Harmony in Color Essay Example for Free

Harmony in Color Essay Colors seen together to produce a pleasing affective response are said to be in harmony (Burchett 28). Burchett spearheaded an analysis of color theory in order to clarify and define the mystery of color and what draws man to colorful paintings, like a butterfly to a multicolored flower.   The systems of color that need to be rediscovered are found through several color systems, formulas, and principles forwarded by expert scientists who have probed into man’s tendency to be touched by color and his appreciation for it. Harmony is crucial in every sphere in this case art and color interpretation. Color harmony is important to industry, art, fashion, natural science, animation, psychology etc. where man and animals project certain reactions toward color. Researchers have come with many propositions to find out what exactly appeals to the mind, making it receptive to colors that are in sync. Beauty lies in the eyes of the beholder. Color interpretation is often individualistic and also conforms according to culture. First of all the eyes construct color in light. The spectral balance explains this peculiarity. The lens refracts rays and focuses them on the retina which predicts and enhances the optic image. Electromagnetic waves help to relay different shades, hues, and patterns of color. It is the unfortunate lot of a few to be color blind. The determination of culture bears a heavy weight in the color harmony since each culture has a different set of values that govern beauty, synchronization, sentiment, and symbolism. â€Å"Different colors differ in the quality and intensity of their affective tone †¦ the differences become even more pronounced when people from different cultures are considered† (Shachtel 168). Therefore colors project various feelings often standing in association with an already familiar element of nature. The modern guide to shades is the color wheel which generates a kaleidoscope of color which gives the color range of color where the tints move from black, dark color, lighter color, to white; hence the segments of color provide primary, secondary, and tertiary levels of color. Nonetheless â€Å"the major shortcoming has been the failure to deal with the three basic perceptual dimensions to color: hue, brightness, and saturation† (Wright 232). These three subdivisions of color make chromatic harmony what it is. Like the refracted rays of light through a prism, looking at light and color unearths several dimensions. Color harmony is not isolated since it can only be appreciated as far as it evokes and transmits certain feelings (called the affective response). For example, warmth and passion are represented by red, coldness equates to blue-grey and bliss is chromatically evinced as a rosy pink etc. Other instances abound from which the artist can draw such as the earthy brown, the green vegetable, the sky-blue, the grey clouds, black night, yellow sun and the list continues. The darkness of the night or the dullness of an overcast sky transfer morbid, melancholy sentiments while the light of day conveys buoyancy, cheerfulness, and optimism. These affective connections define the chroma in which â€Å"color may be considered to be the most universal notion, permitting to assume the unity of both a man and an environment† (Serov). Consequently man’s relation with his environment is conditioned by color which provokes an emotive response from him when observing color or nature. According to Burchett, the eight attributes of color are order, configuration, area, association, similarity, attitude, and tone (Burchett 20). The order of color is crucial to the uniformity, synthesis, juxtaposition, and harmony of color. Also in the naming of colors, blue-green as opposed to green-blue makes a marked difference with respect to color codification. The Munsell Color Order system dictates that the hue, value, and chroma have to be diagrammed in tandem with specific shapes (e.g. circle, square) which ushers in a mathematical aspect of color. This rigidified structure places colors on an equal distance from one another, using primary colors such as yellow, purple, blue, red, and green. A colored tone signifies the depth of the color (which determines whether it is a lighter or darker variation of the same color). There are an infinite range of tone values. One expert on color, Henri Matisse says of tone: â€Å"The relationship of all the tones the result must be a living harmony of all the tones, a harmony not unlike that of a musical composition† (Chipp 134). The attitude of a color has to do with personality and what message the color gives or invokes, namely the character distinctions in a loud color versus a faded color. The Coloroid and the Munsell Color systems attempt at harmonizing color by chromatic spectrum, through a carefully structured, graduated color conversions. The Coloroid Color system, masterminded by Professor Antal Nemcsics, provides a structure whereby people can easily identify harmonious color, setting up a chromatic balance and the color ranks. In the Coloroid system, the most important features are the color hue, brightness, and saturation. One of the main principles of the Coloroid system which promotes melodious color is its â€Å"aesthetically uniform