Organic Food And Farming Benefits For Health - 826 Words

Organic Food and Farming Benefits for Health To the casual shopper it may appear that one of the biggest differences between organic and non organic food can be found on the price tag, however, it is important to realize that the true cost of food is not necessarily the price listed on the price tag. Looking more into the quality, how its made and where the food comes from, is beneficial in our choice of the food we pick. Picking organic food have become ever-so popular. Organic food is grown or raised using little or no synthetic fertilizers, pesticides, or other artificial chemicals. Instead, organic farmers try to work with natural processes to promote the health of their crops and livestock. For example, an organic farmer might apply compost (decaying plant material) instead of chemical fertilizer to replenish the soil. Instead of using pesticides, the farmer may rely on natural predators to control insect pests. (Funk Wagnalls New World Encyclopedia) Some people choose organic food because they prefer the taste. But there are many more factors that influence the decision to choose organic food. One of the factors include that: Organic foods are produced without the use of Genetically Modified Organisms (GMOs). Genetically Modified Organisms (GMOs). This entire topic of GMO’s is a rather important topic in of itself, but going on briefly about what it is, will help understand it better. GMO’s are living organisms whose genetic material has been artificially manipulatedShow MoreRelatedOrganic Farming: Organic Food Benefits Essay1039 Words   |  5 PagesOrganic Food Benefits With the importance of leading a healthy lifestyle being abundantly clear, healthy food choices are now in the spotlight. The demand for organic foods among U.S. consumers is on the rise due to the assumption that it is a healthier and safer food choice. As a consequence of staggering amounts of greenwashing thrust upon consumers today, labels and claims of health benefits have become overwhelming and confusing. Buyers must seek the facts for nutrition and safety informationRead MoreOrganic Products And Non Organic Foods Essay1240 Words   |  5 PagesOrganic products and non-organic foods have been a subject of interest for me for a great amount of time because I have often questioned whether there really was a difference between the two types of products. I always wondered what the nutritional, economic, laborious, and pollution differences were, if any, in the creation of the two types of products. . Through research, I have discovered a few sources from claiming data, which pe rmits me to focus more than a physical distinction of the two. InRead MoreBenefits And Benefits Of Organic Foods950 Words   |  4 Pages3 November 13, 2014 Mrs. Lumpkins Benefits of Organic Foods Sales of organic food have risen steadily over the past couple of years, reaching nearly $30 billion in 2011, or 4.2% of all U.S. food and beverage sales, (Adams). Many people believe that organic foods are ultimately the better choice when it comes to health due to the absence of pesticides and hormones. But other people—especially those whose food budgets may be more defined—wonder if organic food is really worth the inflated price tagRead MoreThe Effects Of Pesticides On Organic Farming1653 Words   |  7 PagesHumans initially began farming organically when European farmers noticed a decrease in soil quality and crop health due to the use of chemical fertilizers (â€Å"Pesticides in Organic†¦Ã¢â‚¬  1). This drop in soil quality left the farmers no other choice but to cease the use of chemical fertilizers and begin implementing less harmful supplements in order to improve crop quality (â€Å"An Oral History†¦Ã¢â‚¬ ). This less invasive method of farmin g, otherwise known as organic farming, takes into account â€Å"the medium andRead MoreOrganic Food : An Art1512 Words   |  7 PagesOrganic Food â€Å"To eat is a necessity, but to eat intelligently is an art† (Francois De La Rochefoucauld). For the past few years’ organic food has become very popular among today’s society. The topic has been spread across headlines of magazines for example, men’s and women’s health magazine. Organic food has made for some very intriguing and diverse conversions on documentaries, talk shows, and health seminars. Organic food is plain and simple it is the process inRead MoreOrganic Food And Its Effects On The Environment1411 Words   |  6 Pages Organic Food â€Å"To eat is a necessity, but to eat intelligently is an art† (Francois De La Rochefoucauld). For the past few years organic food has become very popular among today s society. The topic has been spread across headlines of magazines for example, mens and womans health magazine. Organic food has made for very intriguing and diverse conversions on documentaries, talk shows, and health seminars. Organic food is plain and simple it is the process in which theRead MoreOrganic vs. Conventional Foods Essay1119 Words   |  5 Pagesthe demand for food is higher than ever. This increase in food demand also calls for more efficient ways of growing and providing the food. Two methods that are very controversial are the organic and conventional method. While many people support the organic method because of its known benefits, others feel that it is an over inflated industry that cheats consumers out of their money. But recently many studies have disproved those critics. These s tudies prove that Organic food is a better choiceRead MoreThe Organic Of Organic Foods Essay1576 Words   |  7 Pagescountless options of produce. Shopping in supermarkets, consumers will find many stacks of foods labeled â€Å"Organic†. These foods has opened up more opportunity for both the seller and the consumer, showing to be the highest emerging sectors of the food industry in the past century, as another substitute to conventional foods that is seen in the supermarket. Organic foods, has been shown to be the goods of a farming system which avoids the exploitation of synthetic pesticides, fertilizers, additives andRead More Organic Foods: They Are Only Natural! Essay examples1117 Words   |  5 Pages When going to the grocery store or supermarket, people have a one track mind. Their one and only concern is food, food, and more food. Most shoppers come prepared with a list, so they can get in, get the supplies they need, and go happily on their way. Some shoppers ten d to pick out brand name or well advertised products. Others prefer the brands they grew up with as kids. However, many choose the money saving route and buy only the items that are on sale or the cheap knock-offs of the originalRead MoreOrganic Farming Can Not Feed The World Essay1740 Words   |  7 Pagessince the Agricultural Revolution, farming has always been organic. As the human population grew, conventional farming, farming with non-organic methods (using synthetic fertilizers and pesticides), became prevalent to satisfy the population’s demand for food. Recently, organic farming has attracted consumers for its health, environmental, and agricultural benefits versus conventional farming, however, there is a debate whether organic farming can produce enough food to satisfy the current population

