What is the Ecstatic Truth Assignment Example | Topics and Well Written Essays - 500 words

What is the Ecstatic Truth - Assignment Example Ecstatic truth is giving the viewer a high expectation of the central character reaching his highest goal. There is an element of existentialism as we become part of the central character as we become so involved with the film. Ecstatic truth is beyond the apparent fact. It transcends reality and is a manifestation of what goes on within the person. Werner Herzog finds this truth in two points in the set of videos. He shows the museum curator explaining that Treadwell did something the Indians hadn't done in 7000 years. Tim was a man overly obsessed with nature and crossed the territory bounds that were never meant to be crossed. Men were not made to associate with bears. When the father killed the cub so the mother would stop lactating, Tim never acknowledge that the bears were carnivores. He was sad and cried. Herzog showed that this obsession lead to his demise. The film started on the positive point that death is without fear. Treadwell talks about death, perseverance, and being a samurai. A fearless death is where you survive. He shows an unreality in wanting to become a bear or fight like a bear. In the thirteen years he was going to Alaska, he learned their behaviors. He cried when they suffered; he cried when they ate each other. His thought his friendship with them was real. Herzog's changes the truth of Treadwell's insight into nature as becoming the insight into our inner beings. His insight into nature also becomes the viewers insight into Ted's inner character.  

Internetworking Essay Example | Topics and Well Written Essays - 1750 words

Internetworking - Essay Example It was introduced in one of the oldest wide area network - ARPANET. It is a widely used architecture because most of the computers and networks are configured to follow this suite and it is open to all. The TCP/IP reference model is a 4 layered model. The layers from top to bottom are Application Layer, Transport Layer, Internet Layer and Host-to-Network Layer. A data in a computer is going to the network from the Application Layer to the Host-to-Network Layer through the intermediate layers. Data from the network is getting to an application in the reverse order. Application Layer consists of certain higher level protocols like TELNET (for remote login/ to get a virtual remote terminal), FTP (File Transfer Protocol), SMTP (Simple Main Transfer Protocol), HTTP (Hyper Text Transfer Protocol), DNS (Domain Name System) protocols etc. The protocols in this layer will produce messages smaller in size to become compatible with the Transport Layer for an outward data flow and join the data messages to the original data for the application in case of inward message. Transport Layer consist the protocols like TCP (Transmission Control Protocol) and UDP (User Datagram Protocol). The reliability and the error checking of the data are managed here. This layer is responsible for the communication between two computers. ... The two versions of IP are IPv4 and IPv6.The lowest layer is the Host-to-Network Layer and this layer has the direct contact with the networking hardware. The data in this layer will be in the form of frames or byte series. Few protocols like PPP (Point to Point Protocol) are available in this layer. One of the most useful services of TCP/IP is the naming service it provides. Information sharing and exchange on an Internet work become easy and comfortable through this. The most widely used naming services are NIS (Network Information Service) and DNS (Domain Name System). NIS is used to provide information that has to be known throughout the network, to all machines on the network. There will be NIS server to keep all the information for the NIS. In case of a UNIX system, the configuration files handled by NIS are /etc/group, /etc/hosts, /etc/netmasks, /etc/passwd, /etc/protocols, /etc/rpc, and /etc/services. For setting up NIS, we have to set up both the NIS Server and NIS Clients. DNS is used for naming a host uniquely on a network, especially on the Internet. In this IP addresses of the computers or other interfaces are mapped to certain names with a typical naming strategy. Each group of similar computers is included in same domain and the domains are created in a hierarchical manner e.g. for the top level domains are .com, .net, .org etc. The details of the naming are stored in the DNS Server as resource records. There are two types of mapping files. The forward mapping file is used to convert names to its IP addresses and reverse mapping record is used to convert IP addresses to its symbolic names. Format of a resource record entry is as follows. Name (variable length) type(16bits) class(16bits) ttl(32bits) data For DNS configuration in a UNIX system, we