color-space† (Neuman). Here, the observer sees the progressive change from one color into another on the spectrum. â€Å"The fluctuations range from minute gradients fragile enough to be quenched by artificial illumination to abrupt, linear, and sometimes almost crystalline transitions both of hue, and up to a point of value† (Fried). The synchronized transitioning from one hue and another, one tone to another, is the main objective. Just as scales are represented in music in movement from one octave to the next, color must stick to this gradual succession. The Munsell color system seeks to strikes equilibrium among colors through a lightness-contrast mathematical equation. In this harmony formula, the variables are the Euclidean distances or the color intervals where â€Å"the degree of harmony is a cubic function of the color interval† (Chuang). Another element of color harmony is the hue effect. The color harmonies respond in accordance with the lightness/ brightness, saturation contrasts. As a result, we have a chromatic concord through these color and light values. The hue effect or the Abney effect essentially explains the color’s alteration under white light. The harmonic formula to the hue effect is as follows: H’=-0.23 – 0.35 sin (h s (ab) + 0.83) – 0.18sin (2h s(ab + 1.55) Chromatic Difference is a product of the equal-chroma and equal-hue effects principles. Through this equation, the color harmony score is calculated by computing the differences between hue and chroma where the smaller the difference between the two reveals the level of chromatic harmony.The Chromatic Difference Equation is as follows: H  Ã‚  Ã‚   =1.3 0.07 C 0.0005(C) Meta†harmony value is acquired by the defined hue effect function at the meta-harmony value. The Meta-harmony equation is as follows: ΔM = (ΔLM 2 + ΔTM2)1/2 Through this equation, one finds ΔM the meta†harmony value is defined by the Euclidean distance on the transformed hue planes. The final harmony value is defined by an H(Δ) function at the ΔM meta†harmony value. Results have been proven by experimental  observations, too. In conclusion, the harmony of color is a concept which embraces the hue, saturation, and brightness of color. In addition, the unity of color is promoted by the smooth transition to the next just like the scales in a musical manuscript. The coloroid and the munsell systems help incorporate harmonious chromatic values into the kaleidoscopic spectrum of color. All of these characteristics contribute in making the life experience more enjoyable where the senses are very much attuned to engage with the world. The colorful, colored world lies open for scrutiny where we as humans of every hue are touched not only through vision, but also through the very innate color coded system wiring which connects color to feelings and heart.

Benjamin Franklin: Americas Model for Servant Leadership :: American History

Benjamin Franklin: Americas Model for Servant Leadership In Benjamin Franklin's civic pride and his projects for the improvement of Philadelphia, we see another aspect of the philosophy of doing good. At the same time we may recognize the zeal for reform that has long been a characteristic of American life. In his attention to the details of daily living, Franklin shows himself as the observant empiricist. As the successful engineer of ways to make the city he loved cleaner, safer and more attractive he continually sponsored new institutions that were proof that the applications of reason to experience were fruitful in the real world. "Human felicity," he wrote, "is produced not so much by great pieces of good fortune that seldom happen, as by little advantages that occur every day." Franklin typifies that aspect of the American character that is attentive to small details as well as over-all great plans. The practical idealism of America lies in our capacity to work for our ideals step by step, to recognize that the perfect world is never achieved but that we may approach it gradually by a creative attentiveness to each aspect of life around us. BENJAMIN FRANKLIN'S religious creed held that the best service to God is to be good to man. He leaned to the views of the "Dissenters" of his day, notably Joseph Priestley and Richard Price, who preached a doctrine somewhat like present Unitarianism. A moralist, he taught that man's soul is immortal and that man's conduct in this world will determine his condition in the next; so he made a creed of virtue, based on integrity and good deeds-man must help himself and others. In the American tradition Franklin stands as a man who preached thrift, frugality, industry and enterprise as the "way to wealth." He grew to maturity in an American tradition that was older than he was, according to which such virtues as thrift and industry were not enough to bring a man success; he had also to practice charity and help his neighbor. Wealth was a token of esteem of the Divine Providence that governs men's affairs, and thus the accumulation of riches was not sought for its own sake alone. Furthermore, wealth and position, being marks of the divine favor, conferred an obligation; a successful man was a "steward," holding the world's goods in trust for the less fortunate. This "Protestant ethic" was a common denominator of Calvinistic Boston where Franklin spent