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. 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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? 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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

THE REMOVALISTS A PLAY BY DA essays

THE REMOVALISTS A PLAY BY DA essays THE REMOVALISTS A PLAY BY DAVID WILLIAMSON David Williamson, widely regarded as Australias most successful playwright, has created a very controversial and very Australian glimpse of the Australian society during the early 1970s. A key theme in the play is the myth of the typical Aussie mateship, where every good mate stands by and helps another in need. Having said this, I believe that The Removalists simply cannot be adapted into the present day while retaining the strong sense of mateship. Throughout the past few decades, Australia has become more multicultural, more modernised and thus more independent. Some say that The Removalists characters are simply artificial and totally unbelievable, but the characters themselves are ideas, not dramatic creations. The composer has successfully divided the Australian society and represented them by just five characters which range from the removalist, a cold and money driven businessman and Kate a semi-upper-middle-class dentists wife who is accused surprisingly of having an affair. One of the funniest lines in the play was where Kates sister replied to her outburst: Kate: All this fuss about an affair. Anyone would think that Im a nymphomaniac! In The Removalists Williamson effectively dispels the myth of mateship in Australia. We are shown more than one type of mateship, some more obvious than others. We are first introduced to Simmonds; a beefy, fat and middle-aged sergeant readily abuses and embarrasses his lesser workmate Constable Ross on his first day in the force, with apparent relish. The ideal Aussie mate would show understanding and would always be happy to lend a helping hand to his lesser experienced partner. However, we are shown a few glimpses of Simmondss taking up a fatherly role towards Ross as if mocking him of his inexperience: I think the first thing you&apos...

Metallic Character Properties and Trends

Metallic Character Properties and Trends Not all metallic elements are alike, but all share certain qualities. Here youll find what is meant by the metallic character of an element and how metallic character changes as you move across a period or down a group in the periodic table. What Is Metallic Character? Metallic character is the name given to the set of chemical properties associated with elements that are metals. These chemical properties result from how readily metals lose their electrons to form cations (positively charged ions). Physical properties associated with metallic character include metallic luster, shiny appearance, high density, high thermal conductivity, and high electrical conductivity. Most metals are malleable and ductile and can be deformed without breaking. Although many metals are hard and dense, there is actually a wide range of values for these properties, even for elements that are considered highly metallic. Metallic Character and Periodic Table Trends There are trends in metallic character as you move across and down the periodic table. Metallic character decreases as you move across a period in the periodic table from left to right. This occurs as atoms more readily accept electrons to fill a valence shell than lose them to remove the unfilled shell. Metallic character increases as you move down an element group in the periodic table. This is because electrons become easier to lose as the atomic radius increases, where there is less attraction between the nucleus and the valence electrons because of the increased distance between them. Recognizing Elements With Metallic Character You can use the periodic table to predict whether or not an element will display metallic character, even if you dont know anything about it. Heres what you need to know: Metallic character is displayed by metals, which are all on the left-hand side of the periodic table. The exception is hydrogen, which is a nonmetal under ordinary conditions. Even hydrogen behaves as a metal when its a liquid or solid, but you should consider it nonmetallic for most purposes.Elements with metallic character occur in certain groups or columns of elements, including the alkali metals, alkaline earth metals, transition metals (including the lanthanide and actinides below the main body of the periodic table), and the basic metals. Other categories of metals include base metals, noble metals, ferrous metals, heavy metals,  and precious metals.  The metalloids display some metallic character, but this group of elements also has nonmetallic properties. Examples of Elements With Metallic Character Metals that display their character well include: francium (element with highest metallic character)cesium (next highest level of metallic character)sodiumcoppersilverirongoldaluminum Alloys and Metallic Character Although the term metallic character is typically applied to pure elements, alloys may also display metallic character. For example, bronze and most alloys of copper, magnesium, aluminum, and titanium typically display a high level of metallicity. Some metallic alloys consist purely of metals, but most also contain metalloids and nonmetals yet retain the properties of metals.

