Importance of Goal Hood Foundation †Free Samples to Students

Question: Examine about the Importance of Goal Hood Foundation. Answer: Presentation The significance of objective setting can be characterized utilizing Edwin Lockes objective setting hypothesis of inspiration. As indicated by the hypothesis, defining objectives is straightforwardly identified with the inspiration, center and the inevitable accomplishment of said goals(Akdeniz, 2015). A portion of the basics of objective setting as characterized by the hypothesis incorporate the eagerness to move in the direction of the accomplishment of the objective; the noticeable quality of succinct and troublesome objectives over simple ones, the accessibility of cutoff times and checkpoints to monitor progress, lastly the objective ought to be reasonable yet at the same time present significant test. This article targets examining the procedure through which this semesters set objective was accomplished. The objective was to arrive at a GPA of 3.5 toward the finish of the semester. Talk about the objective that you set for yourself and how you arrived at it. Instruction is regularly considered as a triumph empowering agent. Learning different ideas prepares understudies to survey the open doors benefited by different areas throughout everyday life; just as exploit them towards the accomplishment of their set goals(The Heal The Hood Foundation Of Memphis, 2010). Subsequently, accomplishment in training is seen as a venturing stone towards achievement throughout everyday life; accordingly it is the longing of each understudy to achieve model evaluations as a method of improving ones future. In accordance with this, the subject objective for the semester is to achieve an evaluation of no under 3.5 GPA. The fundamental procedure used to achieve the previously mentioned objective is to build up a self-appraisal system. The system included understanding which units filled in as qualities and which ones were additionally testing. After this, the system included idealizing my qualities while attempting to improve the most testing viewpoints. The advancement of legitimate time the executives techniques supplemented the self-evaluation system. The self-evaluation system clarified that I am acceptable at hypothetical ideas as opposed to numerical ones. In this way, it appeared well and good to consummate all hypothesis based units and achieve the most ideal evaluation. Then again, I made plans to take a shot at the scientific ideas to raise the possibility to accomplish a passing mark. On the time the board factor, a plan was created with additional time portions for the numerical units. On the whole, this gave a superior possibility of achieving the 3.5 GPA Talk about any difficulties you confronted seeking after this objective and how you conquered these difficulties Other than the presentation of significant ideas that were hard to comprehend, the most eminent test was the interest for enormous autonomous research. The expansive idea of most units required broad research; accordingly putting a strain on the time required to contemplate. How does the new development you accomplished assistance you in your expert profession or future objectives? Expertly, the development has created pivotal individual characteristics, for example, versatility and autonomy which are critical in vocation advancement. Further, cooperation inside the school set up offered presentation to contrasting recognitions and societies. Therefore, I am in a superior situation to deal with relational abilities inside a working environment set up. Talk about how your insight and comprehension of the Myers-Briggs attributes may have been a piece of helping you arrive at your objectives. The Myers-Briggs qualities aid the comprehension of ones personality(Gardner, Jewler, Barefoot, 2008). Understanding that I am exceptionally insightful, self-assured, natural and slanted to believing was instrumental in the advancement of my examination system. Further, the Myers-Briggs attributes are much progressively instrumental in the advancement of connections and relational associations. Understanding my social butterfly nature was helpful in the treatment of gathering conversations that were vital for better comprehension of ideas. References Akdeniz, C. (2015). Monetary Goal Setting Explained. Awful Bodendorf: Can Akdeniz. Gardner, J. N., Jewler, A. J., Barefoot, B. O. (2008). Your College Experience: Strategies for Success. Boston, MA: Cengage Learning. The Heal The Hood Foundation Of Memphis. (2010). How the Hood Was Healed: A Non-anecdotal Depicting Of A Urban Based Movement. Xlibris Corporation.

The Inspectors Calls Essay Example for Free

The Inspectors Calls Essay Investigate how viably Priestly conveys his ethical message by dissecting the jobs of the examiner and Mr Birling An Egalitarian would accept that everybody ought to be equivalent, either monetarily or socially. An Egalitarian would need the treatment of everyone to be certain, reasonable and the equivalent subsequently we are individuals from one body they accept there ought to be no isolation for what their identity is. These are perspectives on the auditor. He thinks about the working white collar class of society in view of the manner in which he feels theyre being treated throughout everyday life. An ideal case of this is Eva Smith. Shes a regular workers lady that battles and work, to attempt to get a conventional way of life contrasted with the high society business people. Entrepreneur sees are essentially about cash, business, benefit, their monetary needs and themselves. They are self-loped egotistical. Much the same as Mr Birling. The Capitalist perspectives are clearly tried in him and his family. For one, Mr Birling thinks especially about his business and cash. This is appeared by the circumstance with Eva Smith and his managers. He will not give a little compensation rise. They needed the rates raised with the goal that they could average around twenty-five shillings per week. I cannot, obviously. This outcomes to Mr Birling taking the main wicked act towards Eva smith. Not at all like Mr Birling his good old perspectives, the auditor shows that he thinks about the regular workers by contributing Eva Smiths case and causing everybody of the Birling family to feel terrible to perceive what they fouled up. He continues suggesting what they fouled up how they influenced Eva however youre halfway to fault. similarly as your dad may be, (cruelly) Yes. Be that as it may, you cant. its past the point of no return. This speaks to what their convictions are and how it influences the common laborers. Due to Mr Billings narrow-mindedness benefitting contemplations, he sacks Eva. Id consented to this interest for another rate marry have added around twelve percent to our work costs So I won't. furthermore, in the event that they didnt like those rates, they could go work elsewhere He influences her by putting her out of an occupation, procuring no cash while he doesnt mull over her after that and continues on ahead, She had a ton to state a great deal excessively - so she needed to go not at all like the investigator and his perspectives. He needs to accomplish acknowledgment of the manner in which the common laborers are being dealt with. At the point when the word Goole rings a bell, it can mean distinctive capacity and implications. Goole seems as though it was puzzling spooky qualities, sound to the word. It can likewise stable as though it was said with power. That could speak to an adjudicator, an honest individual and it really becomes an integral factor with the controller. He comes clean with makes come out, as though he serves equity to Eva Smith and the common laborers. He makes reprisal to Eva and marginally vindictive towards the Birling family for the benefit of Eva Smith. With the monitor also, he can be appeared as a dream character. He is there with the family, posing inquiries about something that hasnt even occurred at this point, yet when Gerald goes out and gets some information about him outside. I met a police sergeantthere wasnt any Inspector Goole or anyone like him on the power. They havent even knew about the controller. He doesnt exist. This could speak to a figment. The Inspector is demonstrated in the play to be conclusive, critical, definitive and solid disapproved. He realizes what hes doing. Hes astute, he talks when its essential and likewise he is in charge, for example, he shows the photo of Eva Smith to the individual he is alluding to. Not any other person (INSPECTOR snaps a picture, about postcard size, out of his pocket and goes to BIRLING. Both GERALD and ERIC ascend to view the photo, however the INSPECTOR mediates himself among them and the photo.) Hes not the leader of the house hold or a high society figure, yet he remains in charge dissimilar to Mr Birling. Mr Birling is biased unreasonable, Gibberish inside type of talks. He discusses chronicled periods/occasions which happened the titanic said that it will be resilient, totally resilient yet truth be told, what he said was mistaken. The Titanic really sank. Clerical presents these two characters to reflect whats occurring in his general public in that time. Mr Birling is clearly depicted to be the higher class (with easily overlooked details, for example, having a head servant, being companions with individuals with a higher societal position and playing golf) Priestly makes them seem to be an egotistical, cutthroat, irrational man. This depicts his opinion of the high society where as The Inspector is caring yet harsh, intentional also, he speaks to the center average workers. Religious depicts The Inspector as though he was a courier, to convey his ward to the high society. He needed to make the crowd see what was occurring and the impact/outcomes of the solid class divisions and to offer his input of what he thought of the divisions. Mr Birling is uncovered to be rude, snooty character. You can see this by what he says Nothing to do with you run alongto Sheila and to the inspectorI dont like your tone (rather furiously anxiously and pointedly). These show his feelings character since hes an industrialist, he is utilized to extravagance and hes grown up to look down on the lower class. The stage bearings gives us, the perusers a visual picture of what Mr Birlings doing whether its the manner in which he talks, strolls, outward appearance, non-verbal communication or style. Mr Birling non-verbal communication is by all accounts firm, encased just by how he is portrayed in the content by the utilization of language for his character. She looks mindful soon after Mr Birling makes reference to this worries you also contrasted with him, The Inspector is an