his boyhood and of Quaker Philadelphia where he grew to young manhood. Benjamin Franklin: Americas Model for Servant Leadership :: American History Benjamin Franklin: Americas Model for Servant Leadership In Benjamin Franklin's civic pride and his projects for the improvement of Philadelphia, we see another aspect of the philosophy of doing good. At the same time we may recognize the zeal for reform that has long been a characteristic of American life. In his attention to the details of daily living, Franklin shows himself as the observant empiricist. As the successful engineer of ways to make the city he loved cleaner, safer and more attractive he continually sponsored new institutions that were proof that the applications of reason to experience were fruitful in the real world. "Human felicity," he wrote, "is produced not so much by great pieces of good fortune that seldom happen, as by little advantages that occur every day." Franklin typifies that aspect of the American character that is attentive to small details as well as over-all great plans. The practical idealism of America lies in our capacity to work for our ideals step by step, to recognize that the perfect world is never achieved but that we may approach it gradually by a creative attentiveness to each aspect of life around us. BENJAMIN FRANKLIN'S religious creed held that the best service to God is to be good to man. He leaned to the views of the "Dissenters" of his day, notably Joseph Priestley and Richard Price, who preached a doctrine somewhat like present Unitarianism. A moralist, he taught that man's soul is immortal and that man's conduct in this world will determine his condition in the next; so he made a creed of virtue, based on integrity and good deeds-man must help himself and others. In the American tradition Franklin stands as a man who preached thrift, frugality, industry and enterprise as the "way to wealth." He grew to maturity in an American tradition that was older than he was, according to which such virtues as thrift and industry were not enough to bring a man success; he had also to practice charity and help his neighbor. Wealth was a token of esteem of the Divine Providence that governs men's affairs, and thus the accumulation of riches was not sought for its own sake alone. Furthermore, wealth and position, being marks of the divine favor, conferred an obligation; a successful man was a "steward," holding the world's goods in trust for the less fortunate. This "Protestant ethic" was a common denominator of Calvinistic Boston where Franklin spent his boyhood and of Quaker Philadelphia where he grew to young manhood.

Why Music Should Not Be Taken from Our School Day

Why Music is Important!!! Why were lullabies invented? They soothe children and calm their reactions to stress. This in turn reduces the stress in the entire family. Over time, children memorize lullabies and start to sing them. Music is often a huge part of childhood. A toy piano, drums, xylophones and guitars are favorite toys for children. Parents and grandparents should encourage children to experience music. A great way to do this is to provide toy instruments to the children. These don't have to be expensive. Children can play and enjoy their own music.While they may not develop professional talent, they will gain an understanding of music that will help them relax in the future. As they get older, consider music lessons. Qualified instructors can teach children how to play the piano, a skill that they can use for life. Your child's school may have a music or band program. Check out all of the available options that will give a musical education to children. There may be an old instrument in the family somewhere. Ask around. Do you have musicians as friends? They may have an unused instrument that they are will to part with.If you are creative, you'll find an appropriate instrument for you child. With it, they can truly expand their musical abilities. If they are lucky, their school may still have a vibrant musical program that they can join. It's a sad fact that in these days of budget pressures for schools, early funding victims are often music programs. This is usually due to the lack of perceived direct benefit from music. This is unfortunate because while music students don't earn sponsorship dollars from their activities, they bring calmness and civility to the school.This is a direct, positive influence on the music students and to those students exposed to the sounds. With the reality of budgets, it is more important than ever that parents advocate for music funding in schools, that they provide musical avenues to their children themselves and tha t they encourage and support more live performance music where ever it is available in their communities. Musical appreciation comes best through the playing of an instrument to a degree that far surpasses mere listening to iTunes. To give children a chance to calm down, it is important to instill musical appreciation from a young age.Your child doesn't have to be a musical prodigy, they just have to enjoy music for their own pleasure. Children who love music will often surprise you with their ability. Give them a chance to show what they can do. Keep emphasizing that music is fun. Obviously parents and grandparents support music for