Working Ethically, safely and professionally free essay sample

‘Ethics’ is defined as: ‘moral principles that govern a person’s behavior or the conducting of an activity’; they tend to be values imposed by one’s self or by a group on its members. ‘Morals’ is defined as: ‘standards of behavior; principles of right and wrong’; they tend to be imposed by society. ‘Principle’ is defined as: A rule or belief governing ones personal behavior ‘Values’ is defined as: principles or standards of behavior; one’s judgement of what is important in life: High standard of morals will set standards of behavior for an individual and help them distinguish between right and wrong. Their values will help them determine what is important in life. And help in moral dilemmas where it’s a case of choosing between right and right as opposed to choosing between right and wrong. Ethics are formulated out of a combination of morals and values and help a person to set certain boundaries for themselves or in the case of a profession; for its members. Having a sound combination of morals, values and ethics enables one to develop sound principles. It can therefore be said that if you have good principles, then you are likely to conduct yourself in an ethically sound manner. Far from being cut-and-dried however, there are very blurred thin grey lines of boundaries between these and more often than not, upbringing, social backgrounds and religious beliefs can play an extensive role in a person’s morals, values and principles which in turn affect their ethics. For example, I was brought up in a christian home and in a culture where extramarital sexual relations are wrong and frowned upon. Because of this background, culture and belief I strongly believed that I had to remain I virgin till my wedding day. My principles, values and morals , moulded by my upbringing informed what was ethically right for me. I have several good friends who are living with their partners and have children but have no intention of getting married because for them there is nothing wrong with it. Its so crucial therefore as counsellors to maintain at the forefront of our minds that each client is different, thinks differently and believes differently to us and thereby give them an unconditional positive regard. Unit 1. 1 Apply understanding of an ethical framework to counselling practice sessions. Professionals can have a huge impact on their clients and their actions can affect the lives of the people they deal directly with and that of their families. It is imperative therefore that they exercise the highest level of safe and ethical practice to minimize harm to the client. In a professional setting one will encounter various people of varied cultural backgrounds with varied needs. This makes it extremely important therefore that the professional has very high ethical standards to ensure that the profession is upheld and that the client does not suffer any exploitation but receives a good standard of care. It is required of the professional to understand that morals values principles and ethics are not separate entities. They must be considered with a holistic approach realizing that a persons background will inform their morals and values and in turn their ethics and principles. What may be perfectly acceptable to one may be taboo to the other simply because of the conditions of worth placed on them by their society and upbringing. In counseling the ethical framework is intended to guide and inform practice. Its is necessary to safeguard the profession as well as the client. It is necessary in order to uphold high standards of professionalism and practice. Without these guidelines the profession could end up in disrepute . There would be no trust and respect or regard for counsellors. In a counselling practice I applied this by explaining to my client that I was a trainee working under BACP guidelines. I explained what BACP stood for and how I am bound by its guidelines . I went on further to explain patient centered counselling and what that would mean for my client. I also let them know that confidentiality was part of the ethical framework and that they could expect complete confidence. I further explained the conditions under which this confidence may and will be breached. Unit 1. 2 Explain the importance of working within limits of proficiency It behooves the professional to give careful consideration to their own limitations when dealing with complex issues that may arise in order that the client at all times receives a good quality of care. This is an important aspect of the ethical framework known as working within the limits of our proficiency. In any given counseling session the counsellor has no idea what will be brought by the client. It may happen that the counsellor finds themselves having to deal with an issue which is beyond their scope or ability. In such an instance the counsellor needs to be open and upfront with the client and arrange a referral if agreed to by the client. Having said that, the client may have formed such a bond with the counsellor that they do not want to see anyone else. This means that the counsellor will have to explain to their client the need for them to do some research on the topic and take the case unidentifiably to supervision for advice. It is dangerous to attempt to handle a case above the limits of ones limit of ability. Not only may the client be able to see through the incongruence and be disappointed and mistrusting ,but the counsellor may end up causing more harm than good because they are attempting to deal with a situation they are ill informed on and unprepared for. In their professional capacity, a counsellor is in a position of authority and therefore ethically bound to give their client the best quality of care. This may sometimes mean referral to someone more qualified to handle the situation. Unit 2. 2 establish and sustain the boundaries of the counsellor role in counselling practice sessions. Another aspect of the ethical framework is professional boundaries. Boundaries are key to any healthy relationship. In the same way boundaries are key to a healthy counselling relationship. They are needed in several aspects of the relationship including time, physical, confidentiality to name a few. Without these boundaries the relationship will develop but may go in the wrong direction. There will be hurts and disappointments resulting. Wherever boundaries are put in place, one knows exactly how to behave and what to expect from the relationship as well as what is expected of them. In this way either party knows where they stand and there are few surprises and disappointments . For example if Im counselling a client and decline to put in place any time boundaries in place, I know how long the session is going to last, but my client has no idea. They may end up being disappointed that it ended too soon or surprised its going on so long. With the boundaries in place they know exactly what to expect. In one of my practice sessions I had put in all the time