intentional, harsh watching. He takes a gander at everyone and judges everybody by taking a gander at every individual, as though he was filtering the people databas e of character history. He is deliberate Creates without a moment's delay an impression of a vastness, strength intentionality. Consecrated needs us to feel various feelings towards them. He needs us to make us see what they are used to, what their issues are to feel how others responds with them for example Sheila. Sheila is Mr Birlings girl despite the fact that she included another circumstance/sin on all that has been occurring to Eva, in contrast to the others, she shows regret when she says: actually no, not so much, it was my own flaw. she takes a gander at it intently, remembers it [the picture of Eva] with a little cry and afterward runs out. Sheila is diverse to the others since she is the one in particular that shows regret coerce and admits that it was her own issue. Generally speaking he needs the crowd to feel every character, disposition, and their method of seeing thing. on the off chance that the peruser understands that, they will see his message. From the start the disposition of the house is quiet, formal, unpretentious euphoric in light of the fact that they are commending the commitment. Everything is working out as expected; they have all had a decent supper, are commending a unique event are very satisfied with themselves. The room is brilliant and nothing impolite has been said except for, when the assessor comes in, the entire environment and temperament changes goes the inverse. Its beginnings very dim, dull, certainly genuine. He makes an overwhelming impression by simply acting naturally. Somebody with power or somebody to be with the law is consistently not acceptable, so when that somebody visits, individuals will begin to feel awkward and somewhat bothered. The points changes to Eva. The auditor hops right to the point saying (two hours back a young lady kicked the bucket in the infirmaryshed gulped a great deal of solid disinfectant. Consumed her back to front, that young lady being Eva. He comes clean and he says it how it is. Since the family are high society, they would not anticipate this conduct, they are not used to anyone addressing them as such, so the respond stunned and irritated. In the end the festival party transforms into an admission meeting. In the wake of everything has occurred in act one, all the family sins come out and all are fearing about whats going to occur straightaway. Mr Birling has the control of the family unit toward the beginning. You would expect this since hes the man/leader of the family (father spouse), he gains the most significant compensation in the family, hes a man he is a noteworthy man (seen by his loved ones) in view of his riches, business economic wellbeing. Everybody focuses on him. Hes additionally regarded by his family, however when the overseer comes in, the authority right away flips over to the assessor since he is an agent of the police and the law ( the Inspector needs not to be a major man bit he makes on the double on impression of enormity, strength and deliberateness ). At the point when individuals sees this they will constantly set the individual beneath the position figure, for this situation, Mr Birling is the dark horse and the reviewer beats the competition. They would need to know why he is there, what does he need to know and attempt to get him away as quickly as time permits. Indeed, even Mr Birling withstands and obeys him as some other individual in the room. This cuts down his control level. The assessor likewise holds control by easily overlooked detail he accomplishes for instance: He just shows the photo among himself and Mr Birling. Every other person needs to see it yet he can't and does this for an explanation, To show a demonstration of power. Another demonstration is the point at which he lets each character concede their wrongdoings towards Eva Smith, yet not on the double. He controls them by posing inquiries they disentangle themselves, there story they understand they are incorrect, partially he can make Sheila breakdown (she nearly separates, yet just controls herself)and so he has a play of their feelings Just towards the finish of act 1. Mr and Mrs Birling add to Evas demise by having a huge negative effect on the reasons why. Mr Birling sacked Eva for taking to the streets and going to bat for her feelings for a little compensation rise. Mr Birling heightens the circumstance into a greater thing then it is. It causes him to do intense things. This is the equivalent with Mrs Bir

Winterizing Your Home How To Prep for Winter on the Cheap

Winterizing Your Home How To Prep for Winter on the Cheap How to Prep Your Home for Winter on the Cheap How to Prep Your Home for Winter on the CheapDon’t let the winter frosts crack a hole in your budget.The summer weather may be lasting longer this year, but the cold shall come again. And when it does, you want to be ready for it. If you have a family, you don’t want them to be freezing through the season, and even if you live on your own, you still shouldn’t want to freeze. It’s very bad for your health.Of course, you can always run up huge heating bills and take out a high-interest loan to pay for damage from winter storms. Thats one way to get through  to springâ€"although your savings might not make it. Being broke isn’t as bad as freezing to death, the former can certainly lead to the latter, so it’s really better avoided.That’s why the time to start winterizing your home right now.  The sooner you get prepped, the better chance youll have to avoid serious bills and the predatory bad credit loans and no credit check loans that follow in their wake. That’s why we spoke to the experts to find out how you can get your home ready for winter for less. Read on to learn how to prepare your home for winter weather and save cash!Get an audit (the good kind)The first step in spending less on heating your home is figuring out how much you’re actually spending on heating your home and energy in your home in general. And the best way to do that is with an audit.“I just bought a home that is quite old, and Im worried about the energy costs I will accrue,” financial expert Maggie Germano (@MaggieGermano) told us, sharing her personal experience with preparing her home for winter. “This is especially true in the master bedroom, which was built into what used to be the attic. There are clearly some insulation issues, and I dont want to go broke paying my utilities. One solution Ive found is to get a home energy audit. There is a local company that teams up with my states environment department in order to cut energy use and spending. They assess you r home and recommend any changes or updates you should incorporate.To make it better, they tell you about any tax benefits you can get from the state by implementing these changes. So not only will you save money on energy costs, but youll also likely get a tax break for doing so. Im really looking forward to my energy audit, and cant wait to make my home as sustainable as possible.”Award-winning author Shel Horowitz (@shelhorowitz) advised how not to spend too much on your audit: “Get an energy audit from your local electric company. Power companies are under instructions to encourage conservation, so they typically do energy audits for free or for a $10 or $20 fee.”Of course, if you want to be sure you’re getting your energy audit for free, you can always perform your own version. “One way to prepare your home for winter is to review your electricity bills and address how much you’re actually paying for electricity,” suggested Kelly Bedrich, co-founder of  Electricit yPlans.com  (@shopelectricity). “If your home uses an electric heating system, electric hot water heater, or if you pull a Clark Griswold and like to go crazy with the holiday lights, you may benefit from shopping for a lower electricity rate.”Bedrich even offered some specific ways you can lower your rate in a previous article about keeping your house cool for less during the summer.But, of course, there are changes in behavior and home you can make to really rack up the savings while staying warm.Insulate, insulate, insulateA properly insulated house can be as warm as a little furry fox wrapped in a blanket licking hot cocoa from a small dog bowl by a roaring fire surrounded by a family telling it how much they love it.To that end, Ali Wenzke (@AliWenzke)  of  The Art of Happy Moving told us two essential insulation goals. The first targets one of the more obvious ways that the cold air cold air can leak into your house: the windows.“For under $10, you can make a huge impact on cutting down your winter heating bills by using a window insulation kit. If done properly, you wont even notice the plastic wrap on your windows. If youre not crazy about the look, then compromise and only insulate windows that you see less often or that are usually covered by window treatments.”The other location is a little bit spookier: “Even if theres a layer of insulation in your unconditioned attic floor, the problem is that the heat will rise to fill the cold area created by any leaks or holes. Namely, the heat youre trying to conserve in your home will sneak its way up through the attic door. To save yourself some money in the long term, invest in an attic insulation tent or a box that fits over the opening of your pull-down stairs.”John Bodrozic, co-founder of Homezada (@HomeZada) gave us even more advice for keeping the heat from leaking out of the attic:“Check the attic for spots or areas where the insulation is a bit thin. This could be over an access door, o r in areas around pipes, and equipment that go through the attic floor and into the house. Adding a few layers of insulation there really helps warm air from escaping the house.“Check your ductwork in the attic. Most ductwork in the attic is hung, and therefore develops a sag over time. This sagging can create a situation where a smaller piece of the ductwork has disconnected from a bigger part. This creates a lot of waste as hot conditioner air is blowing into the attic and not into the house/room where the disconnected duct is.“In addition, you should consider insulating the ductwork and making sure as much of each duct is wrapped in insulation. This is another area where heat escapes and thus the house not being as warm as it should.”But that’s not all!Finding an outletIt turns out there might be heat leaking out of your house in nearly every room. Here’s what Horowitz told us to look out for:“Put your hand over an electrical outlet on an outside wall on a cold night and you’ll feel the rush of frigid air! Insulate your electrical outlets, switches, and phone jacks on outside walls.If your energy auditor didn’t give them to you, most hardware stores sell inexpensive foam outlet and phone jack insulation pads; just unscrew the faceplate, slip the foam pad on, and put the faceplate back.”Now let’s climb up onto the roof!The roof, the roof, the roof being on fire isn’t an advisable way to keep your house warmLet’s head all the way to the roof of the house now, or as nobody calls it, the hat of your home.