children. This lens has been liked over 200 times. It has also received dozens of fabulous comments in the sections below. This is great news. Make sure that you follow through with your support by getting the children involved in music. Talk to them about your passion for music.Find a nice instrument that they want to play. Encourage them to sing. Volu nteer to help school music programs. Music as a Career Many children find that they can translate their love of music into a career. This is obviously a difficult, and rare, undertaking. The book â€Å"Outliers† by Malcolm Gladstone says that 10,000 hours of practice are required to become an expert at something. The Beatles did it back in 1964. The â€Å"Fab 4† became rich with their music. Talent is required, but so is dedication. Without encouragement, however, your child is not likely going to work in the music industry.That and luck. If they want to try, beware of the difficulties, but help them. The Internet has completely changed the music industry, although the big publishing companies don't like to admit it. New artists can publish and promote their own work and be incredibly successful. There are funding opportunities for albums or concert tours. Publishing to the web offers various revenue streams. An incredible demand for new material always exists. Budding performers can get a piece of the action if they have the talent, drive and luck. Justin Bieber did it.There will be more young superstars discovered in the future. !!! Cutting arts programs would be a tremendous loss for every student. Whether you’re naturally more artistic or not, learning how to think creatively is a very important skill. Just focusing on certain subjects for too long can cause boredom and stress. I know that being involved with music helps me relieve the stress of preparing for state testing. But are these examinations really what we should be focusing all our time and energy on? One test can’t express your intelligence or creativity like art can. Music, as well as art, p. . , science, social studies, history, and geography are all important and should be taught to all children, no matter how poorly they are doing, or how poor their families are. For some, it may be the spark that ignites their desire to learn, for others it may set the foundation for them to understand higher thinking skills, for others it may be the reason they stay in school, for others†¦. . Several studies have reported positive associations between music education and increased abilities in non-musical (eg, linguistic, mathematical, and spatial) domains in children.The authors say there are similarities in the way that individuals interpret music and language and â€Å"because neural response to music is a widely distributed system within the brain†¦. it would not be unreasonable to expect that some processing networks for music and language behaviors, namely reading, located in both hemispheres of the brain would overlap. † To see each other through each other’s eyes~ president Obama It teaches us to understand and get to know those who are not like us That sense of belonging, having a healthy perspective on weighty issues and the ability to self-individuate may be never fully realized, even in a lifetime.What is necessary in th e microsociety of high school is a sturdy vessel in which to navigate a safe and fulfilling journey to the next transition. In high school, music programs are that vehicle. Our drummer, Paulo Baldi, for instance, lived in three states as a teenager (Colorado, New Mexico and Washington) while attending four different high schools. Joining the marching band in each unfamiliar place helped to connect his high school experience. He made friends through each transition, and it made comfortable what could have otherwise been an alienating experience.Paulo Baldi testifies that, â€Å"Marching band in particular is the savior for people who may or may not be athletic. Marching band is music, memorization, eye-hand coordination and good for your posture. It may hurt to be told your paradiddles suck, but it builds character. It's a team sport. You create friendships that become your buddies for life. High school music is something focused to do. You don't have to be great to belong, and memb ers immediately have something in common. † Aside from the social benefits, students in high school music programs have higher test scores and cognitive development.A U. S. Department of Education study found that those who reported consistent involvement in instrumental music over the middle and high school years show significantly higher levels of mathematics proficiency by grade 12. (This observation holds regardless of students' socioeconomic status. ) Additionally, students who learn to play an instrument develop a greater language capacity and a greater ability to learn a new language. In another context, it is invaluable to gain a wider perspective on cultural history by being exposed to centuries of our rich cultural heritage.Have you Forgotten? Daryll Worthy Where were you when the world stopped turning on that September day? Alen Jackson Lone Star Already there. on the record Exploring America's orchestras†¦ with Henry Fogel Ifeel that today there is a serious d istortion of values in the world – a set of values that puts the short