boundaries, but at the end still got a door- knob comment from my client. It was extremely tempting to pick up from there and continue the session but I had to be firm and let him know that we will discuss that at our next session. In a real life situation, I may have other clients waiting or other appointments booked in and to carry on with this client would be to communicate that the time boundaries are flexible or of no relevance. This may lead to serious misunderstanding further down the line. Another scenario is where no professional boundaries are put in place. The counsellor and client relationship is a professional one. The counsellor is in a position of authority. It is not a friendship, it is not a romantic relationship, it is a professional one. With the counsellor helping the client through some very difficult times and sharing in things the client may have never shared with anyone else before,it is extremely easy for a physical attraction to develop as the counselling relationship develops. Session after session the feelings will grow. The professional boundaries of conduct must be put in place early in the relationship to avoid this. Should this develop the counsellor is likely to be penalized for it as it is an abuse of their position of authority. I once had to put firm physical boundaries in place in my friendship with a gentleman in church. He was married with four children and wanted to take me and my children on days out without his family or my husband. I felt extremely uncomfortable about this arrangement and declined the offer. He then began to send very innocent looking text messages , but what concerned me was that he didnt want me to mention the texts to anyone. I decided then that despite all his protests otherwise that his intentions were not so pure. I threatened to forward all future texts to his wife , who also happened to be a friend. I did not receive any further messages from him. This is the kind of situation that one might find themselves in in a counselling relationship. Seemingly innocent to begin with but as a professional I would need to judge the situation from an objective standpoint and be sure that I have in place the right boundaries to protect my client, myself, my career,and the reputation of the profession as a whole. Boundaries regarding Confidentiality must be maintained to prevent trusts being broken and to safeguard against disrepute. A client normally enters into the counselling setting feeling vulnerable, burdened and in need of help. It takes a lot of trust on their part to open up to a stranger. This trust must never be broken. The client must be briefed on the circumstances under which this confidence may be breached. This is when there is a risk of a terrorist act or when there is an indication of harm to self or harm to others. Under no other circumstances must the confidence be broken without the clients prior knowledge and consent. Even when taking an issue into supervision it needs to be done unidentifiably. In conclusion , a counsellor is a professional in a position to help others through difficult times. One can only fully achieve this by working within the boundaries of the ethical framework . Working as such results in a safe practice.

How Does Miller Build Up The Dramatic Tension In Act 2 Essay Example

How Does Miller Build Up The Dramatic Tension In Act 2? Essay Act two is an Act of many different emotions. It has a very rocky start, which leads to bad news and a build up of anxiety. The tension varies throughout, from dinner at the start and Marys intervention as well as Elizabeth going to court at the end. At the start of Act Two there is an awkward tension between Proctor and Elizabeth, which carries throughout the Act. The tension is shown from the start. The two of them share short, sharp sentences. Proctor says of the meal, It is well seasoned. He is lying because it says in the introduction to the Act that he adds salt to the pot himself without her knowing. This combines with everything else, i. e. the quietness, the fact that they cant have a proper conversation between the two of them and the general unease. This suggests that there is secrecy between them, which we know to be Abigail, and that they are both unhappy being together. Arthur Miller is giving clues to the audience that the two are far apart as if they have a chasm between them. The catalyst to make them argue is I thought you had gone to Salem this afternoon. This is important because of the business with Abigail and Mary being there today because of the court. We will write a custom essay sample on How Does Miller Build Up The Dramatic Tension In Act 2? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on How Does Miller Build Up The Dramatic Tension In Act 2? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on How Does Miller Build Up The Dramatic Tension In Act 2? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Elizabeth provokes Proctor by bringing up Abigail in this argument. As tension is already ruling this scene, it is not a good idea of Elizabeths to talk of her. However this does show that Elizabeth could be the stronger of the two as she was the first to speak of Abigail. Other evidence of this is moments later Proctor is wide-eyed and trying to put off this argument as he is thinking beyond going to Salem but realises he is going to have to give in. He is being cornered in his own home and Miller knows the audience respond to this. The audience do so by feeling for the first time that Proctor is weaker than someone else. This is the proven later in the Act when he feels weaker than everyone, once he loses Elizabeth. When Mary arrives on the scene, the audience is immediately struck with a different air about her. Rather than being the one who feels to the audience as a lost and scared character, (a subservient little girl), she comes in fairly confident although this diminishes after a while. She gives Elizabeth a poppet as an apology. This is found odd by Elizabeth perplexed, looking at the doll and the audience find this odd to but the poppet will become a big feature later on in the Act. As Mary tells them about Goody Osburn she senses the danger but hides it under her authority. She is edging off-stage when tells them about being an official of the court. This shows that Mary is nervous or perhaps regretting telling Proctor this. Proctor reacts angrily but she stills strives for her authority to just before the whip comes cracking down. Mary arriving causes a different argument between them but this is a very different argument, somewhat more sinister or more involved. Elizabeth urges Proctor to speak to Abigail but Proctor has a feeling dragging him back- his soul hardening as he senses Miller sort of uses religious language in this quote and that is ironic as it will be of significance later on. Elizabeth has the last laugh by giving him an ultimatum and a bitter end to the argument by saying She has an arrow in you yet John Proctor and you know it well. This gives the audience a hope that Proctor will speak to Abigail but Hale appearing at just the wrong time dashes these hopes.