Give 1 or 2 examples of how evaluation of a theory can help you Article

Give 1 or 2 examples of how evaluation of a theory can help you understand the importance of theory in nursing - Article Example As an example, when a nurse wants to understand how to better work with patients, there are many theories that provide a model of how this work can be done. As an example, Brant, Beck and Miaskowski (2010) evaluated the Theory of Symptom Management (TSM) and provided insight on why this evaluation was important. The authors state that understanding more about the interventions that are used in TSM provide a better way for nurses to develop other interventions. In this case, understanding a few ways that symptoms of some diseases are managed, can bring about other ways of managing these diseases. Another reason that theories are important to understand is because it can lead nurses to the discovery of other diseases and how to handle them. As an example, Boggatz and Dassen (2011) provide information on a conceptual model for understanding why older people use nursing care. Their study is important because it showed what to look for when working with older people. They point out that seeking care is a self-care process in some respects, so it becomes more important to understand older people’s motivation for seeking care. This information can also provide reasons that older people do not seek treatment. Brant, J., Beck, S., & Miaskowski, C. (2010). Building dynamic models and theories to advance the science of symptom management research. Journal Of Advanced Nursing, 66(1), 228-240. doi:10.1111/j.1365-2648.2009.05179.x Marlaine, C. S. (2001). Analysis and evaluation of contemporary nursing knowledge: Nursing models and theories. Nursing and Health Care Perspectives, 22(2), 92-92. Retrieved from

Corporate Ethics Essay Example | Topics and Well Written Essays - 750 words

Corporate Ethics - Essay Example Also I have personally spoken to some of the employees to understand and identify the key areas. Add to that some research about the history of the company has also been done. Based on the meeting the following areas requiring change has been identified. Identifying the Areas requiring change HR functioning is a very much core and specialized area. But the HR functions of the organization is scattered among individuals. This consists of some employees belonging to the administrative position looking after paper works and a management team looking after HR issues. There we need to achieve centralization. During the meeting and the one on one conversation it was identified there is scope to improve the morale of the employees. Some of the employees were a bit unsure about their job description. This is something that needs to be changed. One the major problems faced by the organization has been relatively high attrition rate (Goswami, 2010). Probable Action Plan In order to have a full y functional centralized HE department, we need to hire some HR executives to look after the core areas such as recruitment, payroll processing, performance management, etc. Also these executives act as a touch point to various departments. The employees looking after the admin work can also be a part of the HR department forming HR and admin division. We must make sure that detailed Job descriptions are prepared across the all departments. The HR manager should entrust the responsibility to the executives looking after different departments. The executive should carry out a job interview for specific job holders to prepare a detailed and appropriate job description. Along with job description the employees should be provided the KRA or key result areas, so that the employees can understand the parameters based on which they can be judged. The organization must have a proper performance management system. This will not only help the employees identify strengths and areas of developm ent, but also help the employees to understand how they could contribute towards the success of the organization in future. One the major problems faced by the organization has been attrition. Therefore to diagnose the problem we should ensure that there is a structured salary, increment and recognition system. It should be made clear to the employees that the increments would be performed based on the findings of the performance management system. Also to motivate the employees there would be existence of reward and recognition system. This would include both monetary as well as non monetary rewards. During the meeting with the employees and managers, some key players should be identified. Those employees could be granted Employee Stock Option Plan (ESOP). During the meeting with the employees we found out that there is a need for training, especially for the people who are at constant touch with the customers. For, example customer services reps and sales & marketing professionals . Hence, the corporate team may identify a relevant training partner to impart training. The training could be provided in small pilot batches. Elements of Diagnosis Plan Probable Results Proper JD and KRA Better understanding of roles and responsibilities Proper Internal communication Credibility and Trust Well Designed Performance Management System Helps the employees to identify strengths and weaknesses Salary, increment and recognition system Acts a motivating factor ESOP Retention of key players Training and

Stakeholders And Commercial Viability Versus Sustainability Assignment

Stakeholders And Commercial Viability Versus Sustainability - Assignment Example At present, obtaining a house through a housing loan is not a popular solution in Saudi Arabia because interest rates are too high and the banks themselves are not keen on extending them considering the absence of specific laws that will protect them in cases of defaults. That will change very soon with the passage of the mortgage law. But what makes the Al Qasr Project more than a bright prospect is the fact there is a sure market of housing in the Kingdom, particularly in Riyadh, because of the rising population, mostly young, and the present housing shortfall. Nevertheless, all stakeholders play vital roles in ensuring that the Al Qasr Project will both be commercially viable and also sustainable. The Al Qasr Project is a mixed-use development complex located in the Al-Suwaidi or Alsweidi suburbs, in Riyadh, Saudi Arabia and is owned and developed by the Dar Al Arkan Real Estate Development Company (About Al Qasr 2010). The Project, whose construction began in 2005, have completed most of its infrastructure and superstructure, which include pavements, lanes, lighting and treeing, irrigation and sewage networks, and telephone and security lines. Other services schemes such as gardens, parks, commercial centres, and governmental administrative building to serve the area and its future inhabitants are also in the pipeline. The Project applies the suburban centre concept, where residential and commercial units are integrated in one area creating a self-contained centre, under the framework of the comprehensive development philosophy, which entails the accommodation of the medium income group (Al Qasr 2010). Standing on an area of 816,000 sqm, more or less, the Al Qasr Project consists of 3,303 units of residential villas, apartments, commercial and low-rise office buildings and is expected to accommodate a total of 13,000

