Discussing the Situations in Criminal Law Assignment

Discussing the Situations in Criminal Law - Assignment Example Intention leads the guilty party to have prior foresight of consequences that will take place should the act be carried out. It is different from recklessness since on a subjective basis, there remains foresight without the hope of actually bringing about results. The problem in the courts of law is that the borderline between intention and recklessness is too vague. The court has to decide the extent of the desire to carry out the act and convert recklessness into intention. In DPP v Smith (1961) AC 290, the test was that the individual was taken to foresee and intend to bring about the likeliest actions if he carried out his intentions. One, 'subjective' recklessness; In this case, the defendant understands that a risk may occur if a certain action is carried out, still despite knowing this he still chooses to take that action ignoring the results of his actions. This is often seen when the guilty party decides to drive under the influence knowing full well that his actions could cause an accident. Two, 'objective' recklessness arises when it is apparent to everyone apart from the defendant that there was a risk. Therefore the risk is so apparent that despite the defendant claims not to have considered the risk this is irrelevant. The intention has many different levels at the most serious intention can lead to murder. The degrees of intention range from pure intention to recklessness dependant on the nature and seriousness of the crime. When the most serious degree of culpability, justifies the most serious degree of punishment both elements are found in the defendant's mind. (a subjective test) An individual who plots and carries out an act of crime is thought of like a more serious threat than the one who behaves recklessly. An opportunist might find a sudden opportunity to steal something or become so angry that they harm another. Intention can also arise from the common law principle as well. One of the most critical sources in the early development of the law on recklessness was an academic piece of work. In his book Outlines of Criminal Law' (published in 1902), Professor Kenny discussed the definition of "maliciously", with specific reference to arson. A large amount of the information in the book was founded on the judgment in the case of R v Harris. At the beginning of the century, the fundamental state of the law concerning recklessness was that it was a subjective test that determined the men's rea in criminal acts where the necessary men's rea for the defendant was to carry out an act. Â  

Case report for Harvard Business School Case and solutions to problems Essay

Case report for Harvard Business School Case and solutions to problems in the case - Essay Example At times, there are different other factors apart from these budgeting methods, which should also be kept in mind while making decision. Because when we talk about investment there are two major components; return and risk. The budgeting method used in the cases will help the decision maker in critically analyzing all the available alternatives and choosing the best among them, so that they can achieve profitable cash flows in future. Investment is defined as present commitment of dollar for a specific tenure in order to generate future stream of cash flows which will be greater than current dollar amount1. The investor can be an individual, an organization, a government or a pension fund. In addition to this, investor expects a rate of return on the investment as compensation for the time for which they have made investment2. However, there might be some deviation from expected rate of return from certain investments and such deviation is known as investment risk. Therefore, where there is investment there is return and risk. Investment can be of two types; financial investment and economic investment. A financial investment refers to commitments in terms of monetary terms in order to generate better future cash flows which can be in a form of interest, premium, dividend etc. However, economic investment refers to making fund commitment which will result in increase of capital stock which includes goods and services. Furthermore, investors are looking for investment opportunities that will increase the current pool of funds in future. Hence, investment analysis refers to finding and opting for investment opportunity that will be giving highest rate of return and is having minimum risk. Thus, investors needs to evaluate all the available investment options and should come up with the best possible scenario3. Organizations encounter many investment opportunities but the main issue is opting and evaluating the options. Therefore,

Training Program And HR Order Essay Example for Free

