT, Perindopril 10mg OD for HTN, Felodipine 10mg OD for HTN, Spironolactone 25 mg OD for HTN, Paracetamol 1g every 6 hr for Pain, Ceftriaxone 1g BID, Erythromycin 1200 mg every 6 hr, garlic capsule 250 mg BID on patient request.

PRN medication: Aspirin andVoltaren rapid for pain.

Part A
Assess MsKruzowski’s medication chart. Identify and explain {three significant risks in separate bodies each risk should be 200 words, and I have chosen them which are (bleeding, hyperkalemia, hypotension)} that may be associated with the use of the medicines (home or inpatient use) for MsKruzowski. (Expect approximately 600 words) 30 marks.

Body one 200 Words:
First significant risk: bleeding.
Areas to consider when addressing this question are:
What is the mechanism of each risk?
Why is the risk significant in this case?
Are there any factors/effects that contribute to the risk?
Relate your answer specifically to MsKruzowski

Body two 200 Words:
Second significant risk: hyperkalemia.
Areas to consider when addressing this question are:
What is the mechanism of each risk?
Why is the risk significant in this case?
Are there any factors/effects that contribute to the risk?
Relate your answer specifically to MsKruzowski

Body three 200 Words:
Third significant risk: hypotension.
Areas to consider when addressing this question are:
What is the mechanism of each risk?
Why is the risk significant in this case?
Are there any factors/effects that contribute to the risk?
Relate your answer specifically to MsKruzowski

Part B (Body four 150 words) 10 marks:

The doctor has ordered regular paracetamol to be given for MsKruzowski’s back and rib pain. Briefly explain the benefits of regular analgesic dosing rather than administration when pain is noticeable. Your answer should include relevant pharmacologic concepts.

Part C (Body five 150 words) 10 marks:

MsKruzowski is prescribed warfarin and INR blood tests are routinely undertaken with this medication. Briefly explain these tests and their purpose in her treatment plan.

NOTE:
referenceAcademicjournals. avoid non-gov websites. APA style not more than 7 years.
This assignment will be uploaded to Turnitin no more than 5% of similarity

FOREIGN EXCHANGE MARKET: RISK, APPRECIATION,/DEPRECIATION

Write or type your answers to the question in the space provided below; if you need more room, you can write on the back of this page. Or attach your answers to this page.

FOREIGN EXCHANGE MARKET: RISK, APPRECIATION,/DEPRECIATION
FORWARD CONTRACTS, RISK MANAGEMENT (7 questions in total).

1) One of the functions of the foreign exchange market is to convert currencies. Convert the currencies as indicated below (note how the rate is presented in order to determine how to calculate the amount you would receive): (1 point)
CONVERT RATE AMOUNT
100,000 US$ 1 US$ = 108.14 yen (¥) yen (¥) 10,814,000
45,000 US$ 1 US$ = 13.5033 Mex. Peso Mex. Peso 607,648.5
1200 US$ 1 Euro(€) = 1.2624 US$ Euro (€) 1,514.88
250 Brit.Pound (£) 1 BritPound(£) = 1.5360 US$ US$ 162.76
150,000 Indian rupee INR 1 US$ = 60.9610 INR US$ 9,144,150
2500 Australian $ 1 US $ = 1.3542 Aus.$ US$ 3,385.5

2) Explain what appreciation of a currency means. Explain what depreciation of a currency means. (1 point)

3) What is Foreign Exchange risk? (1 point)