Inclusive Classrooms Essay Example for Free

Inclusive Classrooms Essay The Success of Inclusive Classrooms Introduction Inclusive classroom is the cause of debates between families with children who have learning disabilities and those that do not have children with learning disabilities (Brehm, 2003). Inclusion can be understood as Brehm states it, Providing to all students, including those with significant disabilities, equitable opportunities to receive effective education; services, with the needed supplementary aids and support services, in age-appropriate classrooms in their neighborhood schools, in order to prepare students for productive lives as full members of society. (2003, p. 89) With the collaboration of the school and home, inclusive classrooms can be successful. Students who have learning disabilities and those who do not have learning disabilities will have the opportunity to develop in a personal fashion, social relationships, and helps students with learning disabilities become â€Å"productive†¦ as full members of society† (Brehm, 2003, p. 89). Inclusive classrooms are consistent with the law that all students should be educated in the least restrictive environment (Banerji Dailey, 1995). Results Some are opposed inclusion because they believe it will be costly for the school. One school wanted to test inclusive classrooms in their own school and to see the effects. They froze their budget so the public cannot attribute their success to an increase in expenses (Van Dyke, Stallings, Colley, 1995). Their per-pupil expenditures for students with learning  disabilities were slightly lower than neighboring schools. Since all students were included in the general education the budget was reformed (not increased) to support that. For example, the school did not have to provide separate transportation for students with special needs nor did the district have to pay private tuition for the students they could not accommodate. The school had â€Å"educational supplies† as opposed to separate supplies for the regular education classes and the special education classes (Van Dyke, et al. 1995). Another criticism is that the training needed for teachers, the workshops for school staff, and the collaboration that is needed to make inclusion successful will take a lot of extra time (Van Dyke, et al. 1995). That is true. However, the training and education teachers receive is valuable and improves their teaching to typical students and special students. The benefits that are gained by all students is worth the time (Benerji Dailey, 1995). Lastly, after a few trainings teachers learn how to run an inclusive classroom so less time is needed for workshops. If we implement the proper education for inclusion in college, teachers will begin teaching with greater skills and knowledge of how to run an inclusive classroom. Another concern is that students with learning disabilities do not necessarily do better academically in an inclusive setting compared to the special education classes. Through research it has been found that after one year of inclusive classrooms in three different districts, 54% of the students with learning disabilities learned what they were exp ected to (Zigmund, Jenkins, Fuchs, Fafard, 1995). That number was only given after one year of inclusion classroom. The success stories will keep growing if inclusion is done with the right focus and method. Classrooms are an introduction to the community that we live in. Children with disabilities need to be in regular classrooms to help them prepare for the challenges that will arise in the â€Å"real world,† (Van Dyke, et al. 1995). Segregating students puts a label on them that they are different and are therefore treated differently. But, really they are apart our community so they should be part of our schools (Van Dyke, et al. 1995). As, Van Dyke, Stallings, and Colley state, â€Å"To be truly prepared to take part in the real world as adults, children with disabilities need to be educated in language rich classrooms and to interact daily with peers who are appropriate role models† (p. 475, 1995). There are tremendous social gains for students in inclusive  e nvironments. Included students have higher peer ratings and are more accepted compared to students in the resource program (Brehm, 2003). According to the research that was done by Benjeri and Dailey (2003), students with learning disabilities improved in their self-esteem and motivation. Students also changed in their social behavior, which helped them make friends and be part of a group of friends (Benjeri Dailey, 2003). In addition, students learned to care for one another, to learn and work together. One teacher reported that while all the students were at free play, the teachers were standing around and watching them. One teacher jokingly said that the teachers were not needed anymore because the students have learned to interact and problem solve with one another without the intervention of a teacher (Benjeri Dailey, 1995). The students without disabilities also gain from inclusive classrooms. Firstly, students learned to accept all types of people no matter what they look like and value the differences of their classmates. They learned that everyone has something valuable to share. Students were less afraid of their classmates that looked or behaved differently. The students learning effected the parents too. In an ethnographic yearlong study it was found tha t students became more tolerant with others as a result of