The Morality Play Everyman Is An Allegory Religion Essay

The Morality Play Everyman Is An Allegory Religion Essay The morality play Everyman is an allegory which carries two different levels of meaning. These two different levels of meaning are used to help the audience understand the author and the society in which he lives. The content of this play also helps the reader to better understand the author and his culture. This portrays how each character, idea, moral issue, and ideology of the era is personified. The original audiences of this era understood the role of religion in their lives. They also greatly believed in the reality of death, heaven, hell, and an afterlife. Everyman has three main characters. They are Everyman, Good Deeds, and Knowledge. They play essential roles for the reader to better understand how the author feels society views its way of life. The play Everyman has a literal meaning of an individual named Everyman who goes on a journey to the end of his life and tries to get his friends to accompany him along the way. On Everymans voyage, Good Deeds is the only one who can accompany him into death, and he is the only character that is able to linger with him before the presence of God. Since Knowledge can only lead Everyman to Good Deeds, Knowledge cannot accompany him all the way on his journey before God. Humanity can take this at a literal level in that your friends are influences in your life that help to sway your decisions, but not all will go to the same resting place in death. Now, symbolically Everyman is, of course, the representation of every human being alive. The other basic characters like Fellowship and Goods for ex ample are supposed to be of what every man, so to say, has in life. Some of these basic characters are there to help find lifes true meaning and the fulfillment in things that will last. The moral of the story becomes clear in that we need to examine now what in the end will truly prove to be of value. There are also a set of ideas that are laid out by the author. These ideas are the central propose of the play. One theme or idea indicates that man will always be betrayed by worldly companions, and that each man is eventually selfish when it comes down to the end. This idea of betrayal sheds light on a principle specific to this theme and forces the character Everyman to seek out a superior truth. The superior truth being that death itself is impending, and to be considered the most fear-provoking experience that man will face. This is the fear that according to this culture would make a man need more time because he was not ready for death, and in addition be made to consider his life and deeds. Another theme or idea focuses on the inventible separation or division from loved ones when in the judgment of your lifes actions. This gives the audience the notion that a man is never more alone than during his time of death. Now, the idea that follows is also important for the author an d he wants society to recall this belief. This is when Everyman is feeling most terrified and without help, he is given the chance to compensate for his actions. Still the author perceives that death is unconquerable and that it does not spare any one. The story Everyman seeks to answer the important moral issues. Such as, the conflict between good and evil is drawn out into the open by the communication between characters. This play shows us not only how every man should meet death but also how every man should live. It is saying that how a man lives his life,  whether  good or evil, he would be judged based on his deeds and that all the material things in life cannot grant you salvation. The cultural accounting belief in this society, it is a man and his good deeds that will offer access to heaven. Thus once again, it is only Good Deeds who can accompany Everyman on his final journey. When faced with Gods judgment, mans riches, the unsavory reputation of his friends, and the significance of his family will not speak for his worth. Only the good deeds that a man does here on earth can speak for him before God. Accordingly, good deeds are more important than faith in achieving salvation in this society. The ideology of the play Everyman was intended to help reinforce the importance of God and religion in peoples lives during this time period. In this play, God represents salvation, but it is religion that provides the means to achieve that salvation. This particular drama of the medieval period focus is how religion and a belief in God will help man overcome any travail, including death. Although God appears as a character only at the beginning of the play, his presence is felt throughout as Everyman begins to recognize his need for help beyond the earthly realm. Now, sin is the motivation for this play. It is sin that angers God in the play. It is Everymens sins that force his final judgment. He has sinned much in his life, and the audience is told that his sins are so great that Good Deeds is at a standstill. Only when he can be aware of and abandon his sins can Everyman be saved. I feel that the play Everyman can still be seen and read today with the same ideas and values that existed during the Middle Ages. When you talk to people in everyday life you see their values and morals are all based off of how they live and interact with others. Also when you bring up the concept of death to anyone they normal speak as if they have a life time of waiting before death will come to them and how they will in old age get prepared for death. The morality play Everyman is a drama which has a religious meaning. This meaning is brought to the surface in a symbolic way. This is used to describe the author and the cultural beliefs in which he wrote about. The play portrayed how each character, idea, moral issue, and ideology of the era and how it came to life. This is one of the ways that audiences of this era understood the role of religion in their lives. .