4) Analyze the following exchange rates and identify if the subject currencies indicated are appreciating or depreciating in value based on the “new” rates quoted. (2 points)
OLD RATE NEW RATE SUBJECT APP/DEP?
1 US$ = 90.20 Swiss Franc 1 US$ = 95.38 Swiss Franc Swiss Franc
1 ThBaht = US$ .0282 1 ThBaht = US$ .0296 Thai baht
108¥ Jap. yen = 1 US$ 98¥ Jap. yen = 1 US$ Japanese yen
1 Russ. ruble= US$ .0281 1 Russ. Ruble = US$ .0238 US dollar
1 US$ = 6.8365 Swed.krona 1US$ = 7.2773 Swed. krona Swedish krona
1Euro(€) = US$ 1.3719 1Euro(€) = US$ 1.38957 Euro
1US$ = 1,014.95 So.Kor.won 1US$ = 1,053.11So.Kor.won US dollar
1 US$ = 1.0188 Can. $ 1 US$ = .9645 Can. $ Canadian dollar
1 US$ = 7.5610 Arg. Peso 1 US$ = 7.86029Arg. Peso Argentine peso
13.0260 MXP = 1 US$ 13.0560 MXP = 1 US$ Mexican peso
Page one of two

5) What are forward exchange contracts? What is their purpose? What does it mean when a currency is selling at “discount on forward”? What does it mean when a currency is selling at “premium on forward”? (2 points)

6) Analyze the spot and forward rates quoted below. Identify if the expectation is, based on the forward rates, that the subject currencies indicated are going to appreciate or depreciate in value and if they are selling at a discount or premium on the forward rate. (The subject currency is what you hold and must convert) (1.5 points)

COUNTRY SPOT RATE FORWARD RATE SUBJECT APP/DEP DISC/PREM on FWD?
GERMANY 1.2667 US$/ Euro 1.1116 US $/Euro EURO
GREAT BRITAIN 1.6608 US $/£ 1.3930 US $/£ BRITISH POUND
CANADA .87350 US $/ CAD .8898 US$/CAD CANADIAN DOLLAR
JAPAN .00874 US $/ ¥ .00946 US $/ ¥ YEN

7) Read the Closing Case: “Billabong” on pages 318-19 of the textbook (10th ) and answer the following questions about foreign exchange risk management. (2 points)

a) Why does a fall in the value of the Australian dollar against the U.S. dollar benefit Billabong?
b) Could the rise in the value of the Australian dollar that occurred in 2009 have been predicted?
c) What might Billabong had done in order to better protect itself against the unanticipated rise in the value of the Australian dollar that occurred in 2009?
d) The Australian dollar continued to rise by another 20 percent against the U.S. dollar in between 2010 and 2012. How would this have affected Billabong? Is there anything that Billabong might have done to limit its long-term economic exposure to changes in the value of the currency in its largest export market?

W5 Assignment “Disney Animation – John Lasseter”

