Marco Polo- An Exploratory Essay - 1049 Words

Many children, including myself, have once played the game Marco Polo. Although, I have always been curious, who exactly is Marco Polo? My fascination of Marco Polo warped into a fixation of his travels. Marco Polo was born in Venice in the year 1254. His father, Nicolo, and his uncle, Maffeo, were merchants who had seats in the great nobleman council of Venice (Polo IV). According to his records, he had traveled thousands of miles with his father and uncle. Marco, Nicolo and Maffeo (known as the Polos) left Venice, and did not return for twenty-six years. Upon their return, they were not welcomed in Venice. The Polos were long thought to have been dead. When they arrived in Venice, their clothes were old and worn-out; the things that†¦show more content†¦He called this city the â€Å"City of Heaven† (Freedman 41); Marcos wrote, â€Å"It is without a doubt the finest and most splendid city in the world† (Freedman 41). However, Marco Polo’s last stop was in China, a place so different and interesting compared to his own; he spent the majority of his time there. After about a three and a half year journey, Marco noted that the Polos arrived in the court of Kublai Khan, the conqueror of China. The Great Khan ruled a vast empire of prosperous cities that had richer goods, services, and technology than any place in Europe that Marco had ever seen (Freedman 6). Kublai Khan was the grandson of the infamous Genghis Khan, the fearless Mongol who swept across Asia and the Middle East generations earlier. When the Polos arrived in Shangdu (the capitol of Kublai Khan’s empire), the Mongol empire stretched from China, to Russia and Iraq; the empire was at the pinnacle of its existence (Polo 26). Marco stated that he soon rose to a position of power in Kublai Khan’s court, because Mublai Khan was pleased by Marco’s knowledge and logic. Marco endeavored on confidential missions to â€Å"learn about all kinds of different mat ters in the countries he visited, in order to satisfy the curiosity of the Great Khan† (Hart 35). The Polos accumulated great wealth in jewels and gold, thanks to the generosity of Kublai Khan; however, they eventually grew homesick and began theirShow MoreRelatedStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesCollege at Brockport Mark Kendrick, Methodist University Mary Kern, Baruch College Robert Key, University of Phoenix Sigrid Khorram, University of Texas at El Paso Hal Kingsley, Erie Community College Jeffrey Kobles, California State University San Marcos Jack Kondrasuk, University of Portland Leslie A. Korb, University of Nebraska at Kearney Glen Kreiner, University of Cincinnati James Kroeger, Cleveland State University Frederick Lane, Baruch College Rebecca Lau, Virginia Polytechnic Institute

What is Tourism Free Essays

HOSPITALITY INDUSTY PROFESSOR: TANYA JOYNER DATE: MARCH22. 2013 TEST: CHAPTER 9 NAME: LU QIONGQIONG(JENNY) 1 what can tourism be defined as? Tourism can be defined as the idea of attracting, accommodating, and pleasing groups or individuals traveling for pleasure or business. It is categorized by geography, ownership, function, industry, and travel motive. We will write a custom essay sample on What is Tourism? or any similar topic only for you Order Now 2 business travels has increased in recent years due to what? Business travel has increased in recent years as a result of the growth of convention centers in several cities. As a result, business travelers have given a boost to hotels, restaurants, and auto rental companies. The number of female business travelers is rising as well. 3 who serves as the middle person between a country and its visitors? Travel agencies, tour operators, travel managers, wholesalers, national offices of tourism, and destination management companies serve as middlepersons between a country and its visitors. 4 tourism is a collection of industries and when combined form the world’s largest industry. Is the above statement TRUE OR FALSE 5 from social and cultural perspective tourism can further international understanding and economically improve poorer countries. Is the statement above TRUE OR FALSE AND EXPLAIN WHY? I think that is right. From a social and cultural perspective, tourism can have both positive and negative impacts on communities. Undoubtedly, tourism has made significant contribution to international understanding. World tourism organizations recognize that tourism is a means of enhancing international understanding, peace, prosperity, and fundamental freedom for all without distinction as to race, sex, language, or religion. Tourism can be a very interesting sociocultural phenomenon. Similarly, depending on the reason for the tourist visit, myriad opportunities are available to interact both socially and culturally with local people. provided that the number of tourists is manageable and that they respect the host community’s sociocultural norms and values, tourism provide an opportunity for a number of social interactions. How to cite What is Tourism?, Papers

Understanding the CDM Regulations

Question: Discuss the CDM 2015 Regulations, impact of CDM 2015 on the role of the PM and role of ACoP in increasing compliance and improving health and safety outcomes? Answer: Introduction and Context for CDM 2015 The CDM 2015 Regulations CDM 2015 has tried to replace the Construction Regulations 2015 for design and management on April 6, 2015. The Approved Code of Practice (ACoP) that offers helping guidance on CDM 2015 is also withdrawn (CDM Regulations 2015). The main aim of CDM 2015 is mainly to incorporate the health and safety while managing construction projects and also try to encourage everyone in the project in order to offer combined efforts for enhancing the projects planning and management from the beginning; exploring risk at early stage, targeting the efforts where it can benefit health and safety, discouraging unrequited bureaucracy, coordinating and cooperate the work with colleagues. It also formulate sensible plan for working, so that risk could be managed properly from beginning till end (CDM Regulations 2015). It also hold the right people on right time and for right job, hold the correct information related to risks and how the same could be managed (CDM Regulations 2015). It also communicate the effective information to the one who required, and engage and consult the staff about the risk and how the same could be managed The drafters goal is to mitigate the bureaucracy as its of no use and act as advance on the previous regulations like manual paperwork (Zou and Sunindijo 2015). It also contributes very less towards the management of risk and waste resources according to ACoP that it might act as a distraction from real business leading towards reduction of risk and its management (CDM Regulations 2015). The removal of needs for designated supervisor for planning and introduction of coordinator role of CDM is also considered as good step by many people (Kamalu 2015). The changes made from CDM 2007 to CDM 2015 was quite substantial according to Guidance on the construction regulations 2015, and health and safety executives guidance on CDM 2015 that needs advice on how the laws could be easily complied with (Kamalu 2015). Analysis and Synthesis of Task Impact of CDM 2015 on the role of the PM