Dance Appreciation Viewing Assignment

Mihir Shukla 1. A: abstract B: ballet C: contemporary D: distraught E: emotional F: frenzied G: graceful H: harmonious I: integrated J: joyous K: kinetic L: loving M: manipulative (body-wise) N: nimble O: organized P: peaceful Q: qualitative R: resonance S: separation T: transient U: ubiquitous V: â€Å"Virtuosity† (Unit 1 term) W: willful X: xeransis Y: youthful Z: zealous 2. A limit does not exist within the vast pool of terminology which could be utilized to depict this beautifully choreographed dance piece by Benjamin Millepied.My impression was first molded by the organization of this dance; how it is divided into three portions, all equally responsible for the delivery of its emotions, as well as its overall message. This work begins with the lone male soloist, and in accorance the kinetic aspects of his dance, it can be interpreted that he is somewhat distraught. Furthermore, there are several manuevers and bodily manipulations within the form of this dance, its abstrac tness also defines its contemporary nature.As the second portion of this dance unfolds, it can be stated that a sense of love enters the floor with the beautiful female soloist; her graceful, willful movements enhance the dance as it seems to take on a more zealous temperament. Ultimately, the third aspect of this dance, the duet – Pas de Deux, shows transiency to a more harmonious movement, as the resonance between the two soloists is apparent. This ballet allows for both peace and chaos, it can be thought of as a representation of life itself, with its transitions from different moods shown through the movements of the dancers. . Within our reading this week there are many quotations that represent the true nature of dance relative to its multiple forms and styles.Of all the statements provided, the statement which was the most representative of this particular dance, in my view, was written by Walter Sorell; it stated, â€Å"Movement is the essence of life, dance its ulti mate expression . †¦ The artist creates out of the world that has made him in order to remake it according to the image of his inner world. I believe that this statement signifies and validates the emotions which emerged throughout the course of this dance work. As this dance transitioned through its multiple stages, each soloist experessed his/her emotions at each particular instant of the dance, with both the slightest, as well as the greatest of movements; it can be seen that dancers have to exaggerate and embellish their movements in order to speechlessly deliberate on their feelings and decisions – as did these dancers, both alone and as one.As I aformentioned, dance is a representation of life itself, and these dancers have shown their â€Å"inner worlds† (Walter Sorell) within their physical reality, bounded by time and space, but emotionally and artistically unbounded, as their movements seemingly defied gravity.

An Exploration of the Malay Kompang

AN EXPLORATION OF THE MALAY KOMPANG Name: Chan Tsui Sze Dora Matriculation Number: U1210644K Seminar Group Time: 1330 – 1530 Seminar Group Instructor: Cikgu Zubir Assignment: Research Paper in Malay Music Date: 10 April 2013 Word Count: 2245 Contents Chapter 1: An Introduction to the Kompang3 1. 1 Features of the Kompang4 1. 2 Features of Kompang Music4 1. 3 Performance Context6 Chapter 2: Influences on the Malay Kompang 7 2. 1 Arabic Influences7 2. 2 Portuguese Influences9 2. 3 Thai Influences11 2. 4 African Influences12Chapter 3: Future Changes in the Malay Kompang14 3. 1 Pop and Media Influences14 3. 2 Western Influences15 Chapter 4: Conclusion16 Bibliography 17 Discography/ Videography 19 Chapter 1: An Introduction to the Kompang The Malay Kompang ensemble refers to a Malay drum ensemble that ranges between three performers in a small chamber or accompaniment setting, to a large group of 30 drummers. As an instrument, the Malay Kompang is so familiar to most Singaporeans, yet it encompasses a rich history spanning more than 700 years that would astound and intrigue many.Kompang is mainly an oral tradition (Abdullah, 2005). Like all other non-notational music forms, it is inevitably highly characterized by change, self-improvisation and influences from other cultures. While Kompang music today is admittedly not so frequently heard nor performed as before, there have been efforts to assimilate this traditional music genre into today’s popular culture. This paper will address the diverse cultural influences on Malay Kompang from Arabic, Portuguese, Thai and African sources.Through the main musical elements of instrumentation, rhythm, form, and performance context, a comprehensive musical analysis of the influence of the different cultures on Kompang music will be made. This paper will also examine how elements of popular culture can be infused into the traditional Malay Kompang music genre, and discuss the general developmental direction that Kom pang music is taking. 