Organizational Behavior
Disney Animation – John Lasseter
The case focuses on John Lasseter, who currently is the creative head of Disney Animation Studios and Pixar Animation Studios, both of which are owned by The Walt Disney Company. The case chronicles Lasseter’s interests in animation from a young age, the relationship he developed with the Disney organization, his developing interest in computer-animation and consequent demise at Disney Studios, his subsequent award-winning success with computer animation at Pixar Studios, and his recent ascension to creative head of Disney’s Animation Studio as part of the Pixar-Disney merger.
The case provides a marvelous illustration of the many types of interpersonal power ¾ reward, coercive, legitimate, referent, and expert that exist within an organization. The case also shows how power can be used to promote the well-being of the organization and its members or to benefit specific people’s interests at the expense of others’ interests. Herein, the two faces of power positive and negative come into play. Another linkage between the chapter material and the case occurs in the form of concerns about the ethical versus unethical use of power. Finally, the case can be used to explore the concepts of organizational politics and political behavior in organizations. Organizational politics often has a negative connotation, and some of the case facts lend themselves to reinforcing this negative connotation.
Power and Politics in the Fall and Rise of John Lasseter
John Lasseter grew up in a family heavily involved in artistic expression. Lasseter was drawn to cartoons as a youngster. As a freshman in high school he read a book entitled The Art of Animation. The book, about the making of the Disney animated film Sleeping Beauty, proved to be a revelation for Lasseter. He discovered that people could earn a living by developing cartoons. He started writing letters to The Walt Disney Company Studios regarding his interest in creating cartoons. Studio representatives, who corresponded with Lasseter many times, told him to get a great art education, after which they would teach him animation.
When Disney started a Character Animation Program at the California Institute of Arts film school, Lasseter enrolled in the program after encouragement from the studio. Classes were taught by extremely talented Disney animators who also shared stories about working with Walt Disney himself. During summer breaks, jobs at Disneyland further fueled Lasseter’s passion for working as an animator for Disney Studios. Full of excitement, Lasseter joined the Disney animation staff in 1979 after graduation. However, he soon met with disappointment.
According to Lasseter, “[t]he animation studio wasn’t being run by these great Disney artists like our teachers at Cal Arts, but by lesser artists and businesspeople who rose through attrition as the grand old men retired.” Lasseter was told, “[y]ou put in your time for 20 years and do what you’re told, and then you can be in charge.” Lasseter continues, “I didn’t realize it then, but I was beginning to be perceived as a loose cannon. All I was trying to do was make things great, but I was beginning to make some enemies.”
In the early 1980s, Lasseter became enthralled with the potential of using computer graphics technology for animation but found little interest among Disney Studio executives for the concept. Nonetheless, a young Disney executive, Tom Willhite, eventually allowed Lasseter and a colleague to develop a thirty-second test film that combined “hand-drawn, two-dimensional Disney-style character animation with three-dimensional computer-generated backgrounds.” Lasseter found a story that would fit the test and could be developed into a full movie. When Lasseter presented the test clip and feature-length movie idea to the Disney Studio head, the only question the studio head asked was about the cost of production. Lasseter told him the cost of production with computer animation would be about the same as a regular animated feature. The studio head informed Lasseter, “I’m only interested in computer animation if it saves money or time.”
Lasseter subsequently discovered that his idea was doomed before he ever presented it. Says Lasseter, “[w]e found out later that others poked holes in my idea before I had even pitched it. In our enthusiasm, we had gone around some of my direct superiors, and I didn’t realize how much of an enemy I had made of one of them. I mean, the studio head had made up his mind before we walked in. We could have shown him anything and he would have said the same thing.” Shortly after the studio head left the room, Lasseter received a call from the superior who didn’t like him, informing Lasseter that his employment at Disney was being terminated immediately.
Despite being fired, Lasseter did not speak negatively of the Disney organization, nor did he let others know anything other than the project on which he was working had ended. His personal admiration and respect for Walt Disney and animation were too great to allow him to do so.
Lasseter was recruited to Lucasfilm by Ed Catmull to work on a project that “turned out to be the very first character-animation cartoon done with a computer.” Not too long afterwards, Steve Jobs bought the animation business from George Lucas for $10 million and Pixar Animation Studios was born. Lasseter became the chief creative genius behind Pixar’s subsequent animated feature film successes like Toy Story, Toy Story 2, A Bug’s Life, and The Incredibles, among others.