their awareness of their peers with disabilities (Staub Peck, 1994). Additionally, the study has shown that students developed positive feeling of themselves after they helped or spent time with a peer who was disabled. Their self-esteem was increased as a result of their interactions with their peers. They felt that their â€Å"helping role† with a disabled peer elevated their status in the classroom and gave them a stronger sense of belonging. The relationships between students with all different types of abilities were strong, meaningful, and long-lasting friendships (Staub Peck, 1994). We can facilitate successful inclusion in our classrooms with the right intervention, approaches, and supports. Most importantly, there must be collaboration between the school psychologist or social worker, the special education teacher, the general education teacher, the principal, and the home. Everyone has to be informed and i n agreement. When there is unity between all the parties involved in a child’s education, the child has a sense of security and can be educated in the best possible way (Van Dyke, et al., 1995). Support systems must be put in place for the teachers to turn to for advice and to help with instruction in the  classroom. The teachers should meet with a special education teacher and teacher consultant to discuss strategies for their classroom. Every classroom should have a general education teacher and a special education teacher who will be in the classroom for a part of the day and a co-teacher. Trainings and workshops should be given to educate teachers about effective inclusion and instruction (Van Dyke, et al., 1995). One up-and-coming new style of teaching is known as the Universal Design for Learning (UDL). This style of teaching meets the needs of all learners. UDL encourages teachers to create a flexible curriculum that is customized for each student. It allows students to progress from where they are and not where one imagines them to be. For an inclusive classroom, UDL is especially important because there are different learners and each child needs to learn at his o wn pace (www.udlcenter.org). The curriculum should include visual, auditory, and kinesthetic learning styles. Assistive technology such as alternative keyboards, electronic pointing devices, Sip-and-puff systems, wands and sticks, joysticks, trackballs, touch screens, should be available for any student. Assistive technology makes the classroom a friendlier place for a student who needs it. UDL offers different ways for students to express themselves and what they have learned. Students learn how to self-regulate their emotions and motivations. They don’t just learn information rather, they learn skills in how to learn and process information. They also expand their executive functioning which helps them set goals for themselves, monitor their progress, and control impulsions (www.udlcenter.org). Discussion Based on the research that was read, inclusion is an ideal way of teaching our children about the world and social relationships. The classroom is a model of a child’s community. Every child belongs to a community and so does every child deserve the chance to receive the best education in the least restrictive environment (Van Dyke, et al., 1995). Inclusive classrooms teach the skills and life lessons to all the students of all types of abilities. Students develop healthier self-esteems, learn how to interact with each other and problem solve together. Students become more accepting of others differences and learn to look out for each individuals unique traits. Inclusion removes the labels that make others different and not good enough.  It lets the classroom be a growing place for all no matter the disabilities (Van Dyke, et al., 1995). The key to Inclusion is communication. The school and the home must be involved in aspects of the child’s education . Teachers need to be trained and taught how to be effective in an inclusive classroom (Van Dyke, et al., 1995). Additionally, UDL will help the curriculum be shaped to help each child succeed in their own way (www.udlcener.org). The limitations of this paper is that it does not state what types of disabilities should be included in the classroom and at what level of functioning a student must be to be included. The paper does not discuss whether a pull out program may be needed or not and to what extent it can be used. References: Benerji, M., Dailey, R. A. (1995). A Study of the Effects of an Inclusive Model on Students with Specific Learning Disabilities. Journal of Learning Disabilities, 28(8), p511-522. doi: 10.1177/002221949502800806 Brehm, K. (2003). Lessons to Be Learned and the End of the Day. School Psychology Quarterly, 18(1), p.88-95. doi:10.1521/scpq.18.1.88.20875 http://www.udlcenter.org/ Staub, D., Peck, C. A. (1994). What Are the Outcomes for Nondisabled Students? Educaional Leadership, 6, p36-40. Retrieved from http://rdas-proxy.mercy.edu:3176/ehost/pdfviewer/pdfviewer?sid=4bf1b7b5-27eb-4c47-9b29-43509138eaff%40sessionmgr110vid=4hid=125 Van Dyke, R., Stallings, M. A., Colley, K. (1995). How to Build an Inclusive Community: A Success Story. Phi Delta Kappan, 76, p475-479. Retrieved from http://search.proquest.com/docview/218474563?accountid=12387 Zigmond, N., Jenkins, J., Fuchs, L. S., Fafard, M. (1995). Special Education in Restructured Schools: Findings from Three Multi-Year Studies. Phi Delta Kappan, 76(7), p531-540. Retrieved from http://search.proquest.com/docview/218510466?accountid=12387