1. 1 Features of the Kompang The Malay Kompang is part of the membranophone family.It is a wooden-framed, circular, one-sided handheld drum with a skin made up of animal hide and played using the free hand (Abdullah, 2012). There are two main types of tones on the Kompang – the lentong beat played by hitting the side of the drum with closed fingers, and the cerang played by slapping the center of the drum with the palm (Abdullah, 2012). The lentong typically produces a lower-pitched, rounder sound while the cerang typically produces a higher-pitched slapping effect. One of the unique features of the Kompang is its â€Å"wet† and rumbling timbre due to the strong effects of reverberation.Another special feature of the Kompang is its interlocking technique and the unique musical texture heard from this effect. 1. 2 Features of Kompang Music Even though most musical repertoire of the Kompang is oral in nature and neither notated nor formally defined, there is undeniably a wide range of repertoire in the Kompang genre. There is purely instrumental drumming as well as Kompang used to accompany vocal parts, like zikir. The variety in form – the organization of musical elements in time to create structure (Kamien, 2013) – used in Kompang music is very wide.There is the use of Pukulan, which the first section is called Pukulan Mula (introduction beat), the second is called Pukulan Asas (basic beat) and the third is Pukulan Naik (ascending beat), followed by a combination of other sections including Pukulan Turun (descending beat) and Pukulan Naik. Finally the last section is identified as Pukulan Mati (ending beat). (Abdullah, 2005) There is no rule as to how many times each Pukulan has to be played; the combination of Pukulan sections is determined by the length as well as the function of the entire performance.Also, the form of Kompang pieces is also specific to the community that is performing the pieces. For exampl e, the Kompang music performed by the Kompang Ezhar community in Malaysia typically begins with a call-and-response recitation of the Selawat, a reading of a holy scripture, and then continues with the various Pukulan sections. Additionally, there are even more types of Pukulan found in various forms of dance music (Abdullah, 2005). A summary of the different Pukulan specific to the Kompang Ezhar community is shown in Figure 1 below: Figure 1: A summary of the various types of Pukulan found in the Kompang Ezhar (Abdullah, 2005)In Kompang, rhythm is mainly characterized by the interlocking of different parts divided within the Kompang ensemble. Interlocking is basically done with two or more Kompangs playing simultaneously, with one part playing the Basic beat which is usually the downbeats; another part playing the Rhythm beat which is usually the off beats; and an additional part(s) playing the Leading beat which is usually characterized by triplets or a syncopated rhythm that crea tes a unique interlocking texture specific to the Malay Kompang musical genre (Hahril, 2010).In addition, instrumentation is a musical element that is relatively fixed in Kompang; there is usually a group of Kompangs playing together, and occasionally, accompanying voice. 1. 3 Performance Context In the Singaporean context, the Malay Kompang is usually seen performed at weddings and celebratory ceremonies, or at traditional showcases. As the Kompang is usually performed in large, open spaces, it is important that it produces loud, penetrating and thundering sounds. Kompang performances are also popular at social functions like cultural festivals, dinner shows and events, as well as for the royalty (Abdullah, 2005).All these factors underscore the importance and essentiality of this unique instrument in the entire Malay community. Chapter 2: Influences on the Malay Kompang The Malay Kompang is influenced by many cultures, especially from those cultures that introduced the musical gen re into the Malay community in the early 13th century. As Malacca was ruled by different cultural groups throughout its history, the performance of Malay Kompang was also inevitably influenced by these cultures that took over the land at different points in its history. 2. 