CDM 2015 needs designer or project manager for planning, managing and monitoring the phase of pre-construction and then coordinate the matter associated with health and safety during the phase of pre-construction in order to ensure that project is carried out without any type of risks of health and safety (Kamalu 2015). However, it also place the obligation on PM to ensure that every person working in the construction phase try to cooperate with principal designers, clients, and one another. This is quite challenging, as project manager holds no way of compelling these performances (Zou and Sunindijo 2015). The project manager wouldnt have any contract with individuals that are other than clients, so it would be powerless to force them to act towards it (Kamalu 2015). CDM 2015 suggests project managers to look towards drastic solutions in place of multi-party interface agreement among the participants under which they holds contractual rights for compelling their performance against one another (Le Gresley 2015). This looks quite feasible in all the things except complex projects. Alternatively, it is expected that the client need to be pressed to agree over the reciprocal duty and ensure that all the construction contracts and professional appointments include obligations on contractors and consultants to comply with the responsibilities of CDM and also cooperate with project manager (Le Gresley 2015). If project manager meet with resistance from the delivery team, then in that case they could inform the client who has contractual muscle to compel the non-compliant partys performances (Le Gresley 2015). Role of ACoP in increasing compliance and improving health and safety outcomes The Code of practice on how one could easily manage risks related to health and safety is the approved code of practice that comes under the section 274 of the WHS Act (Association for Project Safety 2016). The approved code of practice is considered as the practical guide for attaining the health, safety, and welfare standards that is needed under the Work Health and Safety regulations and WHS Act (Zou and Sunindijo 2015). The approved regulations as well as ACoP are developed for offering guidelines to the committees, representatives as well as PCBU that mention about how the staff participation provisions apply over it (Association for Project Safety 2016). This includes materials that are targeted towards small workplaces (Zou and Sunindijo 2015). The role of ACoP is to explore the small companies that are quite less to get represented for the workplace safety and health and will require consulting as well as get involve with staff in informal ways, and the same should be accepta ble by laws (Association for Project Safety 2016). In consultation with construction sector, Work safe are able to work according to regulations. ACoP as well as guidance of staff participation in particular industries like construction, if it is needed and relevant (Association for Project Safety 2016). All these proposals will result in the enhancement of expectations about ACoP to consult and try to involve the staff, with more clarity about how effective participation of workers could be improved and maintain at variant workplaces (Zou and Sunindijo 2015). For organizations having staff committees and representatives, they hold more power along with responsibilities (Association for Project Safety 2016). ACOP role highlights that coordinator need to have enough knowledge about the health and safety at construction work; process of design, and significance of design process co-ordination (Association for Project Safety 2016). The educational level required to be quite germane towards the construction project and the client need to refer the size as well as complexity of the construction project along with different types of risk that might emerge (Hassan, Yusoff, Alisibramulisi 2015). The coordinator also didnt need to be designer, but at the same time they dont require to hold enough knowledge about design process in order to better analyze the implications of health and safety (Hassan, Yusoff, Alisibramulisi 2015). ACoP guidelines offer the process of assessment for the company that might act as the coordinator along with individuals who are working in the company (Hassan, Yusoff, Alisibramulisi 2015). Typically, the facts requires to depict the competence and the same should include, number of person that are related with the project, and the one who has passed the assessment of construction health and safety (Hassan, Yusoff, Alisibramulisi 2015). It should also include facts related to health and safe ty knowledge such as Certificate of NEBOSH construction (Joyce 2015). It also includes facts of professional development, and experiences in specific area (Hughes and Ferrett 2015). Recommendations for new ACoP CDM 2015 needs appointment of the coordinator in order to occur on time once the associated groundwork or either the preliminary designs for construction projects have started (Kamardeen 2015). Appointment of coordinator will need certain types of judgment that need to be meet in context of whether the project or not is notified (Bussey 2015). As early it is practicable is not explained, but it is recommended that ACoP needs the coordinator to come in position of the aligning aspects of health and safety of designs and try to recommend the suitability and compatibility of design task (Kamardeen 2015). In according to this, the coordinator requires to get appointment before any key detailed design is completed (Bussey 2015). This key detailed design is referred as preparation for the starting concept of design and project implementation during the brief of strategies (Kamardeen 2015). The reason behind is that progress of the project level faces challenges in making increase in changes that could minimize the risks (Bussey 2015). It is recommended that coordinator can try to company or either appoint individually with other kind of roles such as project manager (Chappell and Dunn 2015). However, according to ACoP roles should be combined and afterwards performed individually, if it does then it might become critical for the coordinators of DM to hold proper independence for undertaking the tasks in quite effective manner (Chappell and Dunn 2015). This can happen in large projects, in which tasks could be shared out, but in these situations, it becomes important to make sure that the duties of the coordinator is properly laid out and get discharged (Chappell and Dunn 2015). It is recommended that in construction projects, ACoP should mention needs of the clients for appointing the correct people like builders, competent designers having enough resources and they should be member of the trade association (Summerhayes 2015). They should even permit for the proper time, rushed towards the projects that are unsafe, poor quality and poor plan (Bussey 2015). They should also offer proper information to all team members, and even enable them to properly design and plan the structure that should be safe in using and maintaining (Summerhayes 2015). ACoP should also make sure that it should be communicated and cooperated with all team members till the completion of project, mainly during the design phase when issues like usability, build-ability and maintainability of the