Music Analysis Of Bluegrass Music Essay

Music Analysis Of Bluegrass Music Essay Bluegrass is a word which came into being after its adoption by musicians and radio disc-jockeys in the early 1950s. Denoting a form of American country or hillbilly music yet, distinguishing it from other types of similar genres, which were popular throughout the Kentucky and greater Appalachia even before the turn of the century. Due to the demographics of the settlers in the region, bluegrass is a music built on strong southern traditions and was originally played primarily by the white working class. Although it is still somewhat debated, it is generally accepted that Bill Monroe and his Blue Grass Boys played the first of what we now call bluegrass music in 1945. (International Bluegrass Music Association, 2001) The banjo came to the fore as it had not done previously accompanied by multiple vocal parts and a now familiar line-up of bass; mandolin; fiddle and guitar. The argument against, rebukes not the talent of Bill Monroe or his style, but the pre-inception of a less formali sed bluegrass genre. No matter which side of the debate one falls on, Monroe is accredited with the commercialisation and formalisation of the characteristics which differentiates the music from other strains of so-called hillbilly music such as country-western, rockabilly, and other forms of western-swing. (Smith, 1965) Both the immigration of the Scotch-Irish settlers during the latter part of the nineteenth century and subsequent emigration of the second and third generations from the region play distinct roles in the social and economic background of the music itself. Celtic fiddling styles played in the home and songs of heritage were commonplace. Monroe fondly recalls his mother walking through the house singing, and playing the fiddle as she prepared the dinner. His uncle, who he first witnessed at the age of about six years old playing this style of fiddle on the front porch at his family home captured the young Monroes imagination. He got the wonderful Scotch-Irish sound out of it, à ¢Ã¢â€š ¬Ã‚ ¦..and if wed have supper of a night, wed sit around the fireplace and hed play the fiddle. Most musicians of the time allude to fathers, grandfathers, and uncles who fiddled and mothers who played the organ, it seems everyone sang. Mechanically reproduced music and radio was therefore a luxury not many of these impoverished farmers at the time possessed, and although by the early 1900s, some rural settlers may have had experienced the radio, it was not as pervasive as it was to later become. It is for this reason we can refer to these strains as a form of vernacular music. (Rosenberg, 2005) During the late 1930s however, these types of technologies had come to the fore allowing greater access to music and film. The film industry in particular had made singing cowboys a popular trend and this was being reflected in the rise of western swing outfits such as Bob Wills and Bill Boyd. Other influences began to seep into the old time style, as country music began to move closer to the popular music of the era rather than the folk music of its distinct roots. (Rosenberg, 2005) George D. (Judge) Hay, a former news reporter, turned disc jockey with a popular Saturday night show titled The Grand Ole Opry, was adamant within his circle to keep these influences at bay and began to promote his radio show as authentic-hill country music. Urging his musicians to stay true to their roots and keep it close to the ground,(Rosenberg, 2005) he fought for years keeping drums off the Opry stage and very much discouraged the attempts to introduce electric style instruments, instead insisting on the musicians authenticity. It was subsequently the first country music styled show to gain a reputation on a national scale. His hatred of the word hillbilly and refusal to use it on his show gained him a respect from one Bill Monroe who tried out for the show in 1938. Cleo Davis who accompanied Monroe at the audition recalls; Bill and I did à ¢Ã¢â€š ¬Ã‚ ¦.. a duet yodel, fast as white lightening. [And were told] à ¢Ã¢â€š ¬Ã‚ ¦if you ever leave the Opry, itll be because youve fired yourself(Rosenberg, 2005) Two of the immediate differences Monroe and the Blue Grass Boys brought to the Opry, and anything that had gone before were the sheer speed that they performed their songs and the key they performed in. Even slow or medium paced favourites were faster than usual, highlighting the skill that was required to maintain the instrumental dexterity and vocal accuracy if these up-tempo performances were to retain their precision. Along with a speed heretofore unnatural, was the use of unconventional keys. Monroe is accredited with saying; We was the first outfit to ever play in B-flat or B-natural and E. Before that it was all C, D, and G. Fiddle men had a fit. (Rosenberg, 2005) Accompanying