Directing Scene- The Dining Room essays

Directing Scene- The Dining Room essays Having no previous directing experience I was not quite sure what to expect coming into this project. Having a primarily performance background in theatre I was somewhat nervous about having to now be the one giving the direction and instruction rather then taking it. I was, however, able to use my performance background to help me in directing the scene because I was able to think about the direction I was giving to the actors in more in terms of what could a director do to help me understand this moment in the scene if I were acting in it? I started the process by casting people in the scene based partially on who I felt would be able to be able to portray the character correctly and also partially on scheduling convenience. Having previously acting in scenes for directing classes, I knew from personal experience how difficult it could be arrange rehearsals around several peoples busy schedules. I attempted to avoid this conflict by casting Becky Wilson and Chris Wood in my sc ene. I have seen both of them act in the past and felt they could easily carry the characters in the scene and I share a house with them so arranging times for rehearsals was a bit easier since I saw them both very often. Once we started rehearsing the scene, I noticed that it was much easier then I had expected to convey my ideas about the scene to them. At first I found it a bit difficult, being primarily an actor myself, to direct them with their lines and not simply say the line for them as I wanted it to be said. However, as we continued through our rehearsing, I was able to think of other ways to give them the idea of what I wanted from them. Becky and Chris were also very quick to adapt to what I was saying to them, which made my task a lot easier. Having been in productions where cast members just could not understand what the director was trying to say or were unsure how to change how they acted a scene, I knew that it w...

United States Constitution Essay Example | Topics and Well Written Essays - 1250 words

United States Constitution - Essay Example What are these characteristics, what causes them and how fixed is human nature are some of the questions that we face for us to be able to to understand hat human nature human nature is like. In addressing these questions about the implications of understanding humanness, it is wise to keep in mind the end results of whichever study about Human Nature. This will be necessarily be limited by the focus of the investigation and the techniques used. ( Jeeves, 1). It is good to understand what American development is before we go deep into the subject. American Political development is the study of American political growth from a historical viewpoint. And on the the hand when we talk about institution it all paints the picture of customs, practices, or organization, frequently rooted in the rules and law that defines and structures political and social activities. United States of America constitution was written in an under democratic age. Those who researched on it and documented some findings had no intention having democratic constitution. Their findings intended to check, balance and limit political powers while protecting the citizens and property right of the whites. Most critics of the U.S. Constitution find most of it vital elements of argument under democratic and call for their removal or revision (Jillson, 52). Jillson in his book about the government of America highlights some of the prominent people like Robert A. Dahl as the greatest theorist of the second half of the twentieth century. Dahl in his book, how democratic is the constitution; he levels some criticisms in elections of those holding government positions. And also Jillson second him in his allegation, a factor that leads them to break down the constitution into four principles that governs it. This principle has in them the essence of equality includes the idea of republicanism, representative government, sovereignty of the people, limited government, bills of right, tripartite separation of power, independence of the judiciary in the exercise of [power of judicial review, supremacy of the civilian over military authority and supremacy of the constitution over all the the laws of the land. Jillson summarizes this principle into four main principles as follows; The ancient world which usually means Athens and Rome thought that government should foster human excellent Medieval Christendom thought that government should facilitate Christian life Early modern Europe came to believe that should establish and maintain order and prosperity (Jillson, 5). The Ancient: Who rules and for what purpose Rome and Athens formed the centers of the greatest European societies of those old days. Athens gives the definition of human and political values as justice, openness, and excellence hat western countries still goes after them. Rome entrenched these values in political and lawful institutions as fairness before the law federalism, balances and checks that are still central to the way we think about politics. This is clear because Athens and Rome were slave societies. They prepared their vaunted right and liberties accessible only to citizens and both fell to social and political unsteadiness. Rome and Athens learned that much of the way Europeans and the American think about politics was spearheaded, by two Greek political theorists. These men are Plato and Aristotle who both lived in Athens (Jillson, 6). Aristotle had no interest in the normative

Interview on play development Essay Example | Topics and Well Written Essays - 500 words