structure is done (Association for project safety 2015). It should also make sure that suitable arrangement of management, workable statement of methods and risk assessment should be done correctly (Bussey 2015). It is also important to ensure that proper facilities of welfare are offered on the site before the starting of work; ensure that the workplace is properly design that could comply with workplace regulations 1992, which focuses on health, safety and welfare (Association for project safety 2015). It should also offer the convenient ways included in designing the structure and every contractor should be appointed through the client like offering pre-construction details (Association for project safety 2015). It is also recommended that the previous regulations need to be replaced with new ACoP that reflect about the employment relations existing in industry, bring improvements in the management of health and safety of construction projects; introduce particular needs of the clients and design team for addressing the health and safety in construction project (Association for project safety 2015). It should also align the main parties explored in managing the construction projects in place of UK construction, management and design regulations 2015 (Association for project safety 2015). It is recommended that new ACoP should clarify about clients duty to take practical steps so that it could be ensured that suitable arrangement of management are carried out in the entire process of construction projects and the same should try to preclude health risk (Cartlidge 2015). This should be done along with the duty for making sure that principle contractors should prepare the construction phase, which complies with CDM 2015 and welfare installations that will be cleared in entire construction project process (Cartlidge 2015). Client dont need to manage the work, rather they have to check about management arrangements and whether the same is followed from the starting stage of the project (Cartlidge 2015). The ACoP should specify why they should be permitted on advices of CDM coordinator in taking judgments towards management arrangement adequacy (Cartlidge 2015). It is recommended that ACoP should make sure that client need to be careful and dont go for active role in managing the construction work project as CDM 2015 place liability on the one, who control the way in which construction projects are completed (Hughes and Ferrett 2015). Similar to this, principal contractors require to ensure that the individual who is carrying out the explained supervision and whether they hold control on the activities of subcontractors, in case they seek to take benefits of ACoP advice (Hughes and Ferrett 2015). In short, new ACoP should stress over health and safety of the construction projects and emphasize on design by imposing the duties on huge range of parties, so that they could look towards the future while reliving the design obligations (Hughes and Ferrett 2015). The introduction of the designer role is mainly intended towards CDM 2015; therefore, designs should be amended by focusing on health and safety (CITB 2015). References ASSOCIATION FOR PROJECT SAFETY. 2015. Guide to the management of CDM co-ordination. London: RIBA Pub. Cartlidge, D. 2015. Construction Project Managers Pocket Book. Routledge Association for Project Safety. 2016. Principal Designer's Handbook: Guide to the CDM Regulations: 2015. RIBA Publications Bussey, P. 2015. CDM 2015: a Practical Guide for Architects and Designers. RIBA Publications CDM Regulations. 2015. [Online]. Available at: https://www.cdm-2015-regulations.co.uk/ [Accessed on: 10th March 2016]. Chappell, D., and Dunn, M. 2015. The Architect in Practice. John Wiley Sons CITB. 2015. Construction Site Safety: Health, Safety Environmental Information. GE 700. Construction Industry Training Board GRIFFITHS, O. V. 2015. Understanding the CDM regulations. London: Taylor Francis. Hassan, R., Yusoff, M., and Alisibramulisi, A. 2015. InCIEC 2014: Proceedings of the International Civil and Infrastructure Engineering Conference 2014. Springer Hughes, P., and Ferrett, E. 2015. Introduction to Health and Safety in Construction: For the NEBOSH National Certificate in Construction Health and Safety. Routledge JOYCE, R. 2015. CDM Regulations 2015 explained. London: Thomas Telford. Kamalu, S. 2015. The impact of the CDM 2015 and the principal designer role after the end of the transition period. [Online]. Available at: https://www.clarkslegal.com/Legal_Updates/Read/The_impact_of_the_CDM_2015_and_the_principal_designer_role_after_the_end_of_the_transition_period_ [Accessed on: 10th March 2016 Kamardeen, I. 2015. Fall Prevention Through Design in Construction: The Benefits of Mobile Computing. Routledge Le Gresley, S. F. 2015. MANAGING HEALTH AND SAFETY IN CONSTRUCTION. [Online]. Available at: https://www.gov.je/SiteCollectionDocuments/Working%20in%20Jersey/ID%20Managing%20Health%20and%20Safety%20in%20Construction%20ACoP11%2020141121%20AM.pdf [Accessed on: 10th March 2016]. SUMMERHAYES, S. 2015. CDM regulations 2015 procedures manual. Oxford, UK: Blackwell Pub. Zou,P. X. W., and Sunindijo, R. Y. 2015. Strategic Safety Management in Construction and Engineering. John Wiley Sons

The Musicians Way a Guide to Practice, Performance, and Wellness Essay Example

The Musicians Way a Guide to Practice, Performance, and Wellness Essay I recently read The Musician’s Way a Guide to Practice, Performance, and Wellness by Gerald Kickstein. This book was extremely helpful in reminding me how I should practice and how to treat and protect myself as a musician. In order to succeed on your musical path, practice is the only way that will get you there. In the music world, talent is important but the musical progress depends on practice more than on talent. Talent represents the potential within you but practice makes you realizes your potential. But not every way of practice will show positive progress. Throughout this paper I will discuss how to get organized, how to practice deeply, how to have a fearless performance and lastly how to recognize injury and prevent injuries. College musicians nowadays are studying music under pressure due to jury exam, recitals etc†¦People tends to take shortcuts of the correct ways to practice in order to save time because of the poor time management or not having enough time for practice due to heavy school work. Since time is already not enough, we should all practice in the correct way therefore we can get the best result in the shortest amount of time, and also the most important point, make beautiful music in the performance. There are a lot of things that I think it is really important fundamentals to know when practicing, although some are simple but in my opinion these are essential. We will write a custom essay sample on The Musicians Way a Guide to Practice, Performance, and Wellness specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Musicians Way a Guide to Practice, Performance, and Wellness specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Musicians Way a Guide to Practice, Performance, and Wellness specifically for you FOR ONLY $16.38 $13.9/page Hire Writer First we need to know what practice really is, Yehudi Menuhin the violinist said, â€Å"practice is not forced labor; it is a refined art that partakes of intuition, of inspiration, patience, elegance, clarity, balance, and, above all, the search for ever greater joy in movement and expression. † There are five points of how to get a practice organized; the very first one is about the practice environment. Practice environment is extremely important, not only as a workplace, but also as a source of inspiration. The practice room essential varies, this list is for vocalist. 