“Your roof is integral, keeping your house warm, dry, insulated and protected from the outdoors,” Sage Singleton, home maintenance expert at Safewise (@SafeWise), advised. “Just like a car needs a regular oil change, your roof needs a regular inspection to make sure it is in good condition. Dont wait for the harsh winter months to see if the roof is leaking or has ice backup. Ice backup forms in winter and is caused by poor ventila tion or inadequate insulation in the attic.”And Singleton also had some advice for the roof’s sideburns, the gutters: “Gutters control water flow, away from your roof, walls, and foundation. When they get clogged with leaves and debris throughout the year, they no longer function properly. If your gutters are clogged, they can cause water to overflow and flood your basement. Clean out your rain gutters, ideally each spring and fall. Cleaning your gutters in the autumn ensures they are clear of debris and will function properly in the cold, wet months to come.”And what are gutters, really, butThe time is pipepipes that have been cut in half. And when it comes to getting your house ready for winter, it’s important to get the pipes ready.“During winter, outside water can freeze and burst exterior pipes,” warned Singleton. “Rather than letting this happen, take precautions to prevent frozen pipes by disconnecting all garden hoses and draining any water left in outdoor sp igots. If you have an automatic sprinkler system, drain it as well.If the temperature will drop below freezing overnight, leave exterior faucets trickling to avoid the pressure buildup that causes burst pipes. You can also avoid frozen and burst pipes inside your house by insulating your home and pipes. Use foam, heating cables, or pipe sleeves, and seal any cracks in your home’s exterior.”When you winterize around the house, you winterize AROUND the houseAnd now, before we go, we’ve got some more general tips you can use to keep your house warm on the cheap.Carson Yarbrough, personal finance and savings specialist for credit cards at Offers.com (@Offers), gave us three different winter prep tips.The first was about your water heater: “Get free savings with this simple trick. Hot water heaters are typically set at around 140 degrees. Lower the temperature on yours to 120 for savings on thermal energy costs. You’ll also lessen the chance of accidental burns, and the water w ill still be hot enough for showers, laundry and doing the dishes!”Next she offered us a way to insulate one of the few places in the house we hadn’t told you to insulate yet: “You can install a door sweep to stop chilly winds from entering your home under an outside door. A door sweep is a flexible piece of rubber or plastic that’s held to the door’s lower edge by a strip of aluminum. You can find cheap door sweeps at home improvement stores anywhere from $6-$40.”And your furnace filters? Yeah, Yarbrough told us you’re going to want to replace those: “Dirty furnace filters reduce furnace efficiency and raise heating utility bills. They also shorten the life of a furnace! Check and replace the furnace filter monthly in winter to see savings on your monthly bill. If youre unable to see through the filter, its time to replace it. You can find a 4 pack at Walmart for just $15 $3.75 a filter well worth it for those added winter savings!”Jeffrey Weldler, Marketing Dir ector and Interior Decorating Expert at Vänt Wall Panels (@VantPanels), gave us a couple tips of things to keep an eye on around the house: “Keep closet doors closed and close off rooms you don’t use. Close vents in unused rooms so you don’t pay to heat space you’re not using. Look for cracks in your exterior or foundation. You can seal them with caulking to keep the draft out. Also check the roof for missing shingles or tiles to make sure moisture doesn’t get in your attic and cause mold.”Finally, Kelly McClenahan, decluttering expert for Price Self Storage (@PriceStorage), told us a way to winterize your home while making it even homier: “This time of transition is a good time to spruce up your home and organize your things for the coming cold seasons. Arrange blankets on couches, chairs, and beds throughout the house so they will be within reach when the chill starts creeping in.Make your bedroom ready for the cold by switching out your light summery bed linens for cozier fabrics and richer colors. Flannel sheets are great for cold nights. Layer blankets or even a faux fur throw to add richness and warmth. Slippers are the best way to keep your feet warm in the winter. A basket of slippers by your front door for visitors to don after taking off their muddy or snowy boots would be a nice touch.”Take all of this advice, and your home will be as warm as our appreciation for you! And without breaking the bank!How do you prepare your home for winter? Let us know! You can email us or you can find us on  Facebook and  Twitter.  ContributorsKelly Bedrich  is Co-Founder and President of  ElectricityPlans.com, an innovative electricity shopping experience focused on quality electricity providers, straightforward plans, and data-driven tools to help customers find their perfect electricity plan.   He is also President of  Cypress Capital Ventures LLC, a website portfolio company focused on addressing consumer needs in renewable energy. He is an IT ent repreneur, energy conservation advocate, and loves to help others reduce their energy usage through awareness and education.John Bodrozic  is a co-founder of  HomeZada, an online and mobile home management solution. HomeZada strives to educate and provide resources for homeowners in all areas of home management, including home inventory, home maintenance, home finances and home improvement projects.Maggie Germano,  is a Certified Financial Education Instructor and financial coach for women. Her mission is to give women the support and tools that they need to take control of their money, break the taboo of discussing debt and income, and achieve their goals and dreams. She does this through one-on-one  financial coaching, monthly  Money Circle  gatherings, her weekly  Money Monday  newsletter, and speaking engagements. To learn more, or to schedule a free discovery call, visit  maggiegermano.com.Kelly McClenahan is a storage industry professional, marketing manager for Price Self Sto rage (@PriceStorage) and editor for the Live Uncluttered Blog. She enjoys finding and sharing creative solutions to home decluttering and organization challenges.Jeffrey Weldler  is the Marketing Director and Home Design Expert at Vänt Wall Panels. Vänt Wall Panels are the most innovative and user-friendly wall décor system ever created. Vänt is inspiring living at its finest. They’re perfect for every room in the house,  from the kitchen and bedroom to the living room and office. Learn more about Vänt by visiting  Vänt Wall Panels.Ali Wenzke, Moving Expert, moved 10 times in 11 years. Now she’s helping the millions of people who move each year by providing practical tips on how to make moving a happy experience at  The Art of Happy Moving. After calling seven U.S. states home, Ali is now happily settled in the Chicago suburbs with her husband and three children. She doesn’t plan on moving anytime soon.Carson Yarbrough is a Consumer Insights Specialist for Offers.com (@ Offers), and loves finding a good deal. She covers all things shopping, spending, and deal-hunting. Carson is passionate about discovering the best finds and sharing insights with consumers. In her free time, she loves finding free shows, music festivals and spending time around the beautiful city of Austin.

Global Communications Problem Solution Free Essay Example, 2750 words

Often communication and assertion of aligning individual goals to organizational goals and expectations will help to remind that the company becomes a company because of the network of people that makes it. Problem occurs when the order and control of the organization suffers because communication failure. Managers and production workers should work hand in hand to make sure that organizational goals are met, and to ensure this is for in both levels to communicate with the collective needs. This relationship between both will serve as a steering wheel that will give direction to the smooth movement of the whole group. Making communication often will satisfy the need for constant monitoring of the status of the organization. This will also address internal and external problems that might presently taking place and give proper attention. Communication should be two way, which means that everyone is open for the deliberation and voicing out of ideas and suggestions that will ensure th e smooth flow of the group. Failure of communication takes place when it is not sure whether the other party understands the information or not. We will write a custom essay sample on Global Communications Problem Solution or any topic specifically for you Only $17.96 $11.86/pageorder now When misinterpretation of the information occurred, it only leads to a chaotic misunderstanding to the managers and production workers, superiors and employees. Generating a solution to a particular problem or issue will be interrupted and will slow down organizational functions. In this condition, this failure will not only affect human relations but on a general perspective, a chain effect of an over-all failure is expected. The communication skill of the leader is a plus in handling communications during crisis. Bear in mind that in the modern trend, many factors should be considered in handling communication. There are different of areas of organizational communication, and these areas should not skip from the mind of a skilled negotiator. These areas are dimensions to which approaches might fit or vary. Dimensions may include the communication process, barriers to communication, gender issues, language and communication means. These dimensions will help the negotiator to understand on how he will handle communication among members of the group. It is not only understanding the essence of communication and its contribution to synergy, but also understanding self and others to make sure that communication occurs in a two-way manner. On the context of communication, both verbal and non-verbal means are dimensions to understanding communication itself (Blumer, 1972).