In 2006, Disney CEO Robert Iger and Pixar CEO Steve Jobs consummated a deal for Pixar to become a wholly-owned subsidiary of Disney. Iger points out that, in making the Pixar acquisition, Disney wanted to protect Pixar’s culture while giving it “a much broader canvas to paint on.” Instead of Disney absorbing Pixar into its culture, Iger gave Pixar executives “Ed Catmull and John Lasseter control of Disney’s animation operations, with the mission to get the old studio’s computer-generated efforts up to par.”
Iger wanted to reinvigorate animation at Disney, and as the top creative executive at Pixar, John Lasseter was viewed a key figure in achieving this objective. Lasseter “is regarded by Hollywood executives as the modern Walt [Disney] himself [with capabilities] ¼ that have made Pixar a sure thing in the high stakes animated world.” Former Disney Studios head, Peter Schneider, says Lasseter “is a kid who has never grown up and continues to show the wonder and joy that you need in this business.” Current Disney Studio chief, Dick Cook, says that Lasseter is like the famous professional basketball player, Michael Jordan. “He makes all the players around him better.”
According to Iger, “[t]here’s no question that animation is a great wavemaker for the company. We believe we have a very vibrant creative engine there, mostly driven by Pixar, and we hope that Disney Animation will once again experience glory days too. We believe we’re on the right track.” Cook notes that Disney was the king of animation for a decade from the mid-1980s to the mid-1990s. Cook continues, “[b]ut I think the biggest challenge in any mature organization is how do you continue to evolve and press the edges of the envelope, and I think it’s fair to say we stopped doing that.” He also observes that getting Catmull and Lasseter “was like a giant shot of adrenaline to the system.”
Lasseter now oversees development of movies at both Pixar’s and Disney’s animation studios. Says Lasseter, “I can’t tell you how thrilled I am to have all these new roles. I do what I do in life because of Walt Disney—his films and his theme park and his characters and his joy in entertaining. The emotional feeling that his creations gave me is something that I want to turn around and give to others.”
Without a doubt, Lasseter is realizing his dream, and very successfully to boot. Bolt, a recent production of Disney Animation Studios, received a Golden globe nomination in late 2008 for best animated feature film. And Wall-E, a Pixar Studios production, was nominated for the same award as well. Jennie Yabroof, a reporter for Newsweek, writes that “Lasseter himself has played perhaps the biggest role in the elevation of the lowly cartoon” to the animated feature film.
Lasseter’s influence at Disney extends well beyond the animation studios. The reconstitution of the Disney theme parks’ submarine ride is a great example. Refurbished as a take-off on the animated film Finding Nemo, “the ride resurfaced with whiz-bang video and audio effects that allow the animated sea creatures from Finding Nemo to seemingly swim and talk in the water.” “Disneyland’s Finding Nemo Submarine Voyage is emblematic of Disney’s efforts to keep its parks relevant in a digital age.” Two other projects, based on the hit movies Cars and Bolt, would not have been possible without Lasseter and his Pixar colleagues’ hands-on input, says Bob Iger.
What a professional journey. Being fired by Disney Animation Studios for trying to be too creative, then ultimately becoming the chief creative animation genius for both Disney and Pixar!
This case was written by Michael K. McCuddy, The Louis S. and Mary L. Morgal Chair of Christian Business Ethics and Professor of Management, College of Business Administration, Valparaiso University.
In your paper answer the following with concepts from the reading:
1. What forms of interpersonal power are evident in the case and why?
2. In what ways do the two faces of power appear in this case? Please explain your answer.
3. Does the firing of John Lasseter from Disney Studios and the events leading up to his firing demonstrate the ethical use of power? Explain your answer.
4. Did the firing of John Lasseter indicate the existence of political behavior in the Disney organization? Why or why not?
5. Describe a situation, from your experience, where political behavior in an organization contributed to benefit or detriment to you or someone else.
The requirements below must be met for your paper to be accepted and graded:
• Write between 750 – 1,250 words (approximately 3 – 5 pages) using Microsoft Word in APA style, see example below.
• Use font size 12 and 1” margins.
• Include cover page and reference page.
• At least 80% of your paper must be original content/writing.
• No more than 20% of your content/information may come from references.
• Use at least three references from outside the course material, one reference must be from EBSCOhost. Text book, lectures, and other materials in the course may be used, but are not counted toward the three reference requirement.
• Cite all reference material (data, dates, graphs, quotes, paraphrased words, values, etc.) in the paper and list on a reference page in APA style.
References must come from sources such as, scholarly journals found in EBSCOhost, CNN, online newspapers such as, The Wall Street Journal, government websites, etc. Sources such as, Wikis, Yahoo Answers, eHow, blogs, etc. are not acceptable for academic writing.