Training Program And HR Order Essay Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   We are in the epoch of organizational reform and innovation. Our time is marked with rapid changes in the demography of workforce, changing corporate culture, and changing institutions. In the light of the rapid shift in today’s organizations, the skills required of human resource managers, beginners in the profession and even aspiring students in the discipline, rest on the foundation of knowledge on the whole gamut of human resources and organizational development. Corporate America is not without its complications. When the company â€Å"succeeds,† there is with it (the success) a corresponding notion of responsibilities and liabilities. Organizations thrive today because of the policies and guidelines they have managed to fixed firmly in their set-up and translated into their day to day affairs. Big businesses have the competitive edge over others – i.e., over small entrepreneurs, because they have arrived at their positions in the market place by securing certain parameters in the many facets that comprise their organizations. This is especially true on government laws and regulations (McKenna, 2000).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Company policies reflect the company’s intentions of not only looking into employees’ benefits and/or plight, but its willingness to comply with authorities. Safety must be of prime importance in each organization and cooperation between employees and the imposed restrictions must be monitored and regulated. Any accident prevention program can only be effective and successful with the combined efforts of the management, supervisors, foremen and employees. This is where motivating the employees to participate is also critical and the constant and proper communication channels are employed in the organization. Government’s monitoring should also be unceasing because the tendency for institutions to make lapses and/or company support to be negligent with their duties can oftentimes occur (McKenna, 2000; Clement, 1981). Discussion ~ Training Programs: its purpose and efficacy   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Training and training programs instituted by an organization requires that the management realizes the need for a systematic program for employee training and development through the formulation of company policy and its implementation by specifying who should be responsible. Management must therefore consider training as one of its major functions. It must realize this need because training is a continuous activity and requires management’s attention and support. Without management’s continued backing, financial, and moral, the program will fail (Clement, 1981).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Regardless of the sophistication and predictive validity of a selection program, it is almost always necessary to expose newly hired employees to some kind of training before they can be maximally effective on a new job, even if the employees are already experienced with the tools utilized in the workplace. The purpose of which is to increase the employee’s productive efficiency and to enhance organizational goals. Training requirements are made more complicated when the workers have had little actual job experience or are being hired for a type of work they have never performed (Baron, 1983). The organization’s selection procedures ideally ensure that new employees have sufficient intelligence, aptitude, and attitude to learn the job. The effects of a training program are in some cases tangible and in other cases, intangible. In the case of the former, empirical measurement of effectiveness is relatively easy; but in the case of the latter, it is not so. For example, the effectiveness of a training program, such as one for operator training, work study or inventory control, can easily be measured in terms of increased productivity or reduced cost, after the trainees have completed the program. But in the case of a program on human relations or leadership, the benefits cannot be measured in terms or units; they are seen and felt over a period of years. The effectiveness of such programs can also be measured from the point of view of objectives of the program by conducting in depth interviews of the participants, their superiors and subordinates (Baron, 1983). ~ The HR Manager’s role to make training effective   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The HR manager should determine, in consultation with the different line departments, what training activities are needed, arranged according to priorities. He should evaluate the training programs and submit to management annual reports on the status of each program, their effectiveness, and the quality of the training activities. He should continually sell the training programs to all supervisors and managers and integrate the programs with other personnel actions, such as promotions or transfers. He should also extend technical aid to the supervisors and managers at all levels in determining training needs, selecting instructors or demonstrators and evaluating results (Landy, 1985; Baron, 1983; Clement, 1981).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Another important role of the HR manager is to evaluate whether the training conducted met what was intended for and if further follow-up or reinforcements are needed, there are contingencies that are also in place. Management, furthermore, as a rule wants to know whether or not the expense involved in the training and development of its employees will be a profitable investment. In evaluating the effectiveness of training there is a need to define what one wants to get from that particular training to be able to evaluate its results. The usual approach of relating the effects of training to gross changes in the organization in terms solely of the attitudes and behavior of workers is not enough as these are not all the effect one gets out of training. There are intangible benefits that a trainee acquires which broaden his outlook in life through his contact with society at large, boost his morale and motivation towards his work, and develop his pride to belong to his organization. Quantification should be in terms of identifiable units as psychomotor skills, knowledge and information gained and specific behavior patterns instilled (Landy, 1985; Baron, 1983; Clement, 1981).