1. Music stand, 2. Notebook and pencils, 3. Electronic metronome, 4. Correct turned piano, 5. Clock (keep a record of practice time), 6. Mirror (for monitoring movement habits), 7. Audio recorder, 8. Water (drink plenty of water especially for vocalist), 9. Adequate lighting and climate control, 10. Relative quiet and privacy, 11. A room that can hear the resonance of your own voice (not a room with heavy insulation board). The second part is how to plan a productive practice session; there are couple of small areas that I think it is really important in order to plan a practice session. To work on a large quantity of music efficiently, Klickstein recommended sorting them into five zones. . New material – Divide into sections, establish interpretive/technical plan, and slow tempo. 2. Developing material – Refine interpretation, increase tempo, and memorization. 3. Performance material – practice performing, maintains memory, renew and innovate. 4. Technique – Diction, Arpeggios, scales and etc. 5. Musicianship – Sigh t reading, theory/ear training, listening/study. Now we know how to plan a practice session, let’s find out about how to schedule practice sessions, in my opinion there is also five points of scheduling practice sessions. First is practice regularly, our artistic evolution is best served by steady, the practice time does not have to be long but similar amount of playing or singing each day is essential. Second point is practice more times than long time, try to arrange several practice sessions each day, maybe start off in the morning, practice in the afternoon, and practice before bedtime. Third is taking breaks between small sessions, generally you rest ten minutes of each hour that you practice, but for vocalist should be 20~30 minutes and rest 10 minutes. Fourth point is increasing your practice time gradually, and when you increase the practice time it also needs to be consistent. The last point of how to schedule practice sessions would be living a balanced life, make practice a part of your regular life, but also make room to exercise, eat healthy foods and relax with friends. A balanced lifestyle is essential to your well-being and for a successful musician. Now we know how to practice, we need to start off with picking new pieces of music to practice, this might sound easy but in my opinion there are 3 important guidelines to choose your new music materials. First is the taste, try not to pick a piece that you have absolute no interest in, you should enjoy the music that you learn, if the piece gives you excitement it will motivate you to practice. Second is the capacity, pick a piece that the creative capacity is not too far off from your musical and technical abilities, picking a piece that is difficult will not increase your strength and skills as much. Lastly is the plan, plan out your upcoming events, and see if it is possible for the new material to be ready before the next performance. Self-Recording – Benefits of Self-Recording:1. Sharpens musicianship, 2. Prevents distorted perception, 3. Heightens practice efficiency, 4. Enhances lessons, 5. Promotes objectivity. Habits of Excellence – Your habits in the practice room is very important, because the habits in the practice room will be the habits when you are on stage. 1. Ease – choose manageable material, because the more attention you use up supervising tec hnical elements, the less room you have available for artistry. â€Å"Playing is never difficult; it is either easy, or it is impossible. –Kato Havas, violinist. 2. Expressiveness – you can only become an expressive performer if you practice expressively, really do the dynamics, and have imaginations when practicing. 3. Accuracy. 4. Rhythmic vitality. 5. Beautiful tone – make sure the standard tone is full and rich, also develop a tone that will project to the back of a hall even at the quietest level. 6. Focused attention – When you’re practicing, imagine yourself being on stage and about to begin a performance. 7. Positive attitude – There will always be challenges, get help if you need it, and proceed confidently! Essentials of Artistic Interpretation – â€Å"Notes First† should not be the first thing to do when receiving a new piece, because once the habits are formed, it is even more difficult to rework the wrong habits. 1. Capture the mood, style, and tempo. 2. Shape the dynamics. 3. Color the tone. 4. Mold the articulation. 5. Contour the meter. 6. Drive the rhythm. 7. Express the form. Mental imaging – â€Å"When I sit in Paris in a cafe, surrounded by people, I don’t sit casually-I go over a certain sonata in my head and discover new things all the time. † –Arthur Rubinstein, pianist. Physical practicing is important but without mental imaging during usual practice, performer is more likely to make mistakes in performances. In order to do mental imaging, you have to be able to hear the music without playing it, that helps musicians memorize the music with ease, rather than memorizing music forcibly by practicing over and over again without any mental imaging. Starting New Material, Singers should – 1) Speak text in rhythm. To grasp how the words and rhythm fit together, expressively speak the text in rhythm. If anything feels uncertain, speak a section three times. ) Polish diction and comprehension. If you understand the language well, you can carry out this procedure before speaking the text in rhythm. But if it is a language that you’re not familiar with, then by speaking in rhythm first you will ensure that your accents line up correctly. Lastly, recite the text in the original language â€Å"as if in a dramatic reading. † 3) Sing the melo dy on â€Å"ah. † With the rhythm, diction, and meaning clear, move on to mapping pitches. Sing expressively to the section on ah or by using other vowels. If pitches are not correctly, review the intervals then sing the section three times. When the music needs to be memorized, besides singing on ah, you should also profit from singing the melody with fixed-do solfege syllables. Performance anxiety is one of the biggest issues for all performers. Cellist and conductor Mstislav Rostropovich said, â€Å"You must play for the love of music. Perfect technique is not as important as making music from the heart. † Sounded very easy and true but indeed it is very hard to do. Now we’re going to analyze about the performance anxiety, then we will start talking about the routines and suggestions to reduce the anxiety. Why do we have anxiety? Anxiety is a natural response to a perceived threat, when you feel the threat, adrenaline pours into your bloodstream, and this is called: the fight-or-flight response. Psychologist Stephen D. Curtis says, â€Å"The most important psychological contributor to the onset of performance anxiety is a performer’s concert for, or fear of, the outcome of the performance: that is, the performer’s thoughts become focused on an imagined negative outcome or failure. † If you’re afraid of performance, the switch of fight-or-flight response will be turn on during your performance. But this does not mean adrenaline is bad, if you can use this adrenaline to more of an excited way, this will benefits your performance, therefore, in order to reduce fight-or-flight activation, you have to manage fear. There are 3 stages of anxiety effects, it is important for performers to know what type of symptoms they might have while in these 3 stages of anxiety effect, each stage has different anxiety effects. Preperformance Effects – 1. Avoidance of practice, 2. Obsessive practice. 