Elected official mock interview

Elected Official Mock Interview Assignment

Select an elected state or federal official (legislator) and examine this legislator’s position on a current health care bill of your choice. Following the assignment guidelines below, develop an interview paper as if you were going to interview the legislator. Please note: A current health bill is a bill that is actively going through the legislative process and has not become law yet.

Your mock interview paper should include:
1.A description of the legislator’s background and history of political involvement.

2.A detailed summary of the legislator’s current political involvement, constituent groups, number of terms in office, committee responsibilities, and other leadership experiences.

3.A description of the legislator’s current policy agenda or judicial interest.

4.3–4 key interview questions that relate to the health care bill (legislation) you have chosen.

5. Mock answers to your interview questions. Investigate the answers to your interview questions by looking at the legislator’s website, calling the legislator’s office and speaking with a member of the staff, and/or looking for information and quotes that relate to the legislator’s position on the legislation.

6.Critical insights, analysis, and personal reflection.

7.APA format (6th ed.), proper grammar, and references as appropriate.

8.The mock interview paper should be at least 3 pages of content (excluding the title and reference pages), typed in Times New Roman using 12-point font, and double-spaced with 1″ margins. The cover page and references are not counted as content pages

Music

CONCERT/MUSICAL REPORT

(150 pts total: 25 pts for attending or viewing a concert or musical during this 3-week (18-day) semester and up to 125 pts for the report). The report must be submitted to the course Dropbox by Tuesday, July 26.

Choose a live concert or musical theater event to attend* or a video of a complete concert or musical to view**. The concert or viewing MUST take place during our course, so that you can observe it using knowledge you have gained from the course. After attending the event or viewing the concert or musical, submit a researched report that is at least 1200 words (approx. 4 to 6 pages) using complete sentences and paragraphs in 10- to 12-pt type, double-spaced, including citations as appropriate and a properly-formatted bibliography showing the use of a minimum of six sources. Attach a program, if requested, to your report.

Note that the research and bibliography components are critical to receiving a passing grade for this report. Make sure to proofread your report before submission, and use a standard format such as MLA for your citations and Bibliography (see Parkland Library’s website, “Research Help” if you need information about this–a link is found on your Cobra Home Page). The report may be written in essay style or in paragraphs directly correlating to the sets of questions given below. Complete sentences as well as correct spellings and grammar are expected.

* If you choose to report on a live concert or musical/opera that you have attended, the concert or musical/opera itself, and your attendance of it, must have occurred during the time of this course. Every reasonable effort will be made by the instructor to confirm that this requirement has been met.

** If you choose to view a video of a concert or musical/opera—the event may have occurred at an earlier time.

This is OK. The point is that YOU are viewing it during the time of this class, and that your observations reflect what you are learning in the course of this class. Don’t forget to include the source of the event you viewed in

your bibliography.

Please address the following points in your report:

1. VENUE (10 pts): Give date of the concert, location of the concert, and type of venue.

Q: Was the venue appropriate and suitable for this style of music and method of performance?

Note: If reporting on a film of a musical, identify the year, location, and director of the original stage production, and the year of the film along with its director and screenwriter.

2. PERFORMER(S) (30 pts total):

a. Name(s) of soloist(s) and/or group(s). Identify the musical director, if any.

b. Types of instruments or ensemble and/or vocal range used.

c. General style of music for which performer is known.

Research (20 pts): Provide a brief background on the musicians, the group, and/or the director. You can use as sources the program notes, CD liner notes, and online websites, as well as traditional sources. Make sure to use

at least three different sources. If little information is found about the particular musician(s), you can research the background of the general style of music they are known for.

3. MUSIC PERFORMED (30 pts total):

a. Names of composer(s) represented (if available) and the compositions performed. (If more than four composers or compositions were performed, please don’t list all, but identify a selection to show the musical range of the concert.)

b. Genre of these works (e.g., musical theater, symphony, opera, string quartet, jazz, gospel, classical piano, type of

rock/pop).