Classroom Instruction And Lesson Planning Process - 993 Words

Appropriate texts, knowledge transformation, and learner development are all connected under the umbrella of Content Area Literacy. According to Hodges (2015), comprehension is the ultimate goal of content area literacy and all of this attributes play part in reaching that goal. All are important concepts to apply to our classroom instruction and lesson planning process. It is not just about reading the text well, but actually understand what is being said by the writer. This can be understood in many of these concepts. I enjoyed reading about content area literacy because I never realized that content area teachers are also teachers of reading. This was very interesting because when we think of a science teacher we expect them to be good at science and understand only that subject area. Though at the same time they are trying to teach the student to understand the text being read. Many content area teachers do not know how to help their students become better readers of expository text. According to Wendt (2013), â€Å"Although much research exists on the topic of literacy, the wide scope of the field may confuse or intimidate teachers who serve areas that are not directly related to reading and language.† As a future teacher, I want to facilitate the importance of understanding what is read from the text whether I teach science, history, etc. I want to teach first or second grade, so this concept is still important because I need to teach students to transform their knowledgeShow MoreRelatedAnalysis Of Michael Ondaatje s Running Of The Family Essay927 Words   |  4 Pagesbe physically in a classroom, instead could be found wandering about aimlessly. I could never understand why they were all heralded as paragons in their field. They were never there. We once spent 3 days discussing the purpose of trees in Michael Ondaatje’s Running in the Family. 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Glossary of Musical Terminology Free Essays

string(72) " the main tempo of the piece \(after an accelerando or ritardando, etc\." Glossary of musical terminology From Wikipedia, the free encyclopedia Jump to: navigation, search This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian (see also Italian musical terms used in English), in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. We will write a custom essay sample on Glossary of Musical Terminology or any similar topic only for you Order Now Most of the other terms are taken from French and German, indicated by â€Å"(Fr)† and â€Å"(Ger)†, respectively. Others are from languages such as Latin and Spanish. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms here. For a list of terms used in jazz, country, rock, and other popular music genres, see the Glossary of jazz and popular musical terms. Contents| A B C D E F G H I J K L M N O P Q R S T U V W Z References  Ã‚   External links| A a, a (Fr): at, to, by, for, in, in the style of†¦ * a 2: see a due in this list * a battuta: return to normal tempo after a deviation; same as ‘a tempo’ * abbandonatamente, con abbandono: free, relaxed * aber (Ger): but * a bene placito: up to the performer * a cappella: in the manner of singing in a chapel; i. e. , without instrumental accompaniment * accarezzevole: expressive and caressing * accelerando, accel. : ac celerating; gradually increasing the tempo * accent: emphasize, make a particular part more important * accentato/accentuato: accented; with emphasis acceso: ignited, on fire * acciaccato: broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top. * acciaccatura: crushing; i. e. , a very fast grace note that is â€Å"crushed† against the note that follows and takes up no value in the measure * accompagnato: accompanied; i. e. , with the accompaniment following the soloist, who may speed up or slow down at will * adagietto: rather slow * adagio: at ease; i. e. , play slowly * adagissimo: very, very slow ad libitum (commonly ad lib; Latin): at liberty; i. e. , the speed and manner of execution are left to the performer * a due: intended as a duet; for two voices or instruments; together; two instruments are to play in unison after a solo passage for one of the instruments * affannato, affannoso: anguished * affettuoso, affettuos amente, or affectueusement (Fr): with affect (that is, with emotion); see also con affetto * affrettando: hurrying, pressing onwards * agile: swiftly * agitato: agitated al, alla: to the, in the manner of (al before masculine nouns, alla before feminine) * alla breve: in cut-time; two beats per measure or the equivalent thereof * alla marcia: in the style of a march * allargando: broadening, becoming a little slower each time * allegretto: a little lively, moderately fast * allegretto vivace: a moderately quick tempo * allegrezza: cheerfulness, joyfulness * allegro: cheerful or brisk; but commonly interpreted as lively, fast * allegrissimo: very fast, though slower than presto all’ ottava: â€Å"at the octave†, see ottava * als (Ger): than * alt (English) (also alt dom or altered dominant): a jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with altered upper extensions (e. g. , sharp 11th, flat 13th, etc. ). * altissimo: very high * alto: high; often refers to a particular range of voice, higher than a tenor but lower than a soprano * alzate sordini: lift or raise the mutes; i. e. , remove mutes * am Steg (Ger): at the bridge; i. . , playing a bowed string instrument near its bridge, which produces a heavier, stronger tone (see sul ponticello in this list) * amabile: amiable, pleasant * amoroso: loving * anacrusis: a note or notes that precede the first full bar; a pickup * andamento: used to refer to a fugue subject of above-average length * andante: at a walking pace; i. e. , at a moderate tempo * andantino: slightly faster than andante (but earlier it is sometimes used to mean slightly slower than andante) * angstlich (Ger. ): anxiously a niente: to nothing; an indication to make a diminuendo which fades to pppp * a nessuna cosa: to nothing; an indication to hold a fermata until it dies away (this only works with instruments which cannot sustain a note) * anima: feelin g * animandosi: animated, lively * animato: animated, lively * antiphon: a liturgical or other composition consisting of choral responses, sometimes between two choirs; a passage of this nature forming part of another composition; a repeated passage in a psalm or other liturgical piece, similar to a refrain. 1] * apaise (Fr): calmed * a piacere: at pleasure; i. e. , the performer need not follow the rhythm strictly, for example in a cadenza * appassionato: passionately * appoggiatura also called a â€Å"leaning note†: one or more grace notes that take up some note value of the next full note. * a prima vista: Sight-read (lit. â€Å"at first sight†); i. e. , (to be) played or sung from written notation but without prior review of the written material * arco: the bow used for playing some string instrument; i. e. played with the bow, as opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction * arietta: a short aria * arioso: airy, or like an air (a melody); i. e. , in the manner of an aria; melodious * armonioso: harmoniously * arpeggio: like a harp; i. e. , the notes of the chords are to be played quickly one after another (usually ascending) instead of simultaneously. In music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise. Arpeggios are frequently used as an accompaniment. See also broken chord in this list. * arpeggiato: a way of playing a chord: starting with the lowest note, and with successively higher notes rapidly joining in. Sometimes the effect is reversed, so that the highest note is played first. * assai: very * assez (Fr): enough, sufficiently * a tempo: in time; i. e. , the performer should return to the main tempo of the piece (after an accelerando or ritardando, etc. You read "Glossary of Musical Terminology" in category "Essay examples" ); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) * attacca: attack or attach; go straight on; i. e. at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause * Ausdruck (Ger): expression * ausdrucksvoll/mit Ausdruck(Ger): expressively, with expression * avec (Fr): with or with another B * B: German for B flat (also in Swedish, Finnish, Icelandic, Danish and Croa tian); H in German is B natural * barbaro: barbarous (notably used in Allegro barbaro by Bela Bartok) * Bartok pizzicato: a term which instructs string performers to play a pizzicato note to pull the string away from the fingerboard so that it snaps back percussively on the fingerboard. bass: the lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony; in an orchestral context, the term usually refers to the double bass. * basso continuo: continuous bass; i. e. , a bass part played continuously throughout a piece to give harmonic structure, used especially in the Baroque period * battement (Fr. ): used in the 17th-century to refer to ornaments consisting of two adjacent notes, uch as trills or mordents * beat: (1) the pronounced rhythm of music; (2) one single stroke of a rhythmic accent * bellicoso: warlike, aggressive * ben or bene: well; in ben marcato (â€Å" well marked†) for example * bend: jazz term referring either to establishing a pitch, sliding down half a step and returning to the original pitch or sliding up half a step from the original note. * beschleunigte (Ger): accelerated, as in mit beschleunigter Geschwindigkeit, at an accelerated tempo * bewegt (Ger): moved, with speed binary: a musical form in two sections: AB * bird’s eye: a slang term for fermata, which instructs the performer to hold a note or chord as long as they wish * bis (Lat): twice; i. e. , repeat the relevant action or passage * bisbigliando: whispering; i. e. , a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume * bocca chiusa: with closed mouth * bravura: boldness; as in con bravura, boldly * breit (Ger): broad * bridge: Transitional passage connecting two sections of a composition, also transition. Also the part of a stringed instrument that holds the strings in place and transmits their vibrations to the resonant body of the instrument. * brillante: brilliantly, with sparkle * brio: vigour; usually in con brio * brioso: vigorously (same as con brio) * broken chord: A chord in which the notes are not all played at once, but in some more or less consistent sequence. They may follow singly one after the other, or two notes may be