term ahead of the long term, that puts financial achievement ahead of ethical standards, and a set of values that increasingly diminishes the worth of intellectual achievement and of human expression.In fact, when future generations look back and judge the civilizations and societies of the past, it is first and foremost the cultural and artistic achievements of those societies that are spoken of. To be sure, engineering and scientific achievements are a part of the picture of any society – even a major part. But whether it is Homer, Shakespeare, Mozart, Beethoven, Rembrandt, Picasso, James Baldwin, Garcia Lorca, or Leonard Bernstein – the artists and the art they created express the deepest and most profound thoughts of the civilizations in which they lived and worked.And it is the achievements of those artists that, in fact, define civilizations, define humanity. And if we aren't educating our young people to the standards of those achievements, how can we in fact call it education? So then the question is how can we find common ground – common ground occupied by you in the world of music educators and us in the world of symphony orchestras – to work together to enhance the state of music education in the school systems of America? And that is what I'd like to speak about today.We have actually done much together – some things that all of you might not be aware of. Throughout 2006, the American Symphony Orchestra League led a coalition effort, including collaboration with MENC, to develop a national unified statement regarding the benefits of arts education. This paper is being used on the Hill in Washington this year as an advocacy tool for communicating the benefits of arts education to federal lawmakers as they begin the process of re-authorizing the No Child Left Behind Act.This re-authorization process will be a multi-year effort and has alre ady begun with public and private hearings and town hall meetings. The messages outlined in Arts Education: Creating Student Success in School Work and Life directly communicate the benefits of arts education to policymakers. More than 60 organizations are signatories on this unified statement – and they represent an impressive cross-section of stakeholders in federal education policy. Here is a brief sample of the kind of statement included in that document: A child's education is not complete unless it includes the arts.In fact, the No Child Left Behind Act lists the arts among the core academic subjects, requiring schools to enable all students to achieve in the arts, and to reap the full benefits of a comprehensive arts education. In spite of this federal direction, access to arts education in our schools is eroding. A report from the Center for Education Policy conclude that, since the enactment of No Child Left Behind, 22% of school districts surveyed have reduced instr uctional time for art and music†¦.A comprehensive strategy for a complete education includes rigorous, sequential arts instruction in the classroom, as well as participation and learning in available community-based arts programs. Public schools have the responsibility for providing a complete education for all children, meeting the commitment put forth in No Child Left Behind. The federal commitment to arts education must be strengthened so that the arts are implemented as a part of the core curriculum of our nation's schools and are an integral part of every child's development.So clearly one way in which we already work together is to collaborate on advocacy, to sound the alarm together, and to lead our society back to a place where arts education is indeed central to education curricula, and not an add-on, or an â€Å"extra frill† to be indulged if there happens to be money left in a budget or time left in a schedule. Another area in which we can work together is to insist on, and help to bring about, meaningful, comprehensive research on the status and quality of arts education in our nation's schools, and on the impact of arts education on future citizens.Even some of those things that people like to call â€Å"un-measurable,† are, in fact, measurable if you care enough to find the metrics with which to measure them. We know that arts education improves problem-solving abilities, and we know that in particular music education – particularly making music – develops skills in working together with others for a common result in a way that virtually nothing else can. We know it anecdotally, we know it instinctively, we know it deep within our gut.And best of all we know that there is some hard data that can document this. The American Symphony Orchestra League has compiled highlights from this research in our Music Education Advocacy Tools, available at our website. Much of the best evidence is drawn from Arts Education Partn ership reports, including Critical Links: Learning in the Arts and Student Academic and Social Development. Nonetheless, we can, and we must, lead to more research that provides even more evidence of the benefits of music education.We can probably do a better job together than we have in collecting, analyzing, and reporting on the considerable data that already exists, as well as bringing about more research. The most urgent need, however, is for good information about the true state of arts education in our