Interview on play development - Essay Example I also did not go to school, but at age 5 and 6 I played many games, such as the Hunter (similar to hide and seek), Carrom (similar to snooker), marbles, and hopscotch. Because I did not go to school, I could only play games with the neighborhood kids. At home my sisters and my cousins all liked to play the Hunter game. But in the neighborhood, most kids either played marbles or hopscotch. I mostly liked playing with marbles. Also, the Carrom game was fun to play with the board. During my free time I would just help out around my home with any chores that needed doing. At home I would play with my sisters and cousins, but outside I would just play with the neighborhood kids. I was able to develop strong relationships with my relatives and also neighborhood kids because of playing these games with them. I think that the fun that I had contributed to the good relationships I had with many kids. Adults had no say in what we played because mostly the kids just came up with new ideas abou t what games to play. When I got married and moved to Egypt at the age of 14, I did not play as much as I used to when I was a child. Simple activities such as washing clothes and sweeping the house became normal to me. I think that children play much differently today than when I was a child. Now there is more technology so kids don’t have to think too much about what games they can play. One bad thing about this is that it can cause tension among kids, which reduces friendships. Kids these days don’t talk as much when they play because they are always looking at a screen. When I was young, talking and telling stories was an important part of play. I wish that children these days would be required to use their brains more when it comes to play. Too many people have tried to make things easier for kids by not making them think first. I am proud of the games that I

Evolution Of The Concerto Grosso Music Essay

Evolution Of The Concerto Grosso Music Essay Describe the evolution of the concerto grosso from its origins up to the time of JS Bach and Handel. Include references to specific composers and works. The concerto grosso is an early form of concerto which is distinguishable from other types of concerto by its two groups of instrumentation, the continuo and the repieno. Concerto grosso translates roughly as great concerted performance. Late in the renaissance period composers such as Giovanni Gabrieli were using methods of contrast and opposition in their works, evident in Gabrielis polychoral canzonas, which were so effectively developed in St marks Cathedral, Venice. The use of St Marks many choir lofts brought new timbres and techniques to such composers, which would develop further in the Baroque era. As in the polychoral music of Gabreili, the concerto grosso would set a concertino small group of solo instruments against the ripieno a full string orchestra. Typically there would be a basso continuo which would be a harpsichord or an organ which would add texture to the ripieno and would support the continuo with harmonies. Ritornello form will typically be found in the faster movements of concerto grossi, the ritornello will start, played by the ripieno, the concertino will then join in stating the main theme. The ritornello and concertinos episode will then alternate with the main theme being reintroduced shortened, altered or in full. TUTTI SOLO TUTTI SOLO TUTTI RITORNELLO CONCERTINO RITORNELLO CONCERTINO RITORNELLO This pattern would happen many times and in different keys, but the main theme wouldve been likely to be repeated in full, and in the tonic key, only at the end. Although this form looks to be quite clear cut, there were many variants, composers such as Corelli, Handel and Vivaldi experimented with the form. The origins of the concerto grosso can be found around 1675, one of the first concerti grossi is by Alessandro Stradella (1642-82), but some of the more celebrated early works are the twelve concerti grossi of Corellis opus six. These works of Corelli seem to have been key in the emergence the concerto grosso. Written in 4, 5 or even six movements and alternating between fast and slow, Corelli based his musical ideas on dances of the baroque period like the allemande, the courante and the gigue. In these compositions Corelli had started to define a strong contrast between soli and tutti, which may have developed from his church sonatas. The development of the orchestra during this period had an effect on the evolving concerto grosso. The relatively new violin family had replaced that of the viols and players were becoming specialists, giving composers more flexibility when writing. Whilst there was no standardisation of the baroque orchestra, it would consist predominately of stringed instruments of the violin family which would double on parts as the colour of timbre was quite limited. The three keyboard instruments of the time, the clavichord, the organ and the harpsichord all benefited from the now commonplace tempered tuning technique. This era started to see virtuosic performers arise in musical schools, mainly in Italy. For example, in the church of San Petronio, Bologna, there was a regular group of performers who became accomplished in there fields, but when the occasion suited ensembles were increased in size by the use of more modestly talented instrumentalists. This created a different standard of difficu lty between the concertino solo passages and the fuller repieno episodes. One of the most notable figures in the Bologna School was Giuseppe Torelli (1658 1709), Torelli contributed a lot to the development of the concerto grosso. It was he who settled on a three movement, fast slow fast structure. In his opus eight concerti, he has developed a distinctive style with a very clear use of the ritornello form in his allegro movements. It is here in the time of Torelli that the markings of a typical concerto grosso start to emerge with its allegro adagio allegro structure, the strong and strict use of ritornello form and then the use of more virtuoso writing for the continuo instruments. With this three movement structure becoming almost standard it is by the works of Antonio Vivaldi that it becomes established. Vivaldi shows a development of melody and rhythm, writing in distinct form which had grown to be expected of a baroque concerto, but at the same time he enhanced the writing of solo lines in a way seen previously by Torelli and Albinoni. Vivaldi started to introduce wind instruments such as flutes, bassoons and horns to the orchestra and sometimes to the continuo, which, in turn led to a more colourful demonstration of timbre. The adagio movement became just as important to Vivaldi as the allegro movements, gaining equal importance; this is something which other composers such as Johannes Sebastian Bach took into their works. Around 1720, Johannes Sebastian Bach wrote a set of six concerti of which three were concerto grosso, numbers 2, 4 and 5. Bach was influenced by the works of Corelli, Albinoni and Vivaldi but started to create more complex texture with counterpoint and sonority. Although developing the style of writing, he largely conformed to the structure set before him. George Fredric Handel (1685 1759) differed here, whilst still writing with the newer, more complex techniques his concerti grossi were more in keeping on a structure basis with those of Corelli. In his concerti he uses more movements and relates them to the baroque dances, for example, opus six, concerto grosso no six. Within this work