3. Busyness/disorganization. 4. Depression/fatigue/laziness. 5. Worry/distorted thinking. 6. Headaches. 7. Insomnia. 8. Difficulty focusing. 9. Stomach upset/loss of appetite. 10. Trouble with relationships. 11. Academic decline. 12. Substance abuse. At-Performance Effects – there are two different types of At-Performance Effects, first one is Physical/Behavioral Effects. There are 10 kinds for the first effects, 1. Trembling. 2. Cold hands. 3. Racing heartbeat. 4. Heavy perspiration. 5. Nausea/butterflies/wooziness. 6. Muscle tension. 7. Technical insecurity. 8. Rapid or restricted breathing. 9. Dry mouth. 10. Urge to urinate. The Second effect is the mental/emotional effects, 1. Fear. 2. Confusion. 3. Memory lapses. 4. Distorted thinking. . Agitation. 6. Hypersensitivity. 7. Negative self-talk. 8. Shame. 9. Anger. 10. Panic. The last stage of effect is called Postperformance Effects, and the effects are 1. Distorted thinking. 2. Shame. 3. Anger/hostility. 4. Misattribution. 5. Avoidance of practice. 6. Depression/fatigue. 7. Persistent insomnia. 8. Trouble with relationships. 9. Academic decl ine. 10. Substance abuse. Now we know the different kinds of anxiety effects and the cause of fight-or-flight response, we are going to talk about routine for preperformance, some guidelines for at-performance and routine for postperformance to reduce anxiety. The routine for preperformance is all about preparing before the performance, therefore it is a very important routine. How to prepare yourself before the performance? First you need to practice, not physically but mentally, because there’s really no point in doing any extended practice. Second, you need to rest before performance, if there’s no time for a nap, at least spend 10 minutes in a resting pose before performance. Third is meal, prepare a balanced preconcert meal is very crucial, you do not want to perform with a 10 out of 10 fullness of your stomach, or 2 out of 10 fullness either, 5 is the best fullness. Fourth is activities, a mild aerobic workout will be refreshing, and that will benefit your performance. Fifth is wardrobe and grooming, you should sort out your wardrobe and grooming days ahead of time to prevent any mistake such as only one sock or missing tie, it is never fun to find that out at the last minute. Lastly, prepare you music, instruments and gear, printed programs, music stand (if necessary), tools and spare parts just in case if a button fell off etc†¦, backstage water is extremely important for vocalist, lastly, snacks. There are couple brief points that I think are pretty important and essentials when performing on stage. Attire; make sure to match your clothing to the venue, for example, no tailcoats for evening recitals. Bowing, when the audiences are passionate, take a deeper bow than the usually bow to show your appreciation, bend no more than 45 degrees. Setting up, no need to rush for set up in the beginning, listeners also need time to settle into a mood from applauding. Performing, body language can show different elements of your performance, could be negative if it is inappropriate, therefore, recording a practice performance is needed. Handling scores, performers should prepare scores early, a loud page turn can break the music. There are 3 important points for post-performance routines, this is also important because if the performer gets the feeling in the wrong way, it can turn a person into depression. First thing for the post-performance routine is to interact and cool down, after bowing, cool down and accept your own performance. Secondly is to assess, the best way to enhance your assessment is recording, but it is best to wait a day before you go back and listen to yourself or else the performer(you) will be extra judgmental about their performance on that day. Lastly is to move ahead, after the assessment, it is time to move on, do not think too much about the mistakes of the last performance, start planning for your next practice session which is most important. I believe chapter twelve is among the most important chapters. It talks about injury prevention, causes of injury, warning signs, injury-prevention basics and lastly how to recover from injuries. Most musicians’ injuries are music related. Musicians work hard in order to maintain their abilities, but few musicians realize that over performing, practicing and teaching can trigger injuries. Most instrumentalists end up having tendonitis, which is extremely harmful as a performer because it may stop artists’ from playing for several days, which is really bad especially if they have gigs aligned for that week. It is mentioned in the book that most instrumentalists injuries are five causes: overuse, misuse, accidents, anatomical differences, and individual sensitivities. Overuse is broken down to what part of the body is overused. Musicians tend to overuse muscles, muscles can only sustain so much work before having to rest. Slight damage tends to heal overnight, but when a musician continues to work on a strained muscle it will cause trauma to the muscle which may cause permanent damage. Tendons are another muscle musicians must pay special attention to. Physicians Emil Pascarelli explains that the fluid that lubricates the tendons is used up during movement and is restored during rest. So when musicians play without taking breaks it is extremely harmful because fluid becomes depleted and friction arises between the tendon and sheath causing damage. So it is recommended throughout this book to take rest when breaking, it is wise to practice in increments. Misuse ties in without taking breaks during practice as well as having bad living habits which inhibits the instruments (voice) from resting or even as an instrument one needs to rest and not misuse or abuse their body. It is mentioned in this book that most accidents happened from musicians hauling their gear, and performance stress. Warning signs that a body sign sends out that a musician must pay close attention to are: fatigue, pain, and odd sensation. The response to these symptoms that the books gives are common sense, it suggests that one must stop what they are ding, rest and get help from a doctor or instructor. Overall I found this book to be extremely helpful. Most of the information I mentioned were common sense, but I find that people tend to forget about it because we have so much going on as students and are just trying to fit everything in a day. I would definitely recommend this book to my colleagues. Personally I found this book to be my musical bible. I now turn to this book as a reference when I need help with something when I struggle as a musician.