immediately followed by another two, for example. See also arpeggio in this list, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass. bruscamente: brusquely C * cadenza: a solo section, usually in a concerto or similar work, that is used to display the performer’s technique, sometimes at considerable length * calando: falling away, or lowering; i. e. , getting slower and quieter; ritardando along with diminuendo * calore: warmth; so con calore, warmly * cambiare: to change; i. e. , any change, such as to a ne w instrument * canto:chorus; choral; chant * canon or kanon (Ger): a theme that is repeated and imitated and built upon by other instruments with a time delay, creating a layered effect; see Pachelbel’s Canon. cantabile or cantando: in a singing style * capo: 1. Capo: a key-changing device for guitars and banjos; 2. head; i. e. the beginning (of a movement, normally). * capriccioso: capriciously, unpredictable, volatile * cedez (Fr): yield, give way * cesura or caesura (Latin form): break, stop; i. e. , a complete break in sound (sometimes nicknamed â€Å"railroad tracks† in reference to their appearance) * chiuso: closed; i. e. , muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) * coda: a tail; i. e. a closing section appended to a movement * codetta: a small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement * col, colla: with the (col before a masc uline noun, colla before a feminine noun); (see next for example) * colla parte: with the soloist; as an instruction in an orchestral score or part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo performer (usually for a short passage) * colla voce: with the voice; as an instruction in a choral music/opera score or orchestral part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo singer (usually for a short passage) * col legno: with the wood; i. e. , the strings (for example, of a violin) are to be struck with the wood of the bow, making a percussive sound; also battuta col legno: beaten with the wood * coloratura: coloration; i. e. , elaborate ornamentation of a vocal line, or (especially) a soprano voice that is well-suited to such elaboration * colossale: tremendously col pugno: with the fist; i. e. , bang the piano with the fist * come prima: like the first (time); i. e. , as before, typically referring to an earlier tempo * come sopra: as above; i. e. , like the previous tempo (usually) * common time: the time signature 4/4: four beats per measure, each beat a quarter note (a crotchet) in length. 4/4 is often written on the musical staff as . The symbol is not a C as an abbreviation for common time, but a broken circle; the full circle at one time stood for triple time, 3/4. * comodo (or, commonly but less correctly, commodo): comfortable; i. e. , at moderate speed; also, allegro comodo, tempo comodo, etc. con: with; used in very many musical directions, for example con allegrezza (with liveliness), con amore (with tenderness); (see also col, colla, above) * con affetto: with affect (that is, with emotion) * con amore, or (in Spanish and sometimes in Italian) con amor: with love, tenderly * con anima: with feeling * con brio: with spirit, with vigour * con dolore: with sadness * con forza: with force * con (gran, molta) espressione: with (great, much) expression * con f uoco: with fire, in a fiery manner * con larghezza: with broadness; broadly * con moto: with motion * con somma passione: with great passion * con slancio: with enthusiasm * con spirito: with spirit; with feeling con sordina, or con sordine (plural): with a mute, or with mutes; several orchestral instruments can have their tone muted with wood, rubber, metal, or plastic devices (for string instruments, mutes are clipped to the bridge, and for brass instruments, mutes are inserted in the bell); compare senza sordina in this list (which instructs the musicians to remove their mutes); see also Sordino. Note: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music. * con sordino, or con sordini (plural) (incorrect Italian): see con sordina, above * con variazioni: with variations/changes conjunct: an adjective applied to a melodic line that moves by step (intervals of a 2nd) rather in disjunct mot ion (by leap). * contralto: * contrapuntalism: see counterpoint * coperti (plural of coperto, which may also be seen): covered; i. e. , on a drum, muted with a cloth * crescendo: growing; i. e. , progressively louder (contrast diminuendo) * cuivre: brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivre automatically[1] * cut time: Same as the meter 2/2: two half-note (minim) beats per measure. Notated and executed like common time (4/4), except with the beat lengths doubled. Indicated by . This comes from a literal cut of the symbol of common time. Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve. D * da capo: from the head; i. e. , from the beginning (see capo in this list) * D. S. : Dal Segno, from the sign () * D. S. al fine or dal segno al fine: from the sign to the end; i. e. , return to a place in the music designated by the sign and continue to the end of the piece * D. S. S. al coda or dal segno al coda: same as D. S. al coda, but with a double segno * D. S. S. al fine or dal segno al fine: from the double sign to the end; i. e. , return to place in the music designated by the double sign (see D. S. al coda) and continue to the end of the piece * deciso: decisively decelerando: slowing down; decelerating; opposite of accelerando (same as ritardando or rallentando) * decrescendo or decresc. : same as diminuendo or dim. (see below) * deest: from the Latin deesse meaning absent; placed after a catalogue abbreviation to indicate that this particular work does n ot appear in it. [2] The plural,desunt is used when referring to several works. * delicatamente or delicato: delicately * detache: act of playing notes separately * devoto: religiously * diminuendo, dim. : dwindling; i. e. , with gradually decreasing volume (same as decrescendo) * disjunct: an adjective applied to a melodic line which moves by leap (intervals of more than a 2nd) as opposed to conjunct motion (by step) * dissonante: dissonant divisi or div. : divided; i. e. , in a part in which several musicians normally play exactly the same notes they are instead to split the playing of the written simultaneous notes among themselves. It is most often used for string instruments, since with them another means of execution is often possible. (The return from divisi is marked unisono: see in this list. ) * doit: jazz term referring to a note that slides to an indefinite pitch chromatically upwards. * dolce: sweetly * dolcissimo: very sweetly * dolente: sorrowfully, plaintively * dolo re: pain, distress, sorow, grief * doloroso: sorrowfully, plaintively * doppio movimento: twice as fast double stop: the act of playing two notes simultaneously on a melodic percussion instrument or string instrument * downtempo: a slow, moody, or decreased tempo or played or done in such a tempo. It also refers to a genre of electronic music based on this (downtempo). * drammatico: dramatically * drop: jazz term referring to a note that slides to an indefinite pitch chromatically downwards. * Dur (Ger): major; used in key signatures as, for example, A-Dur (A major), B-Dur (B? major), or H-Dur (B major). (See also Moll (minor) in this list. ) * duolo: (Ital) grief * dumpf (Ger): dull * dynamics: the relative volume in the execution of a piece of music E * e (Ital), or ed (Ital – used before vowels): and eco: the Italian word for â€Å"echo†; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect * ein wenig (Ger): a little * Empfindung (Ger): feeling * encore (Fr): again; i. e. , perform the relevant passage once more * en dehors (Fr): prominently * energico: energetic, strong * enfatico: emphatically * en pressant (Fr): hurrying forward * en retenant (Fr): slowing * eroico: heroically * espansivo: effusive; excessive in emotional expression; gushy. * espirando: expiring; i. e. , dying away * espressione: expressively * espressivo or espr. : expressively * estinto: extinct, extinguished; i. e. , as soft as possible, lifeless, barely audible * etwas (Ger): somewhat F facile: easily, without fuss * fall: jazz term describing a note of definite pitch sliding downwards to another note of definite pitch. * falsetto: vocal register above the normal voice * fermata: finished, closed; i. e. , a rest or note is to be held for a duration that is at the discretion of the performer or conductor (sometimes called bird’s eye); a fermata at the end of a first or intermediate movem ent or section is usually moderately prolonged, but the final fermata of a symphony may be prolonged for twice its printed length or more for dramatic effect. * feroce: ferociously * feurig (Ger): fiery * festivamente: cheerfully, celebratory * fieramente: proudly fill (English): a jazz or rock term which instructs performers to improvise a scalar passage or riff to â€Å"fill in† the brief time between lyrical phrases, the lines of melody, or between two sections * fine: the end, often in phrases like al fine (to the end) * flat: a symbol (? ) that lowers the pitch of a note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too low. * flautando (may also appear as flautendo): flutelike; used especially for string instruments to indicate a light, rapid bowing over the fingerboard * flebile: mournfully * focoso or fuocoso: fiery; i. e. , passionately * forte or f (usually): strong; i. e. , to be played or sung loudly * fortepiano or fp (usually): strong-gentle; i. e. , 1. loud, then immediately soft (see dynamics), or 2. n early pianoforte * fortissimo or ff: very loud (see note at pianissimo in this list) * fortississimo or fff: as loud as possible * forza  : musical force * forzando or fz: see sforzando in this list * freddo: cold(ly); hence depressive, unemotional * fresco: freshly * frohlich: lively, joyfully * fugue (Fr), fuga (Latin and Italian): literally â€Å"flight†; hence a complex and highly regimented contrapuntal form in music. A short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses. * funebre: funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo. * fuoco: fire; con fuoco means with fire * furia: fury * furioso: furiously G * G. P. Grand Pause, Gener al Pause; indicates to the performers that the entire ensemble has a rest of indeterminate length, often as a dramatic effect during a loud section * gaudioso: with joy * gemendo: groaningly * gentile: gently * geschwind (Ger): quickly * geteilt (Ger): See divisi * getragen (Ger): sustained * giocoso or gioioso: gaily * giusto: strictly, exactly, e. g. tempo giusto in strict time * glissando (simulated Italian[citation needed]): a continuous sliding from one pitch to another (a true glissando), or an incidental scale executed while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento in this list. * grandioso: grandly * grave: slowly and seriously * grazioso: gracefully gustoso: with happy emphasis and forcefulness H * H: German for B natural; B in German means B flat * Hauptstimme (Ger): main voice, chief part; i. e. , the contrapuntal line of primary importance, in opposition to Nebenstimme * hemiola (Engli sh, from Greek): the imposition of a pattern of rhythm or articulation other than that implied by the time signature; specifically, in triple time (for example in 3/4) the imposition of a duple pattern (as if the time signature were, for example, 2/4). See Syncopation. * hervortretend (Ger): prominent, pronounced * Homophony: A musical texture with one voice (or melody line) accompanied by chords; also used as an adjective (homophonic). Compare with polyphony, in which several voices or melody lines are performed at the same time. I * immer (Ger): always * imperioso: imperiously * impetuoso: impetuously * improvvisando: with improvisation * improvvisato: improvised, or as if improvised * in altissimo: in the highest; i. e. , play or sing an octave higher * incalzando: getting faster and louder * innig: intimately, heartfelt * insistendo: insistently, deliberate * in modo di: in the art of, in the style of * intimo: intimately * intro: opening section * irato: angrily * -issimo: a suffix meaning ‘extremely’, e. g. fortissimo or prestissimo * -issimamente: a suffix meaning ‘as†¦ as can be’, e. g. leggerissimamente, meaning ‘as light as can be’ J Jazz standard (or simply â€Å"standard†): a well-known composition from the jazz repertoire which is widely played and recorded. K * keyboardist (Eng)  : a musician who plays any instrument with a keyboard. In Classical mus ic, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. * kraftig (Ger): strongly * Klangfarbenmelodie (Ger): â€Å"tone-color-melody†, distribution of pitch or melody among instruments, varying timbre L * lacrimoso: tearfully; i. e. , sadly * laissez vibrer, l. v. Fr): allow the sound to continue, do not damp; used frequently in harp music, occasionally in piano or percussion. For percussion ; electric guitar, â€Å"let ring† is more common. [1] * lamentando: lamenting, mournfully * lamentoso: lamenting, mournfully * langsam (Ger): slowly * largamente: broadly; i. e. , slowly (same as largo) * larghetto: somewhat slowly; not as slow as largo * larghissimo: very slowly; slower than largo * largo: broadly; i. e. , slowly * leap (skip): a melodic interval greater than a major 2nd, as opposed to a step . Melodies which move by a leap are called â€Å"disjunct†. Octave leaps are not uncommon in florid vocal music. * lebhaft (Ger): briskly, lively * legato: joined; i. e. smoothly, in a connected manner (see also articulation) * leggiero, leggiermente or leggiadro: lightly, delicately (The different forms of this word, including leggierezza, â€Å"lightness†, are properly spelled in Italian as legger- without the i. ) * leggierissimo: very lightly and delicately * lent (Fr): slowly * lentando: gradual slowing and softer * lentissimo: very slowly * lento: slowly * liberamente: freely * libero: free, freely * lilt: a jaunty rhythm * l’istesso: see lo stesso, below * loco: [in] place; i. e. , perform the notes at the pitch written, generally used to cancel an 8va or 8vb direction. In string music, also used to indicate return to normal playing position (see Playing the violin). 1] * long accent Hit hard and keep full value of note () * lontano: from a distance; dist antly * lo stesso (or commonly, but ungrammatically, l’istesso): the same; applied to the manner of articulation, tempo, etc. * lo stesso tempo (or l’istesso tempo): the same tempo, despite changes of time signature * lugubre: lugubrious, mournful * luminoso: luminously * lunga: long (often applied to a fermata) * lusingando: coaxingly M * ma: but * ma non troppo: but not too much * maestoso: majestically, in a stately fashion * magico: magically * maggiore: the major key * magnifico: magnificent * main droite (French): [played with the] right hand (abbreviation: MD or m. d. * main gauche (French): [played with the] left hand (abbreviation: MG or m. g. ) * malinconico: melancholic * mancando: dying away * mano destra: [played with the] right hand (abbreviation: MD or m. d. ) * mano sinistra: [played with the] left hand (abbreviation: MS or m. s. ) * marcatissimo: with much accentuation * marcato, marc. : marked; i. e. , with accentuation, execute every note as if it we re to be accented * marcia: a march; alla marcia means in the manner of a march * martellato: hammered out * marziale: martial, solemn and fierce * massig (German): moderately (also: ma? ig) * MD: see mano destra and main droite * melancolico: melancholic melisma: the technique of changing the note (pitch) of a syllable of text while it is being sung * measure (US): also â€Å"bar† the period of a musical piece that encompasses a complete cycle of the time signature, e. g. , in 4/4 time, a measure has four quarter note beats * medesimo tempo: same tempo, despite changes of time signature * medley: piece composed from parts of existing pieces, usually three, played one after another, sometimes overlapping. * meno: less; see meno mosso, for example, less mosso * messa di voce: in singing, a controlled swell, i. e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period[1] * mesto: mournful, sad meter (or metre): the pattern of a m usic piece’s rhythm of strong and weak beats * mezza voce: half voice; i. e. , with subdued or moderated volume * mezzo: half; used in combinations like mezzo forte (mf), meaning moderately loud * mezzo forte: half loudly; i. e. , moderately loudly. See dynamics. * mezzo piano: half softly; i. e. , moderately softly. See dynamics. * mezzo-soprano: a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker vocal tone than sopranos, and their vocal range is between that of a soprano and that of an contralto. * MG: see main gauche * misterioso: mysteriously * mobile: flexible, changeable moderato: moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato * modere (Fr): moderately * modesto: modest * modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a cha nge in key signature. * Moll (German): minor; used in key signatures as, for example, a-Moll (A minor), b-Moll (B? minor), or h-Moll (B minor) (see also Dur (major) in this list) * molto: very * morendo: dying; i. e. , dying away in dynamics, and perhaps also in tempo * mosso: moved, moving; used with a preceding piu or meno (see in this list), for faster or slower respectively * MS: see mano sinistra moto: motion; usually seen as con moto, meaning with motion or quickly * movement: a section of a musical composition (such as a sonata or concerto) * munter (German): lively * Mussete (Fr) a dance or tune of a drone-bass character, originally played by a musette * muta [in†¦ ]: Change: either a change of instrument, e. g. flute to piccolo, horn in F to horn in Bb; or a change of tuning, e. g. guitar muta 6 in D. Note: does not mean â€Å"mute†, for which con sordina or con sordino is used. [1] Muta comes from the Italian verb mutare (to change into something). N * narrante : narratingly * natural: a symbol (? ) that cancels the effect of a sharp or a flat (see in this list) * naturale or nat. : natural; i. e. discontinue a special effect, such as col legno, sul tasto, sul ponticello, or playing in harmonics * N. C. : no chord, written in the chord row of music notation to show there is no chord being played, and no implied harmony * Nebenstimme (Ger): secondary part; i. e. , a secondary contrapuntal part, always occurring simultaneously with, and subsidiary to, the Hauptstimme * nicht (Ger): not * niente: â€Å"nothing†, barely audible, dying away * nobile or nobilmente: in a noble fashion * nocturne (Fr): a piece written for the night * notes inegales (Fr): unequal notes; a principally Baroque performance practice of applying long-short rhythms to pairs of notes written as equal; see also swung note * notturno: same as nocturne (see above) number opera: an opera consisting of â€Å"numbers,† e. g. arias, intermixed with recitative O * o bbligato: required, indispensable * octave: interval between one musical pitch and another with half or double its frequency. 12 semitones equals an octave, so does the first and eighth (hence â€Å"oct†ave) note in a major or minor scale. * omaggio: homage, celebration * one-voice-per-part, or OVPP: the practice of using solo voices on each musical line or part in choral music. * ordinario, or ord. (It. ): in bowed string music, an indication to discontinue extended techniques such as sul ponticello, sul tasto or col legno, and return to normal playing. The same as â€Å"naturale†. organ trio: in jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often an electric guitar player and a drummer. * ossia or oppure: or instead; i. e. , according to some specified alternative way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff * ostinato: obstinate, persistent; i. e. , a short musical pattern that is repeated throughout an entire composition or portion of a composition * ottava: octave; e. g. ottava bassa: an octave lower P * parlando or parlante: like speech, enunciated * Partitur (Ger): full orchestral score * passionato: passionately pastorale: in a pastoral style, peaceful and simple * pausa: rest * pedale or ped: In piano scores, this instructs the player to press the damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells the organist that a section is to be performed on the bass pedalboard with the feet. * penseroso: thoughtfully, meditatively * perdendosi: dying away; decrease in dynamics, perhaps also in tempo * pesante: heavy, ponderous * peu a peu (Fr): little by little * pezzo: a composition * pianissimo or pp : very gently; i. e. , perform very softly, even softer than piano. This convention can be extended; the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo) would be softer than pp. Dynamics in a piece should be interpreted relative to the other dynamics in the same piece. For example, pp should be executed as softly as possible, but if ppp is found later in the piece, pp should