these alterations was a slightly unusual musical practice whereby all instruments were tuned a half-step above standard pitch. This elongation and tightening of the strings served a multipurpose, gaining both in volume and achieving a brighter tone which subsequently served to suit the vocals better than it had previously. (Rosenberg, 2005) These musical alterations coincided with arguably the most significant social, political, and cultural movement of the entire century, the Second World War. During this period many economic sectors, including the music and recording industries, were in a state of decline. But despite this lull of music sales, the sale of hillbilly records grew exponentially. (Rosenberg, 1967) The major reasons for this were, a population shift, incorporating a migration of southern workers to northern cities, and a mass growth in the popularity of the genre within the armed forces, where many were exposed to these strains for the first time. Military service resulted in long standing members having to leave their post for the war effort. This resulted in an array of performers playing different roles for the following war years. Retaining his slot on the Grand Ole Opry, and gaining his own tent show, Monroe continued to perform with a roulette wheel of differing musicians, yet still managed to contin uously be the most sought-after performer on the circuit. It is about this time that the real elements of bluegrass started to form with the addition of extra musical elements, and it was at this stage Robert Russell (later to be renamed Chubby Wise) joined the fray. A co-composer of Orange Blossom Special a song which Monroe and his boys had covered on many an occasion had heard of Howdy Forresters depart, leaving the band without a fiddle player. Having approached Monroe backstage he joined the Opry tour. Although the musician roulette continued for a time with instruments such as the jug, accordion and harmonica making appearances, the seeds that would comprise the latter sound were beginning sprout. (Rosenberg, 2005) In 1945, debatably the most influential member was auditioned for the line-up. A young banjo player named Earl Scruggs made an impact with a song titled Dear Old Dixie, showcasing his ability to do things you could hardly believe, with Monroe reportedly saying hire him, get him whatever it costs(Rosenberg, 2005). For the first time the band had a banjo player who was not a comedian, but instead had the ability to play solos on songs where all previous players could not. Lester Flatt, a mandolinist and tenor singer was also taken aboard at this time, returning to his guitar and singing lead vocals to accommodate the Blue Grass Boys. Much of the music was actually too fast for Flatt to keep rhythm on the guitar, but he remedied this by using a guitar run at the end of phrases. The run began as an F# on the lower sixth string and ended with an open G. Runs of this type were common in previous country guitar styles, but became so synonymous with Flatt and bluegrass music that it is still referred to as the Lester Flatt G-run.(Malone and McCulloh, 1975) Both were extremely popular with fans, with Scruggs solos demanding encores from the boy from North Carolina who makes the banjo talk (Malone and McCulloh, 1975) Scruggs used a three finger picking style adapted from other north Carolina banjo players such as Wade Mainers two-finger style. His solos on the Opry from 1945-48 resulted in almost instantaneous star status as a country music instrumentalist. Monroes Blue Grass Boys now consisted of a mandolin; played by Monroe himself, a guitar; a banjo; a fiddle and a bass, a construct that is now the presently accepted make-up of the traditional bluegrass band. The sound they produced together had evolved substantially from the days Bill and his brother Charles Monroe entertained locally in Kentucky, and yet, with the early guidance of Judge Hay in Bills career, managed to keep true to the roots of the music. Scruggs and Flatt left the Blue Grass boys line-up late in 1948, due to the strain of being on the road. They still played together however forming the Foggy Mountain Boys. While in this line-up they decided to include the resophonic guitar, (or Dobro) in their band and as a result it is often included in some bluegrass bands today.