How to Speak to a Customer Service Representative

How to Speak to a Customer Service Representative At some point, most of us make a telephone call to a companys customer service department. Whether its to place an order or a complaint, dispute a charge, or ask a question, its important to know how to communicate with customer service representatives. In this intermediate-level role-play dialogue, you will get a better understanding of how to interact with a customer service representative. Customer service calls usually follow a standard procedure. The representative will often ask for information such as your address and phone number. After practicing this role-play, you should be able to conduct these types of phone calls with what youve learned. Grab a partner and start practicing. Customer Service Representative: Hello, Big City Electricity, how may I help you today? Mr. Peters: Im calling concerning my electricity bill. Customer Service Representative: May I have your account number? Mr. Peters: Certainly, its 4392107. Customer Service Representative: Thank you, is this Mr. Peters? Mr. Peters: Yes, this is Mr. Peters. Customer Service Representative: Thank you, what can I help you with? Mr. Peters:Â  I think Ive been overcharged for the past month. Customer Service Representative: Im sorry to hear that. Why do you think we charged you too much? Mr. Peters: The bill is 300% higher than last month. Customer Service Representative: Im sorry to hear that. Let me ask you a few questions and then Ill see what I can do. Mr. Peters: OK, Thank you for your help. Customer Service Representative: Of course, thank you for calling this to our attention. Now, how much do you usually pay for your electricity? Mr. Peters: I usually pay about $50 a month.​ Customer Service Representative: Thank you. And how much did we charge on this bill?​ Mr. Peters: $150. I cant understand why.​ Customer Service Representative: Yes, Mr. Peters. Was your usage different in any way?​ Mr. Peters: No, it was an average month.​ Customer Service Representative: Im sorry. There certainly seems to be a mistake.​ Mr. Peters: Well, Im happy you agree with me.​ Customer Service Representative: Ill contact a service representative to come out and check your meter. Whats your address, Mr. Peters?​ Mr. Peters: 223 Flanders St., Tacoma, Washington 94998​ Customer Service Representative: Whats your phone number?​ Mr. Peters: 408-533-0875​ Customer Service Representative: Im terribly sorry about the misunderstanding. Well do our best to change this as quickly as possible. Mr. Peters: Thank you for your help in clearing this up. Customer Service Representative: Of course. Is there anything else that I can help you with today? Mr. Peters: No, thank you. That would be all. Customer Service Representative: Okay. Thanks for calling, Mr. Peters, and I hope you have a good day. Mr. Peters: You too! Goodbye.

A Study On Communicative Teaching Education Essay

Finally, when we learn to pass on utilizing our mark linguistic communication we do it of course because we are involved in a context that uses this linguistic communication so we get used to talk it in a short clip non by larning grammatical regulations but, as Nunan expresses we learn a linguistic communication â€Å" as a dynamic resource for the creative activity of intending†¦ we need to separate between cognizing assorted grammatical regulations and being able to utilize the regulations efficaciously and suitably when pass oning † . ( 1989 ) When we want to larn a new linguistic communication different from the mark one there are many methods or attacks that we can utilize, all of them for the same intent: Communicate. The communicative instruction attack arises from the dissatisfaction of many pedagogues that are non happy with the audio-lingual method because grammar is difficult to larn and pupils get bored in category because they do n’t happen the existent public-service corporation of the new linguistic communication. Since the pupils were larning how to construct a perfect sentence they did n’t hold the opportunity to pattern existent communicating. This method focuses more on the purpose of communicate and less in the perfect manner to talk because the pupils have to happen one manner or another to show what they want to state. This attack uses activities that simulate existent life state of affairss and encourages the pupil to pattern the new linguistic communication speech production it and happening the manner to give significance to their words without the necessity of a perfect grammar. In these activities the pupils can work in braces or groups where they can happen feedback from their schoolmates so they feel less afraid because they find themselves in a friendly context. These activities are more interesting for the pupils because they can utilize their ain thoughts and they do n’t hold to interpret or reiterate words to larn, so they keep motivated. They can take the manner to show their thoughts based on the individual who is listening to them and besides on the context that they are working in. Besides this method is good for the instructor because there is more flexibleness to do activities that seem more like a game giving pupils a relaxed and merriment environment where they can happen replies from their couples. Besides, the appraisal of the pupils is based in measure up the ability to pass on in a right manner. A communicative schoolroom is really noisy because the pupils have to be involved in activities where they can talk and listen to their schoolmates. Besides, they can work stand up and they can be traveling so the category is non deadening. Therefore, they gain assurance and they feel comfy talking the new linguistic communication. The pupils have the duty of their ain acquisition and the instructor acts more like a usher and an perceiver. The communicative method is based on several rules. One of the most used list of rules is David Nunan ‘s ( 1991 ) which describes that: It puts accent in the communicating in the foreign linguistic communication across the interaction. It introduces existent texts in the state of affairs of acquisition. It offers chances to the students to believe about the acquisition procedure and non merely about the linguistic communication. It gives importance to the pupils ‘ personal experiences as elements that they contribute to the acquisition of the schoolroom. It tries to associate the linguistic communication learned in the schoolroom with activities realized out of it. Therefore, the pupils are larning like in the existent life from their experiences and besides from the experiences and feedback from their schoolmates. Besides, they are larning to utilize the linguistic communication in simulations of day-to-day state of affairss, so they are acquiring accomplishments to public presentation in a societal and cultural existent context utilizing a normal linguistic communication non a perfect one like the one used in books. The pupils besides learn to hold coherency when they are talking to do their sentences apprehensible and meaningful. In this sort of schoolroom the pupils work in braces or groups so they can be able to better their interaction whit other people imitating a existent state of affairs holding an interaction that allows them to negociate an discuss uncertainties. Is of import the uninterrupted usage of the mark linguistic communication, here is where the instructor acts as a proctor oversing that the pupils do n’t talk in thei r native linguistic communication in order to hold a existent pattern during the activities. The pupils does n’t hold to act in a specific manner, when a error happens the pupils are non punished, alternatively of that the instructor raters to honor the eloquence and good pronunciation. Besides, in