there is an opening larghetto e affettuoso, a fugal allegro, a pastoral in the form of a musette en rondeau and a minuet like allegro. The concerti of Handel show diversity and variety, which may be due to the fact he was more travelled than other composers of his time. It was during the period of Vivaldi, Bach and Handel that the concerto grosso was to become less popular amongst composers, the writing of virtuoso lines leant itself better to the solo concerto, although the term concerto grosso has still been used in the 20th century by composers such as Bloch and Vaughn Williams. Word Count 992 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 2 Discuss the variety of instrumentation in Bachs Brandenburg Concertos. Johannes Sebastian Bach used an extremely varied combination of instruments in his set of Brandenburg Concertos. For the period, late baroque, it was almost experimental, leaving no stone unturned as he searched for the sonority to compliment his distinctive counterpoint. Because the instrumentation is so varied I will describe each of the concertos separate scoring before discussing the many combinations and instruments. Brandenburg Concerto No. 1 in F major Instrumentation Concertino Two Corni da Caccia (Natural Horn), Three Oboes, Bassoon and a Violino Piccolo (Small Violin). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 2 in F major (Concerto Grosso) Instrumentation Concertino Tromba (Trumpet), Recorder, Oboe, Violin Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 3 in G major Instrumentation Concertino Three Violins, Three Violas and Three cellos (split into three groups of equal instrumentation). Ripieno Basso Continuo (Harpsichord). Brandenburg Concerto No. 4 in G major (Concerto Grosso) Instrumentation Concertino -Violin and Two Flauti decho (Recorder). Ripieno Two Violins, Viola, Cello and Basso Continuo (Harpsichord). Brandenburg Concerto No. 5 in D major (Concerto grosso) Instrumentation Concertino Harpsichord, Violin and Flute. Ripieno Violin, Viola, Cello and Violone. Brandenburg Concerto No. 6 in B flat major Instrumentation Concertino Two Violas and a Cello. Ripieno Two Viola da Gamba (In unison), a Cello, a Violone and Basso Continuo. There are many things which strike you about Bachs instrumentation when you see it classified in this way. Firstly, for the period, it seems to be quite experimental and certainly in Concerto No. 6, the use of the Viola da Gamba, a somewhat dated instrument of the time, could suggest Bach was searching hard for exactly the texture he wanted, or that in fact Concerto No. 6 predates the other five and is not as the date on the presentation score. This concerto also displays a lack of treble instrumentation, creating a much darker timbre. Also on show is Bachs exposition of wind ensemble, Concertos No. 1 and No. 2 display wind groups as the concertino, adding a real sense of colour and texture to the works. The Harpsichord makes an appearance as the soloist in Concerto No. 5, showing a reluctance to conform to the standard practise of keeping the keyboard instrument in the continuo. Amongst the scoring of the Brandenburg concertos are some Instruments which may be unfamiliar to todays audience. In Concerto No. 1, the only brass instruments are the two Corno da Caccia. Now this is not the Horn that we know today, but would have been a small, natural, valve less horn, not to dissimilar to a hunting horn. This instrument allowed Bach to write the same virtuosity as for a trumpet, but would have given slightly less edge to the sound. The Flauti Decho of the fourth concerto stirs up a lot of debate as to exactly what instrument Bach actually meant. Malcom Boyd, in his book Bach, The Brandenburg Concertos discuss the possibility of the Flauti of the second concerto, the recorder, being the same instrument as the Flauti Decho and in fact not a different version at all. This is a matter that many academics are yet to agree on. The Violin Piccolo is scored in the first concerto amongst the concertino, this instrument, as the name would suggest, is a smaller version of the violin we know today. The violin piccolo is recorded as being pitched either a minor third, or a fourth above the concert violin, but as Malcom Boyd writes in his book It is doubtful whether one can really speak about the violin piccolo as one might about the violin or the viola. Concerto No. 6 gives us the Viola de Gamba, An older instrument, the viola de gamba is a member of the viol family, a six string instrument played with a bow and held between the legs, equivalent to todays double bass. Also required in each one of the six concertos is a violone, this would have been similar to the viola de gamba, a bass like instrument used in the basso continuo. Bachs treatment of concertino and ripieno differs somewhat to that of other concerto composers such as Vivaldi, as he treats the concertino as not just a solo group but likes to bring different instruments to the fore, and create unusual pairings of different instruments. As referred to in The Cambridge Music Guide, in concerto No. 2 the solo instruments are paired in every combination, this makes me wonder if there was also some mathematical logic behind this sort of scoring. Every soloists performs on there own and with the group, and lines are passed seamlessly around the ensemble. Throughout the Brandenburg Concertos, Bach uses the instrumentation to such effect, that there are so many colours and textures on display. However, with the ambiguity of what some of the instruments were it is impossible to recreate the colour and texture that Bach himself was looking for. Word count = 826 SUBMISSION 1 ASSIGNMENT TWO Assignment 2A Question 3 Give a detailed analysis of the first movement of Brandenburg Concerto no. 2 in F major. Include a brief background to this work. It is widely believed that much of the music that Bach wrote during his years as the Kapellmeister in Cothen has been lost, fortunately amongst the surviving works are the celebrated scores of the Brandenburg Concertos. Due to the complex contrapuntal nature of the six instrumental works, they could possibly be classed as chamber works rather than orchestral works. All six concertos are written for differing musical combinations, combinations which show a desire to create new sounds but also celebrate sounds of the period. These six concertos were dedicated in a presentation score to Christian Ludwig, The Margrave of Brandenburg, with the year 1721 as the year on the manuscript. It was whilst on a trip to Berlin during the year of 1719 that Bach met the Margrave, Bachs musicianship as a performer