be markedly louder than ppp. More than three ps (ppp) or three fs (fff) are uncommon. * piano or p (usually): gently; i. e. , played or sung softly (see dynamics) * piano-vocal score: the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar * piacevole: pleasant, agreeable * piangevole: plaintive * pietoso: pitiful, piteous * piu: more; see mosso for an example piuttosto: rather, somewhat; e. g. allegro piuttosto presto * pizzicato: pinched, plucked; i. e. , in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco (in this li st), which is inserted to cancel a pizzicato instruction * pochettino or poch. : very little * poco: a little, as in poco piu allegro (a little faster) * poco a poco: little by little * poetico: poetic discourse * poi: then, indicating a subsequent instruction in a sequence; diminuendo poi subito fortissimo, for example: getting softer then suddenly very loud * pomposo: pompous, ceremonious * portamento: carrying; i. e. , 1. enerally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato, in this list * portato or loure: carried; i. e. , non-legato, but not as detached as staccato (same as portamento [2], in this list) * posato: settled * potpourri or pot-pourri (Fr): potpourri (as used in other senses in English); i. e. , a kind of musical form structured as ABCDEF†¦ etc. ; the same as medley or, sometimes, fantasia * precipitato: precipitately prelude or prelude (Fr): a musical introduction to subsequent movements during the Baroque era (1600’s/17th century). It can also be a movement in its own right, which was more common in the Romantic era (mid 1700s/18th century) * prestissimo: extremely quickly, as fast as possible * presto: very quickly * prima volta: the first time; for example prima volta senza accompagnamento (the first time without accompaniment) * primo or prima (the feminine form): first Q * quarter tone: Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures. quasi (Latin and Italian): as if, almost, e. g. quasi recitativo like a recitative in an opera, or quasi una fantasia like a fantasia R * rallentando or rall. : Broadening of the tempo (often not discernible from ritardando); progressively slower * rapido: fast * rapide (Fr): fast * rasch (Ger): fast * ravvivando: quicken pace * recitativo: recitatively; one voice without accompaniment * religioso: religiously * repente: suddenly * restez (Fr): stay; i. e. , remain on a note or string * retenu (Fr): hold back; same as the Italian ritenuto (see below) * ridicolosamente: humorously, inaccurate, and loosely * rinforzando (rf, or rinf. ): reinforced; i. e. emphasized; sometimes like a sudden crescendo, but often applied to a single note * risoluto: resolutely * rit. : an abbreviation for ritardando;[3] also an abbreviation for ritenuto[4] * ritardando, ritard. , rit. : slowing down; decelerating; opposite of accelerando * ritenuto, riten. , rit. : suddenly slower, held back (usually more so but more temporarily than a ritardando, and it may, unlike ritardando, apply to a single note) * ritmico: rhythmical * ritmo: rhythm, e. g. ritmo di # battu te meaning a rhythm of # measures * ritornello  : a recurring passage for orchestra in the first or final movement of a solo concerto or aria (also in works for chorus). * rolled chord: see arpeggiato in this list roulade (Fr): a rolling; i. e. , a florid vocal phrase * rondo: a musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA * rubato: robbed; i. e. , flexible in tempo, applied to notes within a musical phrase for expressive effect * ruhig (Ger): peaceful * run: a rapid series of ascending or descending musical notes which are closely spaced in pitch forming a scale * ruvido: roughly S * saltando: bouncing the bow as in a staccato arpeggio, literally means â€Å"jumping† * sanft (Ger): gently * scatenato: unchained, wildly[5] * scherzando, scherzoso: playfully scherzo: a light, â€Å"joking† or playful musical form, originally and usually in fast triple metre, often replacing the mi nuet in the later Classical period and the Romantic period, in symphonies, sonatas, string quartets and the like; in the 19th century some scherzi were independent movements for piano, etc. * schleppen (Ger): to drag; usually nicht schleppen (â€Å"don’t drag†), paired with nicht eilen (â€Å"don’t hurry†) in Gustav Mahler’s scores * schnell (Ger): fast * schneller (Ger): faster * schwungvoll (Ger): lively, swinging, bold, spirited * schwer (Ger): heavy * scordatura: out of tune; i. e. , an alternative tuning used for the strings of a string instrument * scorrendo, scorrevole: gliding from note to note secco, or sec (Fr): dry * segno: sign, usually Dal Segno (see above) â€Å"from the sign†, indicating a return to the point marked by * segue: carry on to the next section without a pause * sehr (Ger): very * semitone: the smallest pitch difference between notes (in most Western music) (e. g. , F–F#) * semplice: simply * sempre: always * senza: without * senza misura: without measure * senza sordina, or senza sordine (plural): without the mute; compare con sordina in this list; see also Sordino. Note: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music. In piano music (notably in Beethoven’s Moonlight Sonata), senza sordini or senza sordina (or some variant) is sometimes used to mean keep the sustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely. * serioso: seriously * sforzando or sfz: made loud; i. e. , a sudden strong accent * shake: a jazz term describing a trill between one note and its minor third; or, with brass instruments, between a note and its next overblown harmonic. * sharp: a symbol (? ) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too high in pitch. * short accent: Hit the note hard and short . (^) si (Fr): seventh note of the series ut, re, mi, fa, sol, la, si, in fixed-doh solmization. * siciliana: a Sicilian dance in 12/8 or 6/8 meter[6] * sig n: see segno * silenzio: silence; i. e. , without reverberations * simile: similarly; i. e. , continue applying the preceding directive, whatever it was, to the following passage * sipario: curtain (stage) * slargando or slentando: becoming broader or slower (that is, becoming more largo or more lento) * smorzando or smorz. : extinguishing or dampening; usually interpreted as a drop in dynamics, and very often in tempo as well * soave: smoothly, gently * sopra: above * sognando: dreamily solo break: a jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as â€Å"break†), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo. * solenne: solemn * solo, plural soli: alone; i. e. , executed by a single instrument or voice. The instruction s oli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony. * sonata: a piece played as opposed to sung. * sonatina: a little sonata sonatine: a little sonata, used in some countries instead of sonatina * sonore: sonorous * sonoro: ringing * soprano: the highest of the standard four voice ranges (bass, tenor, alto, soprano) * sordina, sordine (plural): a mute, or a damper in the case of the piano. Note: sordina, with plural sordine, is strictly correct Italian, but the forms sordino and sordini are much more commonly used as terms in music. See also con sordina, senza sordina, in this list. * sordino: see sordina, above * sortita: a principal singer’s first entrance in an opera * sospirando: sighing * sostenuto: sustained, lengthened * sotto voce: in an undertone i. e. quietly * spianato: smooth, even * spiccato: distinct, separated; i. e. a way of playing the violin and other bowed instruments by bouncing the bow on th e string, giving a characteristic staccato effect * spinto: literally â€Å"pushed† * spiritoso: spiritedly * staccato: making each note brief and detached; the opposite of legato. In musical notation, a small dot under or over the head of the note indicates that it is to be articulated as staccato. * stanza: a verse of a song * stornello originally truly ‘improvised’ now taken as ‘appearing to be improvised,’ an Italian ‘folk’ song, the style of which used for example by Puccini in certain of his operas. * strascinando or strascicante: indicating a passage should be played in a heavily slurred manner * strepitoso: noisy, forceful * stretto: tight, narrow; i. e. faster or hastening ahead; also, a passage in a fugue in which the contrapuntal texture is denser, with close overlapping entries of the subject in different voices; by extension, similar closely imitative passages in other compositions * stringendo: gradually getting faster (lit erally, tightening, narrowing); i. e. , with a pressing forward or acceleration of the tempo (that is, becoming stretto, see preceding entry) * subito: suddenly (e. g. , subito pp, which instructs the player to suddenly drop to pianissimo as an effect) * sul E: â€Å"on E†, indicating a passage is to be played on the E string of a violin. Also seen: sul A, sul D, sul G, sul C, indicating a passage to be played on one of the other strings of a string instrument. * sul ponticello: on the bridge; i. e. in string playing, an indication to bow (or sometimes to pluck) very near to the bridge, producing a characteristic glassy sound, which emphasizes the higher harmonics at the expense of the fundamental; the opposite of sul tasto * sul tasto: on the fingerboard; i. e. , in string playing, an indication to bow (or sometimes to pluck) over the fingerboard; the opposite of sul ponticello. Playing over the fingerboard produces a warmer, gentler tone. * sur la touche (Fr): sul tasto * s yncopation: a disturbance or interruption of the regular flow of downbeat rhythm with emphasis on the sub-division or up-beat, e. g. in Ragtime music. T * tacet: silent; do not play tasto solo: ‘single key’; used on a continuo part to indicate that the notes should be played without harmony * tempo: time; i. e. , the overall speed of a piece of music * tempo di marcia: march tempo * tempo di sturb de neighbors[7] seen in Fats Waller’s arrangement of Stardust * tempo di valse: waltz tempo * tempo giusto: in strict time * tempo primo, tempo uno, or tempo I (sometimes also written as tempo I ° or tempo 1ero): resume the original speed * tempo rubato, means â€Å"robbed time†; an expressive way of performing a rhythm; see rubato * teneramente: tenderly * tenerezza: tenderness * tenor: the second lowest of the standard four voice ranges (bass, tenor, alto, soprano) * tenuto: held; i. e. , touch on a note slightly longer than sual, but without generally alteri ng the note’s value * ternary: having three parts. In particular, referring