some activities the pupils are free to take what to state and they besides can take the easiest manner to state it. Thus the pupil can develop schemes to larn and measure by themselves. Another of import point is that the pupils have the opportunity to show their feelings and emotions so they feel comfy in category because they feel they are doing an of import part for the acquisition procedure. This method uses an effort to animate the existent communicating but is non precisely the same. It ‘s of import that the pupils use what they learn in schoolroom when they are out of it. In other methods the chief purpose of acquisition is translate words and sentences and larn a perfect grammar that sometimes is sort of useless in existent life, is better to larn how to believe in the new linguistic communication so the pupils do n’t hold to interpret before speak, losing clip and eloquence. At the terminal, the significance is what matters the most. In other words what is of import is the content of the sentence, non the manner to state it. The chief technique in this method is to do activities that promote communicating between spouses. It ‘s of import to hold a desire of communicating doing inquiries and giving replies to advance duologue holding a ground or a subject to speak about. The instructor can put the subject or give the pupils freedom to take it, therefore the pupils have a communicative intent. Sometimes activities in the communicative schoolroom can look unreal because pupils are merely conceive ofing state of affairss and besides because the instructor is largely of the clip following to them which non occurs in existent state of affairss. To avoid this disadvantage, the instructor can seek to utilize more existent stuff like magazines, books, games, etc. I think that this method can be used in a learner-centered schoolroom where the most of import individual is the pupil and all the activities are focused to better the public presentation of the scholar acquiring near to existent life state of affairss. In my personal experience as pupil I have had the opportunity to experiment communicative activities and I truly like them because small by small I ‘m less afraid to talk and to do errors because if I ‘m incorrect normally I have feedback from my schoolmates or from my instructor. Besides this method makes me experience more interested in the new linguistic communication, English in this instance because I like to utilize it non merely in the schoolroom but in my existent life. I would wish to utilize this method in my categories to do them more merriment and interesting and besides to make a friendly environment with my pupils. Mentions: Wikipedia ( 2009 ) Metodo Comunicativo [ Website ] Available from: A ; lt ; hypertext transfer protocol: //es.wikipedia.org/wiki/M % C3 % A9todo_comunicativo gt ; [ December 2009 ] Nunan, David. ( 1991 ) . Planing undertakings for the communicative schoolroom. Cambridge Language Teaching Library [ Online Book ] Available from: A ; lt ; hypertext transfer protocol: //books.google.com.mx/books? id=NSlMZp9XkHoC A ; dq=david+nunan % 2Bcommunicative+teaching A ; lr= A ; source=gbs_navlinks_s gt ; [ December 2009 ] Harmer, Jeremy ( 1991 ) The pattern of English Language Teaching. Longman.Longman Printing New York. Hedge, Tricia ( 2000 ) Teaching and Learning in the Language Classroom. Oxford University Press Library [ Online Book ] Available from: A ; lt ; hypertext transfer protocol: //books.google.com.mx/books? id=VG8NuoGgKJYC A ; dq=hedge+tricia A ; lr= gt ; [ December 2009 ] A Study On Communicative Teaching Education Essay Finally, when we learn to pass on utilizing our mark linguistic communication we do it of course because we are involved in a context that uses this linguistic communication so we get used to talk it in a short clip non by larning grammatical regulations but, as Nunan expresses we learn a linguistic communication â€Å" as a dynamic resource for the creative activity of intending†¦ we need to separate between cognizing assorted grammatical regulations and being able to utilize the regulations efficaciously and suitably when pass oning † . ( 1989 ) When we want to larn a new linguistic communication different from the mark one there are many methods or attacks that we can utilize, all of them for the same intent: Communicate. The communicative instruction attack arises from the dissatisfaction of many pedagogues that are non happy with the audio-lingual method because grammar is difficult to larn and pupils get bored in category because they do n’t happen the existent public-service corporation of the new linguistic communication. Since the pupils were larning how to construct a perfect sentence they did n’t hold the opportunity to pattern existent communicating. This method focuses more on the purpose of communicate and less in the perfect manner to talk because the pupils have to happen one manner or another to show what they want to state. This attack uses activities that simulate existent life state of affairss and encourages the pupil to pattern the new linguistic communication speech production it and happening the manner to give significance to their words without the necessity of a perfect grammar. In these activities the pupils can work in braces or groups where they can happen feedback from their schoolmates so they feel less afraid because they find themselves in a friendly context. These activities are more interesting for the pupils because they can utilize their ain thoughts and they do n’t hold to interpret or reiterate words to larn, so they keep motivated. They can take the manner to show their thoughts based on the individual who is listening to them and besides on the context that they are working in. Besides this method is good for the instructor because there is more flexibleness to do activities that seem more like a game giving pupils a relaxed and merriment environment where they can happen replies from their couples. Besides, the appraisal of the pupils is based in measure up the ability to pass on in a right manner. A communicative schoolroom is really noisy because the pupils have to be involved in activities where they can talk and listen to their schoolmates. Besides, they can work stand up and they can be traveling so the category is non deadening. Therefore, they gain assurance and they feel comfy talking the new linguistic communication. The pupils have the duty of their ain acquisition and the instructor acts more like a usher and an perceiver. The communicative method is based on several rules. One of the most used list of rules is David Nunan ‘s ( 1991 ) which describes that: It puts accent in the communicating in the foreign linguistic communication across the interaction. It introduces existent texts in the state of affairs of acquisition. It offers chances to the students to believe about the acquisition procedure and non merely about the linguistic communication. It gives importance to the pupils ‘ personal experiences as elements that they contribute to the acquisition of the schoolroom. It tries to associate the linguistic communication learned in the schoolroom with activities realized out of it. Therefore, the pupils are larning like in the existent life from their experiences and besides from the experiences and feedback from their schoolmates. Besides, they are larning to utilize the linguistic communication in simulations of day-to-day state of affairss, so they are acquiring accomplishments to public presentation in a societal and cultural existent context utilizing a normal linguistic communication non a perfect one like the one used in books. The pupils besides learn to hold coherency when they are talking to do their sentences apprehensible and meaningful. In this sort of schoolroom the pupils