(International Bluegrass Music Association, 2003) By this time there were other groups mimicking the style set by their outfit, most notably The Stanley Brothers. Monroe had replaced Scruggs with a play er similar to Scruggs own banjo style, and after setting the precedent it became the norm to describe a good banjo player as playing just like Earl Scruggs. (Malone and McCulloh, 1975) Robert Cantwell describes the relative speed in which bluegrass music permeated the psyche as he recalls an appearance from the Eller Brothers in 1980. They began with an old song entitled On and On, but could not remember where it had originated or who had written the piece. It was the work of one Bill Monroe and had apparently been inducted, along with those songs brought across the Atlantic, into the realms of tradition at the tender age of twenty-seven. A tradition according to Cantwell, that was violently foreshortened by radio (2003) The durability of bluegrass has proven this apparent presumption correct however, as the genre grows not only in the Americas but internationally, owing much of its success to the adaptability of the music through other genres, and the capacity to reach wider audiences through the growing medium of technology. The 1960s saw the birth of a new concept, the bluegrass festival. As bands seemed to be competing for the same audience, it was more product ive for all parties involved to put them on the same bill, appearing at festivals around America. These festivals are now internationally common with attendances growing annually. (International Bluegrass Music Association, 2003) Monroes most famous contribution Blue Moon of Kentucky has transcended multiple genres and been re-recorded by artists such as Patsy Kline, Elvis Presley, Rory Gallagher, Johnny Cash, Ray Charles and Paul McCartney among others. Scruggs and Flatt as mentioned continued recording, and wrote songs that appeared on the soundtracks of the cult movie Bonnie and Clyde and the Beverly Hillbillies television show. Bluegrass was once again shot to the forefront of consciousness when Eric Weissberg traded banjo phrases with Steve Mandels guitar in the film Deliverance, and audiences were once again reintroduced to bluegrass as the soundtrack for one of the Coen brothers cinematic ventures O Brother, Where art Thou? went triple platinum. (International Bluegrass Music Association, 2003) Bluegrass is still providing additives, foundations and inspiration in artists today, as Bà ©la Fleck (possibly the most recognisable banjo player worldwide presently), describes his most powerful memory on first hearing the music during an interview for the popular American network PBS: My most powerful memory was hearing Earl Scruggsà ¢Ã¢â€š ¬Ã‚ ¦.as a five or six year old. That sound just blew me away, shook my head up. (PBS, 2001) Fleck has attained international fame for his ingenuity with his own band the Flecktones and for his fusion of a fast paced picking style with the jazz and blues undertones of the Dave Matthews Band, an outfit he makes regular appearances with. Once again keeping bluegrass firmly in the minds of the masses. The three audio files chosen represent three differing aspects of the bluegrass genre; The original bluegrass sound, the rise of the genres popularity through the prismatic scope of media, and its gradual evolution as these strains enevitably are influenced by other facors. The first, played by Bill Monroe and the Bluegrass boys is a recording from 1946 entitled Rocky Top. It showcases the finger-picking style of banjo thoroughly referenced throughout this essay, while emphasising the vocal layers and dexterity by using choral harmonics. The lyrics themselves reference Rocky Top Tennessee a domesticated hometown scence which much of the country bluegrass music was concerned with, the norm generally being a migration or a return to homelands. The second track was chosen for a number of purposes. Sang by Alison Krauss an extreemely successful country/bluegrass singer with accompaniment by Union Station, it is entitled Man of Constant Sorrow originally performed by the Soggy Bottomed Boys. My reasoning for choosing Krauss version is simple, she transcends genres. Recently dueting with Robert Plant the famed Led Zeppelin front man, she epitomises the durability and versatility bluegrass has sustained in revealing itself to new audiences. It is also featured prominently in the Coen Brothers classic film O, Brother where Art Thou?, reinforcing the previous point and illustrating the gains achieved through differing aspects of the media. The final track is from the aforementioned Bela Fleck, performing with the self explanotory New Grass Revival. The song itself called Steam Powered Aeroplane conveys a movement away from a homeland setting and can be constrewed as having migratory conontations, but more immediately, there is a movement towards the new. Containing the same basic principles, Scruggs-style picking and Flatts G-runs are evident. Vocals are also sung in different parts giving a layered effect, yet held secondary to the lead banjo and a commanding base line seems to keep the overwhelming speed in check. But there is a distinct modern feel as the instuments are very slightly amplified. In more recent years Fleck establishes the Flecktones and keeping this style joins a group containing a drumguitar infusing African beats with blues licks. (See The Flecktones: Next)