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Effectiveness is measured in terms of the application of what the learners have acquired during the training course. This application in turn is affected by various factors, the most important of which is the organizational framework and climate within which to apply the ideas learned from the course. Training is not transferred until it is well-integrated and successfully applied in a given job for which it was intended. Not all knowledge or skill can be used immediately in all situations but the learner will have it ready for his use when the need arises (Landy, 1985; Baron, 1983; Clement, 1981). Conclusion   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The rapid technological and environmental changes which have engulfed the world in increasing proportions have drastically transformed the placid face of the earth. Organizational as well as industrial behaviors have evolved towards dynamic materialism thereby elevating worker’s and customer’s demands and expectations. Trends show that: 1) there is a great and growing shortage of high talent managers; 2) there will be an increasing need for better managers; 3) the manager’s job will be more demanding; 4) there will be increasing competition for managers. This reality is sustained up to the next decades. Hence, the manager himself constantly must undergo training and advanced schooling for him to remain in the competitive edge. He can also pinpoint to the staff in the workplace the significance of training when he himself refreshes in the profession he is involved in (Clement, 1981).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   When the HR manager thoroughly knows his stuff and had done his research, studies and analysis into the problems and challenges of his workplace, it is no wonder that the training provided for the organization is appropriate and fitting for the members of the organization. His job seems to be continuous and he updates himself constantly to pull the rest of the organization to a level of competence. Reference: Baron, R. 1983. Behavior in Organizations: Understanding and Managing the Human Side of Work, Boston: Allyn and Bacon. Clement, R.W. 1981. Evaluating the Effectiveness of Management Training. Human Resources Management. Vol. 20, pp.8-13. Landy, F.J. 1985. Psychology of Work behavior. 3rd Ed. Dorsey Press. McKenna, Eugene, 2000. Business Psychology and Organizational Behavior: A Student’s Handbook. 3rd Ed. Psychology press: Taylor and Francis Group.

The Opera Singer As An Actor Music Essay

The Opera Singer As An Actor Music Essay In this dissertation emphasis will be placed on the marriage of three concepts namely: good voice singing technique, musicality and acting for opera (building the character) in the training of a successful opera singer hereafter referred to as the singer-actor. The purpose of the study was to explore and describe the essential skills that needed to be acquired by the modern opera singer. The rationale therefore, is to provide guidelines for the minimum requirements for the training of the opera singer as singer-actor. Taking into consideration the demands on opera singers when taking part in an opera, the study was guided by the following question: How does the knowledge of good voice (a sound singing technique), musicality and building a character role benefit the opera singers performance? Evolving from the main research question, the following sub questions were formulated: What is a good voice within classical voice training methods? How can musicality contribute to an opera singers performance? What are the demands to build a character role? General and specific aims: The general aim of this study was to determine how the knowledge of a good voice, musicality and building a character role, benefit the opera singers performance. Specific aims: The specific aims of this study are: to define a good voice To define musicality to determine how building a character role contribute to an opera singers performance. Due to the limited nature of this study, only a literature study will be done. As an extension of this study, the researcher would follow an interpretivist paradigm with a qualitative approach which strives to comprehend the important skills an opera singer should have according to contemporary South African opera singers and their view of the importance of acting ability for successful opera. The study will be conceptualised in terms of and based on the following frameworks: The voice Musicality Acting ability Relationship between music and text For opera to retain its artistic relevance to, and impact on, the fabric of arts and culture, it can be argued that there are three fundamental elements to the performance of opera which need to be addressed, and which require academic input (herformulering), discipline regarding musicality as well as focussed tuition and practise (sweeping statement. Wie se so?). In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in). Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167). This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeà «r genoem moet word). The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesà ª) In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron) Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of A Good Voice, Musicianship and Acting Ability in terms applicable to the Singer-Actors optimal performance of Opera. Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer. This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena. An in-depth literature study of relevant and contemporary sources on these topics have been done to guide the research. Method of research The following methods of research were used to answer the research questions: Consulting of the following databases: JSTOR, Google Scholar, Periodical archive online and IIMP; Literature study Interpretation of information and conclusions A study of Largo al factotum from Puccinis Il Barbiere di Seviglia on the basis of the score and recordings, in order to ensure a common understanding of how the study could apply to the aria Before the conceptualized terms will be discussed, a concept clarification of the relevant issues at hand, will be provided. 1.1 Concept clarification The Good Voice / The self-amplified singing voice The good voice can be defined as the ability of the opera singer to project the voice in a way that its heard over and above the full orchestra accompanying the singers. This view correlates with the description of Gilfrey (2007:1) who describes the voice as a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. Four elements are essential to produce a sound, namely a vibrating object, a power source to make the object vibrate, a medium through which the vibrations are transmitted and apparatus to receive the vibrations (McKinney,1999:20). The self-amplified singing voice as described by Gilfrey (2007:1) is the single most important element of opera; the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today). Optimal Acoustic Output Acoustic output refers to the optimal projection of the voice to enhance the correct and optimal usage of the voice as an instrument. According to Titze (2002: 367 376) mean glottal airflow (or, alternatively, glottal resistance) has been a target for optimising vocal output power in voice therapy and singing training. Glottal airflow refers to the space between the vocal cords (the fleshly parts of the air passage inside the throat) which produce the sound of the voice by fast or slow moments, in which this space is repeatedly opened and closed (Longman, 1980:484). Generator / Breath Management / Breath Breathing is a natural process which begins at birth an ends with death. This is a natural process for which no training is acquired. The rate of breathing is governed by the bodys need for oxygen and needs no conscious controls. The essential difference between breathing to live and breathing to sing, lies in the amount of conscious control exerted (McKinney, 1994: 46). In other words, the breathing process is a spontaneous event for the normal person, but a skill that needs to be mastered by the opera singer to optimise breath control and support for the voice. Vibrator The word vibration of the voice refers to The function of the vibrator is to set the column of still air in the throat and also that in the windpipe in vibration. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67). Structure and Function Resonator / Supraglottic Activity The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word resonance can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voic e. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner. Classical Technique (sit nog iets in of haal uit, PL) In popular usage, art or serious music as opposed popular music The Harvard Concise Dictionary of Music and Musicians. CHAPTER 2: The Good Voice in Classical Singing Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term voice box of human sound box as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice. The good voice as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs dont include singing, and vice versa. Acting is becoming increasingly important for the opera singer, but is seldom supported by the prerequisites of theatre voice and movement (Melton Tom, 2003:135). Sà ª nog iets oor hoekom training belangrik is. Singing is both a science and an art. Most teachers have at least some appreciation for a scientific singing method and those who dont often claim to have discovered some long-lost piece of wisdom. This wisdom is generally already incorporated in the teachings of a well-trained singer. There are some fads that come and go but a singer with good technique and access to his or her emotions will please any audience and have a much broader career with greater longevity (Brown, 2004: 97-104). Technique is central to singing opera, but singing is also an art form, and no art form can be realised by the use of technique alone. Merging voice technique, musicality and emotion through competent acting skill is something that must be taught from the very beginning of the Opera Singers development of his/her career. This is because, when occupied in the emotion of the moment, the good voice will acquire nuances that are quintessentially important to conveying the emotional elements of the opera and will thus elevate the singer to a higher level of performance and riveting engagement with the audience. Gebruik onderstaande as daar nog inligting daaroor is, anders voeg saam, PL Every aspect of the voice, used directly of indirectly affects the whole mechanism. For example alignment and breathing are integrally connected to the performers range, resonance and articulation. For this reason, some of the relevant aspects affecting the good voice, will be discussed below. 