schools. We currently are forced to rely on anecdote and spare data to illustrate the music education is being squeezed out as increased attention is given to math, reading, and science. How much arts education is being delivered to our nation's students, and how are they learning the arts? The U. S.Department of Education has the tools and the responsibility to collect this data, but simply has not made it a priority to do so. A report on the status of arts education is more th an two years overdue – this at a time when policymakers are contemplating major changes to the way the federal government supports our public schools. The League is partnering with MENC to urge Congress to compel the U. S. Department of Education to collect this data. Sound information about the status of music education is a crucial underpinning to advocacy efforts at the community level as well.At the state and local levels, orchestras and music educators can partner effectively to advocate for better data in this area. We at the American Symphony Orchestra League are heavily involved with orchestras' education and community programs, and with youth orchestras throughout America. But we also know and fully appreciate that orchestra programs are not a substitute for professional music teachers in our school systems. The programs that our field operates must, to be effective, work in cooperation and conjunction with in-school programs taught by school-based music teachers.Tha t is the key to meaningful music education. We can be key partners in augmenting and enriching school programs, but we must be seen as supporters of, advocates for, and contributors to, multi-year, sustained, sequential, school-based programs. We are not substitutes for that. There are many orchestras that have deeply embedded partnerships with their local school systems – in communities of all sizes, from New York, Boston San Francisco and Saint Louis, to Mobile, and Kalamazoo.The same is true of community cultural organizations. Youth orchestras and community music schools are part of the fabric of the arts-education community. All have a role to play, but that role is in the context of the main school being at the center. The ideal for a child participating in a community orchestra, or studying at a community music school, is that he or she was inspired to do so because the exposure to and love for music was introduced and sustained in school.These other resources are exte nsions. In the ideal, these out-of-school opportunities cannot occur only by virtue of family interest, resources, or priorities. We at the League celebrate the growth and vitality of our youth orchestras†¦. full of the energetic, bright, high-achieving young people whom we know are not only the musicians of tomorrow, but also the next generation of teachers, school board members, parents, civic leaders, audience members and arts-education advocates.At the same time, we wonder if this segment of our sector is growing in part because, for the families that value music education the inconsistent presence of strong, sequential school-based music programs is not meeting their expectations for their children. We need strong resources – in school and out of school. Youth orchestras should be supplementing musical experiences in our nation's schools, not replacing them. Part of the problem that we all face is that much of what we know about the value of the arts, and music in p articular, is not easily reduced to numbers, to quantities.And our world is full of people, many of them in positions of power, who love the simplicity of numbers, the black-and-white nature of numbers. When one tries to discuss the humanizing qualities of music to people like that, one is often flummoxed, because they want graphs and charts. â€Å"What do you mean,† they'll say, â€Å"by music's power to bridge chasms in human understanding? Document it, please! † Well†¦ I can't document it with graphs – but every year of my life spent in music makes me more certain of that quality in music.And exhibit A for me is not a chart – it is an orchestra, a very specific orchestra. Many of you may know of it – some of you perhaps don't. It's called the West-Eastern Divan Orchestra, and it is now in its seventh year of existence. Founded by Daniel Barenboim, it consists of Arabs, Palestinians, and Israeli Jews – and every year for three or four weeks they live together, eat together, rehearse and perform together. My wife and I were a part of that orchestra from the beginning – and that first year was an experience I shall never forget.Daniel Barenboim, and Yo-Yo Ma working with him, assembled this group of young musicians, ages 17-25, and brought them together in Weimar, Germany. In addition to forming an orchestra, Barenboim and Ma invited them to form chamber music groups which they, Barenboim and Ma, would coach in preparation for a chamber music concert to take place the night before the orchestra concert. There was only one rule – no all Jewish chamber group, and no all Arab/Palestinian group. The resulting chamber music concert was 3 ? ours long – and each group only played one movement, not whole pieces – or it would have gone on forever. To sit there and watch, for instance, a movement from a Brahms Clarinet trio, played by an Egyptian, a, Syrian, and an Israeli