work in braces or groups so they can be able to better their interaction whit other people imitating a existent state of affairs holding an interaction that allows them to negociate an discuss uncertainties. Is of import the uninterrupted usage of the mark linguistic communication, here is where the instructor acts as a proctor oversing that the pupils do n’t talk in thei r native linguistic communication in order to hold a existent pattern during the activities. The pupils does n’t hold to act in a specific manner, when a error happens the pupils are non punished, alternatively of that the instructor raters to honor the eloquence and good pronunciation. Besides, in some activities the pupils are free to take what to state and they besides can take the easiest manner to state it. Thus the pupil can develop schemes to larn and measure by themselves. Another of import point is that the pupils have the opportunity to show their feelings and emotions so they feel comfy in category because they feel they are doing an of import part for the acquisition procedure. This method uses an effort to animate the existent communicating but is non precisely the same. It ‘s of import that the pupils use what they learn in schoolroom when they are out of it. In other methods the chief purpose of acquisition is translate words and sentences and larn a perfect grammar that sometimes is sort of useless in existent life, is better to larn how to believe in the new linguistic communication so the pupils do n’t hold to interpret before speak, losing clip and eloquence. At the terminal, the significance is what matters the most. In other words what is of import is the content of the sentence, non the manner to state it. The chief technique in this method is to do activities that promote communicating between spouses. It ‘s of import to hold a desire of communicating doing inquiries and giving replies to advance duologue holding a ground or a subject to speak about. The instructor can put the subject or give the pupils freedom to take it, therefore the pupils have a communicative intent. Sometimes activities in the communicative schoolroom can look unreal because pupils are merely conceive ofing state of affairss and besides because the instructor is largely of the clip following to them which non occurs in existent state of affairss. To avoid this disadvantage, the instructor can seek to utilize more existent stuff like magazines, books, games, etc. I think that this method can be used in a learner-centered schoolroom where the most of import individual is the pupil and all the activities are focused to better the public presentation of the scholar acquiring near to existent life state of affairss. In my personal experience as pupil I have had the opportunity to experiment communicative activities and I truly like them because small by small I ‘m less afraid to talk and to do errors because if I ‘m incorrect normally I have feedback from my schoolmates or from my instructor. Besides this method makes me experience more interested in the new linguistic communication, English in this instance because I like to utilize it non merely in the schoolroom but in my existent life. I would wish to utilize this method in my categories to do them more merriment and interesting and besides to make a friendly environment with my pupils. Mentions: Wikipedia ( 2009 ) Metodo Comunicativo [ Website ] Available from: A ; lt ; hypertext transfer protocol: //es.wikipedia.org/wiki/M % C3 % A9todo_comunicativo gt ; [ December 2009 ] Nunan, David. ( 1991 ) . Planing undertakings for the communicative schoolroom. Cambridge Language Teaching Library [ Online Book ] Available from: A ; lt ; hypertext transfer protocol: //books.google.com.mx/books? id=NSlMZp9XkHoC A ; dq=david+nunan % 2Bcommunicative+teaching A ; lr= A ; source=gbs_navlinks_s gt ; [ December 2009 ] Harmer, Jeremy ( 1991 ) The pattern of English Language Teaching. Longman.Longman Printing New York. Hedge, Tricia ( 2000 ) Teaching and Learning in the Language Classroom. Oxford University Press Library [ Online Book ] Available from: A ; lt ; hypertext transfer protocol: //books.google.com.mx/books? id=VG8NuoGgKJYC A ; dq=hedge+tricia A ; lr= gt ; [ December 2009 ]

Developing a new set of performance appraisal processes and measures Essay

Developing a new set of performance appraisal processes and measures - Essay Example The senior management should as much as possible prevent unsatisfied employees after the performance appraisal process. There should be a good way to determine the best way how to let employees understand what the company exactly perceives about their actual performance. There should be correct and exact criteria for performance appraisal that are not susceptible to bias or one-sided in its approach when they are put into application. This is to ensure that the entire process of performance appraisal program is controlled by the management that is far beyond the issue of unfair treatment. Management should give skills empowerment program for its employees. This is one of the ways in which employees are set to another level of standard and this is also a way how the management expects them to achieve specific level or standard. Learning and growth strategy is another important goal of the management to be executed prior to the actual performance appraisal process. This is to ensure th at employees are given the exact idea that the management expects them to grow and thus performance appraisal is just one of the effective ways for such measurement. In this way, employees will not recent about how they are being evaluated considering that there is a significant basis why they should be evaluated. In fact, the management could express its learning and growth strategy as a way of investing in its human resource. The management should emphasised that investing in its employees and particularly in its human resource is a good start to emphasise the significance of performance appraisal. However, employees should not view this as only a way of maximising company’s profit or financial performance. Rather, it should be viewed as integral part of how an organisation should find for its corporate success. This should be widely understood by employees and that their performance is an integral part of the entire corporate performance in the achievement of goals. Finall y, the management should create a good working environment for its employees. In this way, there is always a good reason for its employees to believe that they are giving their time at the right place. This should be integrated in the performance appraisal system. This is one of the good ways to ensure corresponding success in any attempt to evaluate corporate performance as far as the human resource is concerned. B. Recommendations Success of new performance appraisal process should be evaluated based on the detailed concept of employee-employer relationships. There are many things that an employer should understand about employees because each one of them has specific needs that could motivate them at some point. Feedbacks should be given in a way that it promotes neutral impact on both the management and its employees. This is to ensure that the employees are able to grasp the genuine intention of the management for giving feedbacks. Employer must be able to create significant un derstanding about both external and internal factors of the business environment. In this reason, there is always a good chance to take a better look at how employees perform their tasks and manage to do them based on the firm’s expectations. Firm should be able to evaluate first its expectations. In this way, there is always a good chance to concentrate on what really benefits the organisation. However, this does not mean that the entire process