Laws Regarding Freedom of Expression Research Paper

Laws Regarding Freedom of Expression - Research Paper Example   It is evidently clear from the discussion that the international law provides a three-part test that is useful in assessing limits on freedom of expression. On various occasions, the international courts responsible for overseeing international human right treaties have elaborated the three-part test through judgments. In addition, national courts have also been useful in elaborating the exact meaning of the test for limitation of freedom  of expression. The right to freedom of expression is assured in exact terms by the article 19 of the Universal Declaration on Human Rights, and the article 19 (2) of International Covenant on Civil and Political Rights. The three regional human rights treaties; the African Charter on Human and Peoples’ rights, the American Convention on Human Rights, and the European Convention on Human rights give an assurance for freedom of expression on Articles 13, 9, and 10 respectively. There is no doubt that the right to freedom of expression is of great importance. During the first session of the United Nations General Assembly, it was made clear that the freedom of information is an essential human right. In addition, t was made clear that the right forms the basis of all the other rights. Laws regarding freedom of expression Regional court, national courts, and other related organizations across the world have reaffirmed that indeed the freedom of information is the foundation of all other rights. The Inter-American court of human rights has pointed out that freedom of expression forms the foundation for the existence of a democratic society. The other reaffirmation is from the European Court human rights, which points out that the freedom of expression forms an essential foundation for democratic societies. It further goes on to state that the right is among the basic conditions that are necessary for its development and that of human beings. The African Commission on Human and peoples’ rights points out that Ar ticle 9 is an indication that freedom of expression remains a basic human right. It further adds that the right is essential for personal development, individual political consciousness, and engaging in the performance of public affairs in the home country. One notable fact is that freedom of expression is not complete, and there are limitations to it provided by every system of law. The Article 19(3) of the ICCPR stipulates that limitations to the right to freedom of expression should be on grounds of respect of the rights or status of others. The other provision is on the grounds of protecting the national security, maintaining public order or protecting public health. International assurances on the right to freedom of expression have several essential features. To begin with, opinions are completely protected by Article 19(1) of the ICCPR. This implies that it is allowed to think evil, but giving expressions on evil thoughts warrants a sanction. The right to freedom of expressio n is for everyone. Therefore, it must be protected without any discrimination on the basis of gender, race, religion, color, language, political or factors that may lead to discrimination. The right also applies to ideas and information of any kind so long as the ideas or information may be communicated. The right also takes into consideration factually incorrect statements and opinions that seem to lack merit or offensive statements.

The Accidental Tourist- Macon's Change Essay Example | Topics and Well Written Essays - 750 words

The Accidental Tourist- Macon's Change - Essay Example The novel is mainly based on Macon Leary and how his metamorphosis comes about. How one deals with death and tragedy matters a lot, Macon loses his son in a shoot-out so he is clearly shown as a devastated man, the same also affects his marriage with his life and they decide to separate. The process of reconciliation is important, initially Macon does not want to be friendly with anyone, he is hostile and extremely upset because he loses his son but he later changes his attitude and adapts well in-spite of his great loss. Sarah and Muriel are the two love interests in the life of Macon, Muriel is his lover in the novel and Sarah is his wife. Some very interesting and important sequences of events happen in Paris. Macon gets injured in Paris in the novel, his back gets badly hurt and Sarah looks after him. He gets to juxtapose the qualities of the two women this time around, in doing so he finds that he is really uncomfortable with Sarah and he has to be someone else when he is with h is wife Sarah. On the other hand he finds life to be rosy when he is with Muriel; he is really comfortable when she is around. This makes a lot of difference in how events unfold in the novel, Macon also changes a lot after he notices such fine differences in the two women in his life. â€Å"In spite of Muriel’s difference from Macon in age, class, and outlook on life, once Macon has admitted to her his pain over Ethan’s death, he comes to realize, that she too, has been hurt in her life, that he is not the only person ever to feel pain.† (The Accidental Tourist) Macon changes and finds that even though Muriel is eccentric she is much different from Sarah and he falls for her. "Now that Ethan's dead I sometimes wonder if there's any point to life," Macon responds, "It never seemed to me there was all that much point to begin with."  (The Accidental Tourist) The way Sarah dealt with the loss of their child was extremely different from the way Macon dealt with t he loss, the differences between the two most important characters of the novel are very important to observe to be able to determine the extent of change Macon went through in the novel. â€Å"When Macon is with Muriel he is not detached and cold; he gradually comes to see other people in the world not as faceless mobs of people but as individuals doing the best they can to get through life† (The Accidental Tourist) Macon realizes the differences between Sarah and Muriel; he wanted to start a relationship with Muriel in-spite of their differences. There were quite a few differences between the two, their age was not ideal nor was anything else, both belonged to different cultures and Sarah had even pointed out the changes but they complimented each other well. â€Å"He had not taken steps very often in his life   . . . all seemed to have simply befallen him.   He couldn’t think of a single major act he had managed of his own accord.   Was it too late to begin?à ‚   Was there any way he could learn to do things differently.† (The Accidental Tourist) Macon finally realized that Muriel was the woman who brought the best out of him each day and he can be happy should he decide to stay with Muriel. His outlook towards life changed because of Muriel, with Sarah he was a very different person and with Muriel he was another person. â€Å"