was one of the most mov ing experiences of my life – to see these kids working out musical problems together, leaning into each others' phrases, and embracing each other while receiving applause – this was all the charting and graphing I will ever need to demonstrate what it is that music can do that nothing else can.We know this – you and I and those who are in our fields know this. The question is how can we work together to help the rest of the world to know it – and to get the value, the human value of this art form across to those who determine what we teach our future citizens? I don't know the answer to that question. But I do know, in our increasingly troubled world with an ever greater need for human understanding across national and religious and cultural lines, the intrinsic value of the art form we all love is more needed than ever.You and we – you who teach music and we who organize into groups that perform it – must work together with renewed energy a nd vigor to imprint on our society the value, the centrality, of music. America's orchestras are committed to advocating for better music education in our nation's schools. Starting from the tradition of stand-alone school concerts and family concerts, orchestras now offer small ensemble performance, residencies, long term partnerships, after-school and summer camps, instrumental instruction and a host of other activities.Inherent in most of these programs are deeply embedded partnerships with local school systems, and responsiveness to local, state, and national arts and academic standards. While these programs provide an opportunity for young people to develop a lifelong relationship with music and the orchestra, none of these is capable of replacing an ongoing sequential K-12 music education. While a comprehensive strategy for music education includes participation and learning in orchestra education programs, schools have the unique capacity to deliver high-quality music educati on.Edward Elgar set a poem by Arthur O'Shaughnessy in 1912 – it is called The Music Makers. I quote it here for you because it seems so central to what we are all about. â€Å"You shall teach us your song's new numbers, and things that we dreamed not before: Bring hither your sun and your summers, and renew our world of yore. We are the music makers. And we are the dreamers of dreams. † Thank you. Beautifully said! I wonder if, in the course of gathering data about the current state of music education in public schools, there is any way to compare it with public schools of decades ago.The fact that 22% of districts have reduced art and music instructional time since the enactment of No Child Left Behind is disturbing — but it's also a comparison that may not hit home for legislators, because they were already long out of school when the baseline of that comparison was happening. On the other hand, a comparison of (say) instructional time, class sizes, curricula, and student participation rates between the present and (pick a year in each of) the 1950s, 60s, and 70s, might really bring home to legislators that things today are not as they remember them from their own school days.It might show how far we've gone, in the same way that losing a tiny percentage of forest a year doesn't feel like much, but hearing that a region has lost half its tree cover since 1950 can be a real eye-opener. It gives students the opportunity to create something beautiful and also to challenge them. Music uses both sides of the brain and uses math all the time!!! Jack Stamp Richard Simmons~ Parents and kids that sweat together live longer together!!! Childhood Obesity: Quality Physical Education as a Solution

The Effects Of Domestic Violence On Children - 1444 Words

When it comes to domestic abuse there are signs to watch for and if caught early enough one can stop it before it begins. In violent relationships the ultimate goal of the abuser is to have complete control over the abused. According to Shattered Lives magazine, â€Å"One out of every four households experience a form of domestic violence† (1). When one feels they have nowhere to go they become more attached and often have children with their perpetrator. The children also play a part in the family members that are afflicted as they often see the abuse, they often suffer neglect from their caretakers (the one being abused or the abuser), and/or they do not live in a happy household. Some abused do better than others at hiding the abuse from their kids; however, often time’s children pick up on what is going on and this can have a negative emotional effect on the children. Together we can put a stop to this. A form of family violence is domestic violence and not just th e abused are affected, all the family members are at risk of being harmed in one way or another and can be pushed out of the lives of their loved one by the abuser nevertheless; there is something that can be done about it. Who falls victim to domestic violence? Any gender, ethnicity, or sex-preference can fall victim to domestic violence. No one deserves it or ask for it. Domestic violence is a slow and almost undetectable process. The abuser starts by swooning the soon to be victim. They lavish them with unendingShow MoreRelatedThe Effects of Domestic Violence on Children1529 Words   |  7 PagesProject: The Effects of Domestic Violence on Children Trudy Root Kaplan University CM107-11 Children are negatively impacted by the surrounding of domestic violence in multiple ways, in which need to be identified. The audience that needs to be aware of domestic abuse’s effects on children is adults that care for children; such as pediatricians, teachers, counselors, and parents. The issue that needs to be addressed is the negative effects on children involved in a domestic violence situationRead MoreThe Effects Of Domestic Violence On Children1387 Words   |  6 Pages Literature Review: The Effects of Domestic Violence on Children By Taralyn Dean SW 8570 March 11, 2015 Introduction Today this paper will be exploring the affects of intimate partner domestic violence and how this impacts the children. The children of theses situations are the bystanders of these physical and emotional events. This paper will review in depth what other professionals are saying about the children of the domestic violence relationships and also the findings andRead MoreThe Effects Of Domestic Violence On Children Essay1383 Words   |  6 PagesIn a similar study by Ybarra, Wilkens, Lieberman (2007) the goal was to determine if domestic violence leads to functioning shortfalls, and what its effects it has on a child’s behavioral and cognitive functioning. In homes where domestic violence happens, young children are more likely to witness violence than older children. It was hypothesized that children who witnessed violence at home had lower verbal capabilities, and would display greater internalizing and externalizing behaviors. ParticipantsRead MoreEffect of Domestic Violence on Children692 Words   |  3 PagesASSIGNMENT 1 DOMESTIC VIOLENCE ID: S99003183; URIAM ROBATI ABSTRACT Domestic Violence has a great effect on children. Domestic violence also known as domestic abuse, spousal abuse or child abuse is recognized as a pattern of abusive behavior by one or both partners especially those in marriage. This coercive behavior is used against another person to obtain power and control over the other party in a relationship. Domestic violence takes many forms such as physical violence which includesRead MoreDomestic Violence And Its Effects On Children1445 Words   |  6 PagesWhat is domestic Violence? Domestic Violence is described as violent or aggressive behavior within the home, typically involving the violent abuse of a spouse or partner. Many children end up being the victims to seeing domestic violence in the home which is very unhealthy to their development. Some children may development resentment toward both parents- one for not leaving and the other for causing the abuse. Depression, aggressive behavior, emotional distress and suicide depending on the severityRead MoreEffects of Domestic Violence on Children1124 Words   |  5 PagesThe biggest victims of domestic violence are the littlest. The home is a suppose to be a safe and secure environment for children with loving parents and free from violence. Children need a secure environment where they can come home to when the outside world is unsafe. However, every year there are millions of children who’s homes are not a safe haven. Millions of children are exposed to a parent being violently assaulted. Domestic violence is a prevalent social issue in America today. First, whoRead MoreThe Effects Of Domestic Violence On Children And Children1541 Words   |  7 Pageslife. Domestic abused affect women and children. Lots of women are more at risk in their own home. Spouse abuses happen when one person in the marriage chooses to control the other party by using fair intimidation physical, emotional abuse. Domestic violence displaced many families because they are trying to get away from their abuser. Abuse can range from physical, mentally, emotional or psychological. One of every 5 woman are said to have experience an abuse from their partner. The effect of DomesticRead MoreEffects of Domestic Violence on Children908 Words   |  4 PagesEffects of Domestic Violence on Children by Mary Pelham English 1010-19 5 October 2011 Pelham i Outline I. Effects on younger children A. Feelings of deprivation Read MoreThe Effects Of Domestic Violence On Children963 Words   |  4 PagesThe Effects of Domestic Violence on Children Many children witness domestic violence each day. Most times, children witness their mothers being abuse by their fathers, step-fathers, or mother’s boyfriends. According to Couchenour and Chrisman (2011), â€Å"Women and children are at greater risk of being victims of abuse than are men† (p. 131). Witnessing violence or being abused at home has serious effects on children. This article explains the short-term and long-term effects that domestic violence hasRead MoreEffects Of Domestic Violence On Children990 Words   |  4 Pagesexposed to domestic violence at an early age, that child adapts to these adverse circumstance and situations (Holmes, 2013). Therefore, children who are regularly exposed to domestic violence may initially display less aggressive behaviors than children who are never exposed. However, this is due to their fear of being a victim of a physical assault (Holmes, 2013). This finding was interesting because it shows how deeply the children are affe cted by exposure to domestic violence. The children become