1 Arabic Influences One main influence on Kompang music is the Arabic culture and its music.In this context, it is of relevance to discuss the main hand drum that is greatly symbolic of Arabic music – the goblet drum, a large single-headed drum introduced in 1100 BCE (Sadie, 1980). Figure 2: African goblet drum The goblet drum is played either with the drum held under the player’s arm, or with the player sitting down and placing it sideways on his lap, or with the drum strapped around his neck. Similar to the Malay Kompang, it is played using only the hands. There are three main tones used. The doum (bass) tone is produced by hitting the center of the drum head with the palm.The tek (higher-pitched) is produced by hitting the edge of the drum head. The pa is a percussive effect produced by hitting the drumhead and then muting it with the palm to create a closed sound. Figure 3: Doum tone on the Arabic goblet drum Figure 4: Tek tone on the Arabic goblet drum Thus, it can be seen that the playing techniques of the Malay Kompang is somewhat derived from the playing techniques of the Arabic goblet drum – such that a higher-pitched sound is heard by tapping the side of the drum and letting the sound ring, and a lower-pitched sound is produced by hitting the middle of the drum using the palm.Although the muting percussive tone is not as established in Kompang performance techniques, this is probably due to the limitations of the Kompang in that it can only be hit with one hand and held with the other, making it hard to execute a muting effect. 2. 2 Portuguese Influences Portuguese musical elements are also evident in the music of Kompang, particularly in its repertoire. This i s not unexpected, as the Portuguese took over Malacca after its successful assault on the city in July 1511 (Leo, 2013) – leading to infiltration of Portuguese elements into the Malay culture and practices then.The main hand drum in the Portuguese tradition is the Tabor. It is a double-headed snare drum made of cylindrical wood, played with one hand. The skin heads are tightened with leather straps and rope tension (Harms, 1989). Figure 5: The Portuguese Tabor The repertoire of the Tabor is mostly military in nature and is used frequently in marching band processions. Additionally, the Tabor is commonly played together with the Portuguese pipe. The player commonly plays the pipe with his left hand and hits the drum with a wooden stick in his right hand.Portuguese pipe music is folk in nature and the rhythms played on the Tabor are accompanimental and characterized by dotted rhythm. As the musical repertoire of the Tabor is not extensive, there is little notation available. He nce a short transcription of the Tabor parts from a Portuguese Pipe and Tabor ensemble has been attempted: Figure 6: Transcription of Pipe and Tabor ensemble recording As seen from Figure 6, each of the three Tabor parts plays different rhythms, but the performance culminates in an interlocking effect such that the three different parts compliment each other’s beats of emphasis.Hence we can derive two insights regarding the Portuguese influence on the Malay Kompang – firstly, the use of the Kompang in Malay processions and weddings could be influenced by the use of the Tabor in Portuguese marching processions. Secondly, the interlocking feature in Kompang music could be taken from Portuguese Tabor ensembles and then developed to the several complex interlocking parts of today, which includes triplets and more complicated syncopation parts. 2. 3 Thai Influences Yet another cultural influence on Kompang music is Thai music.The Malays and the Siamese have had long, diplom atic contact for over half a decade during the Siamese empire of 1403 – 1909. This allowed the Malays to adapt to the Thai culture and music. Two Siamese musical forms that were of great influence to the Malay Kompang were the Wayang Siam and the Makyong (Abdullah, 2012). The Wayang Siam is essentially accompaniment to shadow puppet theatre. The form of Wayang Siam music is mostly free in nature and depends on the theatrics and drama of the performance. Characters are free to move onstage in more or less than the traditional eight-bar phrases (Baier, 1995).The Makyong musical form was primarily performed by a small ensemble of instruments used to accompany theatrical acts, and included improvised monologues and dialogues (UNESCO, 2005), underscoring the flexibility of the form. Similarly, Kompang ensembles accompany dances, weddings and processions and require a certain amount of flexibility to suit the occasion. Despite the flexibility in combination and number of repetition s of Pukulan sections played, it is not as free as the form in Wayang Siam. Nevertheless, the flexibility in form can be seen as a main influence of Wayang Siam on Kompang music. . 