to a three-part musical form with the parts represented by letters: ABA * tessitura: the ‘best’ or most comfortable pitch range, generally used to identify the most prominent / common vocal range within a piece of music * Tierce de Picardie: see Picardy third * timbre: the quality of a musical tone that distinguishes voices and instruments * time: in a jazz or rock score, after a rubato or rallentendo section, the term â€Å"time† indicates that performers should return to tempo (this is equivalent to the term â€Å"a tempo†) * tosto: rapidly * tranquillo: calmly, peacefully * tremolo: shaking; i. e. a rapid repetition of the same note, or an alternation between two or more notes (often an octave on the piano). String players perform tremolo with the bow by rapidly moving the bow while the arm is tense. It can also be intended (inaccurately) to refer to vibrato, which is a s light undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes). * tre corde or tc (or sometimes inaccurately tre corda): three strings; i. e. , release the soft pedal of the piano (see una corda) * triplet (shown with a horizontal bracket and a ‘3’): Three notes in the place of two, used to subdivide a beat. * tronco, tronca: broken off, truncated troppo: too much; usually seen as non troppo, meaning moderately or, when combined with other terms, not too much, such as allegro [ma] non troppo (fast but not too fast) * tutti: all; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutti. See also: ripieno. U * un, uno, or una: one, as for example in the following entries * una corda: one string; i. e. , in piano music, depress the soft pedal, altering, and reducing the volume of, the sound. In some pianos, this literally results in the hammer striking one string rather than two or three. For most notes on modern instruments, in fact it results in striking two rather than three strings. ) Its counterpart, tre corde (three strings; see in this list), is the opposite: the soft pedal is to be released. * un poco: a little * unisono or unis (Fr): in unison; i. e. , several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves. Often used to mark the return from divisi (see in this list). * uptempo: a fast, lively, or increased tempo or played or done in such a tempo. [8] It is also used as an umbrella term for a quick-paced electronic music style. * ut (Fr): first note of the series ut, re, mi, fa, sol, la, si, in fixed -doh solmization. V vagans: the fifth part in a motet, named so most probably because it had no specific range * vamp till cue: a jazz, fusion, and musical theatre term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or â€Å"groove† until the band leader or conductor instructs them to move onto the next section * veloce: with velocity * velocissimo: as quickly as possible; usually applied to a cadenza-like passage or run * vibrato: vibrating; i. e. , a more or less rapidly repeated slight alteration in the pitch of a note, used to give a richer sound and as a means of expression. Often confused with tremolo, which refers either to a similar variation in the volume of a note, or to rapid repetition of a single note. via: away, out, off; as in via sordina or sordina via: ‘mute off’ * vif (Fr): quickly, lively * vite (Fr): fast * vittorioso: victoriously * virtuoso: (noun or adjective) performing with exceptional ability, t echnique, or artistry * vivo: lively * vivace: very lively, up-tempo * vivacissimo: very lively * vocal score or piano-vocal score: a music score of an opera, or a vocal or choral composition with orchestra (like oratorio or cantata) where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano * vivamente: quickly and lively * voce: voice * volante: flying * V. S. (volti subito): turn suddenly; i. e. , turn the page quickly. While this indication is sometimes added by printers, it is more commonly indicated by orchestral members in pencil as a reminder to quickly turn to the next page. W * wenig (Ger): a little, not much * wolno (Polish): loose, slowly; found as a directive in The Elephant from The Carnival of the Animals by Saint-Saens Z * Zahlzeit (Ger): beat * zart (Ger): tender * Zartheit (Ger): tenderness * zartlich (Ger): tenderly * Zeichen (Ger): sign * Zeitma? , also spelled Zeitmass (Ger): time-measure, i. e. , tempo * zelo, zeloso, zelosamente: zeal, zealous, zealously * ziehen (Ger): to draw out * ziemlich (Ger): fairly, quite, pretty, or rather * zitternd (Ger): trembling; i. e. , tremolando * zogernd (Ger): doubtful, delaying; i. e. rallentando * zuruckhalten (Ger): hold back See also | Music portal| References 1. ^ a b c d e f Collins Music Encyclopedia, 1959. 2. ^ About the word deest 3. ^ musicdictionary; Merriam-Webster Online Dictionary; American Heritage Dictionary, 4th edition; Gardne r Read, Music Notation, 2nd edition, p. 282. 4. ^ Dolmetsch Online, â€Å"Tempo†; Oxford American Dictionary; Collins English Dictionary. 5. ^ Carl Orff, Carmina Burana 6. ^ Definition of Siciliano at Dictionary. com 7. ^ Scivales, Riccardo (2005). Jazz Piano: The Left Hand. Ekay Music, Inc.. ISBN  1-929009-54-2. Retrieved 2011 April 16. 8. ^ â€Å"uptempo† at Oxford Dictionaries Online External links Interpretations of Jazz Band Literature, musical terms used in jazz * Virginia Tech Multimedia Music Dictionary (contains audio samples) * Choral Conducting Terms * Classical musical terms * Musical Terms Dictionary Definitions [show] * v * t * eMusic| | Help improve this page What’s this? ————————————————- Top of Form Did you find what you were looking for? Yes No Bottom of Form Categories: * Glossaries of music * Italian language * Musical terminology * Create account * Log in * Article * Talk * Read * Edit * View history ————————————————- Top of Form Bottom of Form * Main page * Contents * Featured content * Current events * Random article Donate to Wikipedia Interaction * Help * About Wikipedia * Community portal * Recent changes * Contact Wikipedia Toolbox Print/export Languages * Boarisch * Cesky * Cymraeg * Dansk * Deutsch * Eesti * Espanol * Esperanto * Bahasa Indonesia * Islenska * Italiano * * * Romana * * Slovencina * Slovenscina * Suomi * Svenska * * This page was last modified on 11 August 2012 at 20:30. * Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia ® is a registered trademark of the Wikimedia Foundation, Inc. , a non-profit organization. * Contact us How to cite Glossary of Musical Terminology, Essay examples

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To pay tribute Specific Purpose: To pay tribute to my mother Thesis: My mother is the most optimistic person I have ever known. We will write a custom essay sample on Tribute or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page She has a key to happiness, and she readily shares it with others. Introduction: When we are asked to name a person we honor, I have a feeling that many of you think about your parents, or a parent. I choose to talk about my mother, because she made the biggest contribution in my life and who I am now. Credibility: She is not only my mother, but also a best friend, mentor, and spiritual teacher. With her advices she helps me improve myself and motivates me to become a better person. Audience Interest Statement: In her 50s, she is fitter and healthier than most 20 years old. She lives her life in fullest, knowing how to enjoy every moment of it. Her energy level is very high. Thesis: My mother is the most optimistic person I have ever known. She has a key to happiness, and she readily shares it with others. Preview: Don’t you want to know what it is? We all use different methods to overcome difficulties and to find balance in our lives. [Transition:  My mother’s main strategy is to stay active. She has always been very active, all her life. ] I. Be active . ) Up until these days, she participates in every sport event in our small town. b. ) She always walks to work and back in any weather. It takes her about an hour each way. c. ) In summer she wakes up early in the morning and go swimming in the river. Sometimes she does it in winter too. d. ) She also takes a bally dance class, which she talks about all the time. e. ) I remember when I was in hi gh school my classmate Alina said once, I  quote  Every time after talking to your mom, and seeing her so energetic, active and glowing; I feel like a 70 years old grandma End quote. Next day she bought a gym membership. [Transition: Staying active physically is only one aspect of my mothers secret. She also doesnt forget to stay active  mentally. ] II. Never stop improving yourself. a. ) She reads a lot of spiritual books and watches  documented  movies. b. ) She easily makes friends anywhere she goes and has a great impact on them. She enjoys meeting a likeminded people, so she can learn something knew from them too. c. ) She encourages people to get out of their comfortable zone, and explore what’s out there. d. My mother is a stronger supporter of fairness and justice; she will go far to make it right. e. ) Her coworker said, I  quote, â€Å"She inspires me to do stuff and dream big every day. Her optimism is contagious; I wish I met her earlier† End quote. [Transition: Her secret to happiness is simple and always worked for me too. ] III. The recipe   (Story follows) When I came to the states 5 years ago, I had a difficult time adjust ing to the new culture. One morning, when I felt like giving up, packing my bags and going home, I called her to discuss my decision. . ) She listened through my crying, sobbing and complains with a great calmness and said, I will write a recipe on how to go through this tough time. You have to follow it  strictly  though. I agreed. b. ) She wrote me a list of books I had to read, daily exercises and meditation to help change my attitude. She always says, I quote â€Å"If you change yourself from inside, the world around you will also change. † c. ) Following the recipe was similar to a boot camp to me. But I sticked to it and it proved itself one more time. I did not go back and got the most out of my stay. [Transition:  After everything said I hope many of you will learn from my mom Conclusion A. It is not money that makes you happy. B. It’s your choice to be free and positive. C. All you need is to discipline yourself and staying motivated. D. I hope to be as great example for my son as my mom is for me. Cred: Advices Int: Fit T: Optimistic key [Transition] d. ) Bally dance e. ) Alina [Transition] c. ) Comfortable zone e. ) Coworker [Transition] Story Conclusion