had interested the Margrave so much that he invited Bach to write him some compositions for his extensive library. It was two years later that Bach obliged the offer of the Margrave, sending him the scores to what are now known as The Brandenburg Concertos. This gesture by Bach is widely suggested amongst scholars of the musical world to be Bachs way of submitting his CV, in the hope of earning a job in the court of Christian Ludwig, a job which never materialised. The now labelled Brandenburg Concertos are amongst Bachs most celebrated works, performers, composers and academics regard them as some of the finest musical output of the baroque era. This idea of writing for various combinations of instruments was a new concept in Germany; Bach however had studied the published works of composers such as Antonio Vivaldi, and wrote closely to the Italian style with the use of a clear ritornello form. With the six concertos having mainly a three movement structure of quick slow quick, as per the concertos of Bachs Italian counterparts, it is the varied instrumentation that sets these works apart. Brandenburg concerto No.2 could be said to be one of the more colourful concertos of the set. Written in F major and scored for a concertino of trumpet, recorder, oboe and violin, supported in tutti sections by the typical ripieno section of strings and continuo (commonly a Harpsichord). It is the wind ensemble that delivers the richness of sound yet has the sensitivity to explore the fine counterpoint which so effortlessly flows through the parts. The set of six concertos are some of Bachs most famous works and I now aim to deliver a detailed analysis of the first movement of his Brandenburg Concerto No 2. in F major. Bachs Brandenburg concerto no 2 was written in three movements as follows: Allegro Andante Allegro assai The concerto is written in the key of F major and conforms to the style considered a Concerto Grosso. The composition uses the following instrumentation: Strings, Trumpet, Flute (originally a recorder), Oboe with strings and basso continuo (commonly a Harpsichord). The continuo is never omitted from the movement as it provides the harmonic foundation of the whole movement. This first movement of Bachs Brandenburg Concerto No 2 is written in ritornello form as is his Brandenburg concerto No 5. Example 1 below shows the opening eight bars which I consider to be the ritornello theme, in the tonic key of F major it is written for all instruments throughout the movement. Example 1 Bars 1-8. This ritornello theme is never repeated in full and can be broken down into 6 smaller motifs, shown below in Example 2, as the movement evolves these motifs are introduced at different points. Example 2 The solo subjects can also be split down into their own theme being called S1 and a countersubject called S2. These two lines are shown below in Example 3. This Solo line could be considered as a second ritornello as it is a recurring theme which can be heard to a total of eight times throughout the movement. Interestingly, this theme is only scored to be played by the concertino, unlike the main ritornello theme which passes through the solo and ripieno instruments. As we will see throughout this analysis a large percentage of the melodic material written is manufactured from the two themes that I am calling S1 and S2. Example 3 On completion of the ritornello theme the concertino violin plays a solo (S1) for 2 bars and then it returns back to the ritornello (R1) theme for the following 2 bars. This solo is accompanied by just the cello and is then joined by all the ensemble instruments to play the ritornello theme as in the opening. Bar 13 has the oboe playing a solo (S1) for 2 bars with the violin playing the solo counter subject (S2) once again accompanied by the cello. There is then a modulation for the first time into the dominant key of C Major for 2 bars of the ritornello (R1) theme. This sequence then continues until bar 23, with the flute and then the trumpet each playing solos (S1) for 2 bars with oboe, whilst the flute then plays the solo counter subject (S2). In Bar 23 it is back to the ritornello theme for 6 bars but this time it is with the introduction of the R4, R5 and R6 motifs in the dominant key. The movement then modulates to B flat major (the sub-dominant) and the trumpet plays a small s olo (S1) for 2 bars. This solo is not accompanied by the normal counter subject (S2) as heard previously, but the violin continues to play a semi-quaver rhythm which is leading us on to different ideas. This solo is also harmonised with the other concertino instruments and the cello of the ripieno, Bach is gradually building the instrumentation of the solo lines in comparison to what was heard at the beginning of the movement. At bar 31 the ritornello theme (R1) begins to move the music in the direction of the key of D minor, this is done using a cycle of fifths, the chords are as follows; D Minor G Minor Cdom7 Fmaj7 Bbmaj7 E Minor Adom7 D Minor. The texture within this cycle of fifths becomes very thick and extremely complex, with the flute and cello playing together in thirds at bars 33-35. The solo violin can be heard playing a pulsating and energetic chordal harmony figure in a virtuosic style whilst the trumpet and the oboe are pigeon stepping from the end of bar 32 until bar 35 (See example 4). This pigeon stepping technique is also written in the viola and violone from bar 33 until bar 35(See example 5). These ideas are used to give a sense of direction and it also helps to disguise the circle of fifths, stopping the idea from becoming a simple clichà ©. Example 4 Bars 32 35. Example 5 Bars 33 35. This cycle of fifths leads the music back to the ritornello theme (R1) at bar 40 for two bars in D Minor and then it begins to travel back to the tonic key, through another cycle of fifths; D Minor G Minor C Major F Major. Throughout this cycle of fifths the ritornello theme (R1) can be heard to pass through the trumpet, flute and lastly the oboe lasting for two bars in each line. Whilst this ritornello theme is passing around the concertino instruments the other solo lines are accompanying it with a fluid semi-quaver rhythm, with the trumpet and then the flute moving in contrary motion against the oboe and violin. There continues to be heard the ritornello theme from bar 46 in the tonic key but it is abruptly interrupted at bar 50 owing to the fact that if the theme was to be heard again here in full, in the tonic key, then you could expect that movement would have had to finish at this point. Bar 46 sees the continuo and cello take over the fluid