4 African Influences The way that the drummers in an African djembe ensemble interact musically is also of influence to the Malay Kompang. One main feature of African djembe ensemble playing is polyrhythm, in which each djembe player plays a repetitive cycle of its own accompanying rhythm which is in a different measure from the other djembe players. This creates a very unique rhythmic texture as there are different downbeats heard simultaneously with the playing of two different measures. This can be seen in the example below, depicting a polyrhythmic effect: Figure 7: Example of polyrhythmIn addition, there is usually also a solo, virtuosic part heard above all the different accompanying parts, which gives even more rhythmic variety to the music. The influence that this has on Kompang is clear in the di fferent parts that are taken on by the different players in the ensemble. However, the interlocking effect in Kompang is not as complex in that it is not as texturally thick as djembe as all the ensemble players are still playing in the same measure. Nevertheless, it still shows a very important influence that African drum music had on the Malay Kompang.In the 13th century in the Malay Archipelago, little polyrhythmic or even contrapuntal music could be found. Hence the interlocking feature of Kompang music was drawn from the polyrhythms in African djembe. Chapter 3: Future Changes in the Malay Kompang In the 21st century today when most people including those in the Southeast Asia region are exposed to popular music due to factors like technological advances and the strong wave of social media, there is inevitably a strong inclination towards fusing traditional music with pop elements.In addition, due to the increased westernization of Asian cultures, many traditional musical forms are gradually evolving into a more Westernized structure. Besides this, the culture where Kompang is performed today also has an effect on how it is performed. For example, Kompang Melayu is a modern style of playing Kompang, specifically found in Singapore (Hahrill, 2010). Based on my research and analysis, there is a strong possibility of two main directions that musical developments in Malay Kompang can take – the pop-infused style and the westernized style. 3. Pop and Media Influences Pop music is a main influence on Kompang music today. Since the 21st century, technology has allowed a growing number of people to be connected to the Internet. With today’s wireless connectivity and infiltration of social media, the immense volume of technological information sharing inevitably causes people to be influenced by songs that are literally popular – those that are accessible to the widest audience (Lamb, 2013). Elements of rock, R&B, country, disco, punk, and hip -hop have been integrated into pop music for the past few decades.The rhythmic elements in these styles have the potential to be incorporated into Kompang. In addition, the form of pop music – verse and chorus – could be another element that could possibly influence Kompang music in the future. 3. 2 Western Influences Due to increasing westernization of Southeast-Asian cultures today as well as the flourish in Western Music education that uses mainly western notation, Kompang music is more frequently notated these days. This is evident from the difficulty that cross-cultural ensembles face in rehearsing due to differences in notational practices. Ross, 2011) Western orchestras, bands and ensembles have also been introduced to the Malay culture in recent years. There could potentially be new compositions that incorporate the Kompang into the scored music. For example, percussion ensembles with Kompang as one of the instruments, or even Kompang concertos could be written in the near future as part of efforts to popularize traditional instruments. Chapter 4: Conclusion In conclusion, the Malay Kompang, although a considerably specific musical genre, is still influenced by a myriad of elements from other cultures.This is especially so with globalization today, causing homogenization of culture throughout many countries. As discussed above, Kompang music was initially influenced by Arabic, Portuguese, Thai and African musical elements. In recent years, it has started to be influenced by pop and western elements, which are mostly caused by the infiltration