Research (20 pts): Give a brief definition and background or history of the composers or musical styles represented, including the dates or era during which each style of music was most prominent, the place of origin (as generally accepted), and whether the music reflects its culture and time (such as the way, for example, American Rock music is a reflection of American culture for a given time period). Again, use a minimum of three different sources to confirm what is considered “common knowledge” and what may be considered opinion or conjecture.

Q: Did you feel the choice or ordering of musical selections provided unity or created contrast in the concert? Was it an effective program?

4. MUSICAL DESCRIPTION (30 pts):

a. If you are attending a concert, try to describe one piece that was performed in a way that the reader can have

a sense of what you were hearing. Try to address the various musical elements as best as possible:

· overall form or dramatic shape of the piece

· texture and timbre (what are the roles of the various instruments/voices, how are they combined or used for musical effect, and what is the dynamic range?)

· tempo and rhythmic characteristics

· the primary melodic and harmonic ideas (or more generally, you could comment on whether the use of pitch seemed mostly dissonant or consonant, and whether the piece finally achieved a sense of closure or seemed left “open” harmonically).

Or

b. If you are attending a musical theater event, please address the following issues. Identify specific examples

from the story and music in regard to answering the following three sets of questions.

· WHAT IS THE GENERAL ROLE OF THE MUSICAL SCORE? Does the music play a role in telling the story, does it interrupt the story line, and/or does it play more of a background role? If the latter, is it setting the mood for different scenes, is it paralleling more of a play-by-play action, or is it providing some kind of secondary commentary, such as creating a sense of irony? How are these aspects of the music achieved?

· WHAT IS THE ROLE OF THE LYRICS, IF ANY? Does dialogue lead smoothly into songs, suspending disbelief about the unusual situation of characters breaking into song (and dance)? Or is the show more a vaudeville or revue, not meant to tell a story, so that the musical numbers don t need to interrelate? Or are songs used as background music, and if so, how?

· WHAT IS THE ROLE OF CHOREOGRAPHY, IF ANY? Does choreography play a role in telling the story, or is it used for entertainment value only? Is it used to identify and/or define characters, to express their emotions, and/or to move the action along? Is the choreography well integrated with the music you hear? Does it enhance or conflict with the music? How?

5. AUDIENCE AND PERSONAL RESPONSE (10 pts): Describe the audience as a whole, and the typical audience member. Use the following questions as appropriate to help you form a response. If you are viewing a video and no audience is apparent, then please extend your research to include two different reviews of the

performance, with which you can argue pro and/or con.

a. Was the audience what you expected for that venue?

b. What was the audience’s reaction to the overall concert? Did it seem they were more interested in the performer(s) or the music being performed? In general, did you agree with their reaction, or did you feel at odds with the majority of the audience?

c. Was there any part of the concert during which the audience’s reaction seemed particularly strong positively or negatively? If so, please describe.

d. Was the performance convincing? Did the performer(s) “connect” with the audience in some way that seemed appropriate for the style of music? Please explain your impression.

e. Your final impressions.

6. BIBLIOGRAPHY (15 pts): A bibliography of the sources you used for research must be supplied. MLA or APA or any other standard bibliographic style is acceptable. Expect to consult a total minimum of SIX sources, including program notes or CD liner notes. Please include at least two proven reputable sources, such as articles from the Grove Dictionary of Music Online (available through the Parkland Library website), Rolling Stone Magazine, or published books or reviewed periodicals.

Please note that proper citation for use of quotes or paraphrasing of material is expected. Any form of plagiarism or fabrication of attendance or viewing of an event will result in the assignment of “zero” for the project as well as a report to the College. A lack of a bibliography may reflect a loss of greater than 15 points if research and citation requirements have not been demonstrated.

WRITING MECHANICS (Spelling/Grammar, etc.): Up to 15 points may be deducted from total score. The general formula will be -0.5 pt/error. For longer, well-flushed out papers, this formula may be prorated. Please proofread your work carefully before submission and make sure your ideas are presented clearly!