semiquaver rhythm which seems to be in support of the solo violin this however only lasts for 2 bars until the reintroduction of this figure in the flute and oboe, along with Violin 1 of the ripieno. It is at this point (Bar 50) we can see that Bach begins to introduce a V-I rising sequence with a very strong 7th feel to each of the chords. Beginning with the chord of F7 at bar 50 moving to D7 (V) at bar 51 G7 (I) at bar 52 E7 (V) at bar 53 Amin7 (I) at bar 54 F7 (V) at bar 55 Bb7 (I) at bar 56. This rising sequence starts to move the music away from the tonic key so as not to give the feeling that the movement is coming to the end. This time, however, the ritornello theme R5 is heard to be played in this sequence by the Violin, Oboe, Flute, Violin again Oboe again and then lastly the Trumpet, each for 1 bar at a time. Whilst this theme is being passed seamlessly through the concertino the underlying moving semi-quaver idea is also being passed through the concertino instruments, cleverly intertwining with the ritornello theme R5. Bar 56 sees the continuo and Cello now playing the theme R5 with the Trumpet decorating it in the treble. The end of this section is announced wi th the introduction of the ritornello theme R6 which is an ending theme. At the introduction of this ending theme, R6, we are in the key of B flat (sub-dominant) for 4 bars and a reversion back to the now seemingly solitary solo (S1) and counter subject solo (S2), from the flute and Violin respectively, with just the continuo adding a simple harmonic accompaniment the music can then be heard to modulate to G minor at bar 62 for two bars, with the solo lines reversing and the Violin playing the Solo (S1) and the Flute playing the counter subject (S2). The Oboe then takes over this Solo line (S1) with the violin playing the counter subject (S2) but there is a modulation once again, this time to E flat major, at this point Bach begins building the harmony and texture again, introducing the flute playing an interrupted quaver rhythm. For the final time in this sequence the music modulates once again to C minor, with the Trumpet playing the Solo Line (S1) and the Oboe playing the counter subject (S2).There is a definite feeling of rebuilding of the texture her e again as the flute and solo violin, playing the interrupted quaver rhythm, are heard together at bar 66. All throughout this, from bar 60, it has remained a simple accompaniment from just the continuo with the tutti strings tacet. This idea is the same as in bars 9 23 but without the fragments of the Ritornello theme. Again can be heard the ritornello theme from bar 68, still in the key of C Minor (dominant minor), however, this is soon interrupted by a rising sequence of V I at bar 72. This time it begins with C Minor (V) at bar 72, moving to F major 7 (I) at bar 73. Bar 74 is in D major 7 (V) leading us back to the ritornello theme at bar 75 in G Minor (I). This rising V-I section once again uses the idea of passing the ritornello theme R6 around the concertino instruments, with the fluid semi-quaver movement flowing effortlessly through the solo lines. This ritornello theme modulates to G minor using another cycle of fifths, the chords it uses are as follows; G minor C minor 7 F 7 B flat major 7 E major A minor 7 D major G Minor. In bar 72 there ios a very subtle use of syncopation in the tutti violin part which seems to bind the ripieno ensemble. Bach again uses the pigeon stepping device, but this time it is heard in the trumpet and the oboe from the end of bar 76 up until bar 79. There is also another example of the pigeon stepping in the viola and continuo from bar 77 until bar 79 along with the Cello and Violin playing in 3rds. This again has disguised the circle of fifths and made the texture very rich and extremely complex. In bar 86 I get a very definite feeling that the movement is heading to its climax, the long sustained chords, lasting up until bar 93, within the violins and the viola of the ripieno are something new, seeming to create a different texture and binding to the intricate figures of the concertino and the harmony of the continuo. Bar 94 sees another return of the ritornello theme in A minor, however this time it is introduced by the flute and the violin for two beats, and then the trumpet and oboe join in with an echo effect, maybe a hint of Bachs fugal ideas. This ritornello theme is extremely short lived as once again there is more use the cycle of fifths from bar 96, D minor G7 C Major F Major B minor7 E Major 7 A minor. Heard again is the same idea as previously heard with the Flute and Violin pigeon stepping from bars 95 99, this pigeon stepping is also displayed in the Viola and Violone whilst the Oboe and Cello play the fluid semi-quavers in 3rds. The music stays in the key of A minor for 3 bars and the final ritornello theme is stated, in unison and in octaves, back in the tonic key of F major. This is a sudden change back to the tonic key with the whole ensemble having a quaver rest before. This idea is a stylistic/form aspect from another type of composition the da capo aria. It is with this sudden change back to the tonic and with the ensemble playing in unison that you are tricked into thinking its the end of the movement, but Bach leads off again with another rising V-I Sequence. Beginning this V-I sequence in F Major (V) moving to B flat major 7 (I) at bar 107. Bar 108 moves to G dominant 7 th (V) and leads onto C dominant 7th (I) at bar 109. A dominant 7th (V) begins bar 110 resolving to D dominant 7th (I) at bar 111, and then to finish the sequence it is a diminished 7th on B leading in to C major. This diminished 7th on B natural strengthens the return back to the tonic F major. The rising V I section uses the idea which is previously heard of weaving the ritornello theme R5 through the concertino instruments. Heard then is the ritornello theme R5 played by the Violone and Cello at bar 113. Bar 115 sees the music return to the tonic key of F major and the ritornello theme is stated for the very last time, however, Bach does not write the ritornello theme in full as you would expect with ritornello form, it is left to ritornello theme R5 for 2 bars and then the ending theme R6 to finish the movement. Although this movement can be recognised as being in ritornello form It has become clear during my analysis, that it is very hard to distinguish between the solos and ritornello theme. This is because Bach has used material from the original ritornello theme throughout the whole of this movement and integrated them so seamlessly and subtly into the solo passages. Word count = 2,576