of media and technology, and the slow but definite westernization of Asian cultures. As such, the growth of Kompang music in ways that are characterized by today’s era can be witnessed. Bibliography Abdullah, M. H. (2005).An Organological and Ethnomusicological Study of A Malay Frame Drum. Retrieved from https://theses. ncl. ac. uk/dspace/bitstream/10443/869/1/Abdullah05. pdf Abdullah, M. H. ( 2005). ENCHANTING THE CULTURE: AN INTRODUCTION TO THE AUTHENTIC KOMPANG PLAYING. Retrieved from http://www. academia. edu/380345/ENCHANTING_THE_CULTURE_AN_INTRODUCTION_TO_THE_AUTHENTIC_KOMPANG_PLAYING Abdullah, M. H. (2012). The Role of the Kompang in Malay Society. Retrieved from http://portal. unesco. org/culture/en/files/21753/10891249663abdullah. pdf/abdullah. pdf Charry, E. (2000). A Guide to the Jembe.Retrieved from http://echarry. web. wesleyan. edu/jembearticle/article. html Djembe technique | Inner Groove Percussion. (n. d. ). Retrieved from http://innergroove. wordpress. com/learn-to-drum-2/djembe-technique/ Elements of Music. (n. d. ). Retrieved from http://historyofmusic. tripod. com/id6. html Kompang! – SHSS ‘O' Level Music. (n. d. ). Retrieved from http://shssolevelmusic. wetpaint. com/page/Kompang! Mak Yong. (n. d. ). Retrieved April 2013, from http://www. unesco. org/culture/intangible-heritage/23apa_uk. htm Matusky, P. (1995). Malaysian Shadow Play and Music: Continuity of an Oral Tradition.Retrieved from http://www. jstor. org/discover/10. 2307/1124116? uid=3738992&uid=2129&uid=2&uid=70&uid=4&sid=21101877205913 Matusky, P. A. (2004). Music of the Percussion Ensembles. Retrieved from http://books. google. com. sg/books? id=x06nBdEkAOMC&pg=PA198&lpg=PA198&dq=kompang+music+scores&source=bl&ots=hjI8kuVMZo&sig=uGiMpUc98bGJcM3GbIV9UH0_gB0&hl=en&sa=X&ei=f_5bUanSH8yUrgeXo4CoAQ&redir_esc=y#v=onepage&q=kompang%20music%20scores&f=false Musical Elements : Key, Musical Texture,

Medical Administrative Assistant Field - 1628 Words

Medical Administrative Assistant Field In the field of Medical Administrative Assistant, there is a multitude of career choices to branch off into. Of these many fields, the three that I choose to discuss are Medical Billing, Medical Coding and Medical Assistant. All three careers are of high demand in the medical industry and each requires the need of basic classes, with a couple of varied courses, depending on the field. Basic requirements for all include a high school diploma or GED. Most require an Associates degree, consisting of specific major courses and general liberal arts courses. Additionally, these professions can continue to advance their careers by obtaining a higher degree or attaining alternate types of specific†¦show more content†¦Growth trends in this field are very broad. Billing specialist, patient account representative, claims processor, analyst, auditor, collector and reviewer are only some of the many options available and require additional specific certification and training. The average salary for medical billers ranges mid $30,000 to lower $40,000 (Salary.com, 2011), but depending on certain factors, can excel beyond this. Additionally, medical billers must also have solid personal skills; customer service, patience, compassion and understanding when dealing with patients, physicians, hospital staff and other associated personnel is a must. Medical Coding Medical coding, on the other hand, deals more closely with patient medical records. Medical coders work in the billing office, or â€Å"back office† of medical practices or hospitals. Alphanumeric codes are assigned to all illnesses, injuries and treatments. Medical procedures are coded for the purpose of classifying diseases in numerical sequences for identification and data collection purposes, similar to the Dewey Decimal System in libraries. Coding specialists review medical records and assign numeric codes for the diagnoses identified and procedures performed. Each medical procedure and patient encounter has a number (CPT code) associated with it which corresponds to an ICD code. TheseShow MoreRelatedMedical Terminology Essay1296 Words   |  6 Pagesdiscussing what medical terminology is, where it came from, and how it is applied to medical assistant careers as well as how it is applied to medical administration careers. I will give examples of the importance of m edical terminology and specific examples of where medical careers use medical terminology on a day to day basis. I will also give a brief summary and definition of what medical terminology stands for. 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