2.1 Vowel modification Vowel Modification and Primal Sound Christy (1961) means that an important criteria for good singing habits is the homogenic shaping of vowels, in other words, they should sound as if they fit together, the vowels must be consistent with each other. Many professional singers never master the art of even vocal production. This can be ascribed to vocal coaches not fully grasping the concept of vowel placement. When this concept is fully understood it is impossible for a singer to not produce vowels freely and comfortably. In the first volume Christy states that once a single vowel is mastered the singer must focus on uniting the remaining vowels in accordance with that of the first. He means that the different vowels should attain a similar sound without losing its distinctive character. à ¢Ã¢â€š ¬Ã‚ ¦this is another way of saying vowels have to be equalized by having a common, fundamental tonal characteristic. The fundamental tone of the human voice is the huh sound. According to Christy this sound should be considered the basic reference to vowel placing because the uh sound is the most natural sound that can be produced, as the pharynx is relaxed and in its natural position. Oren C. Brown concurs with Christy, but describes the uh sound as the primal sound: Primal sounds are involuntary. They are the sounds you were born with. In Beijing , Basel or Boston, a babys cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the babys cry. He labeled the initial sound as a schwa [Éâ„ ¢], (uh as in about), which linked the cry to a babys first word, mama [mÉâ„ ¢mÉâ„ ¢]. Mama is the first word spoken by babies throughout the whole world. In Korea the word is ama, with the vowel preceding the consonant. (Brown 1998) p. 1 The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the huh sound in a short repetitive sequence (as if laughing), or a long relaxed sustained huh (like a sigh). He also suggests sliding the huh up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voices natural inclinations. Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that they are pure. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these pure vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing say, it becomes sayee or kind becomes kieend. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated. 2.2 Breath management Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing. According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat. 2.3 The vibrator 2.4 The resonator 2.5 The articulator Classical Opera training and singing versus Singing pop or secular music The single most important element of opera, the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today), is the self-amplified singing voice. This is a voice produced with a classical technique, a manner of singing that projects the voice over a large orchestra in a large theatre. The learning of the singing technique this voice requires, takes years of concentrated training. This focus on singing technique is the primary focus of most singers studies. CHAPTER 3: Musicianship How the Classical Singer Accesses Demonstrates Musicianship To acquire musicianship a high level of artistic interpretation of songs and knowledge of repertoire is required through years of training. One can not over emphasize the importance of musicianship. It is simply not suffice for a musician to have a musical ear, theoretical and musical knowledge, play an instrument or respond emotionally to music. The artist must be a musician i.e. a singer (Christy Vol 1: 7). According to Miller (Principles of singing p1) a singer can acquire musicianship through classes, studying an instrument (ex. Piano), performing in choirs or through private study and the self-exploration of music. Even though a singer that has exceptional vocal talent, he should receive professional music training and the participation in solo or choral ensembles especially in the first year of study. Many vocal teachers might disagree with this statementà ¢Ã¢â€š ¬Ã‚ ¦ A singer with a natural talent and an ear for music must be able to imitate sounds and pitches and not just h ear this internally, for example; in a singing lesson the student listens to the vocal teacher and then imitates the vocal sound of the teacher. The same principle applies with rhythm. A sound inner sense of rhythm will contribute to the holistic musicianship of the singer. Besides musicianship, there is also the interpretation of music. According to Christy (1961: Vol 2:110) Interpretation is the emotional and artistic portrayal; the summation of all music. According to Christy (1961:Vol2:110) Musicianship is the science of music and interpretation . A good singer should be familiar with all styles of music and song literature. The singer must be trained in a style and in the interpretation of songs in a particular style. A song has a style that must be established and followed through to the end. It is possible for a singer to become comfortable with a particular style that he can do well in, but he will not realise that what he steers clear of could be very valuable for his musical development. Therefore the teacher should analyse, guide and discuss the songs with the singer, in order to identify the accompanying details of expression. (Christy 1961:Vol2:110-111). The basis of musicianship include the abilities to read and interpret rhythms and intervals, playing the piano accompaniments, acquiring knowledge of the basics of theory and harmony, music and musicians in terms of vocal and instrumental style, schools and song literature. (Christy 1961:Vol1:7) According to Christy 1961:Vol:109, (quoting Curt Atler in the art of accompanying and coaching: 1965: 219) interpretation may be defined as the singers act of expressing and communicating meaning, mood and epic, a comedy, or just an expression set to music all in capsule form. To interpret music is to express or reproduce it intrinsically by the singer, in the score. Due to the limitations in music notation, it is the responsibility of the singer to interpret and express the fine distinction between tonal colour, tempo and intensity of the composers interpretation. The expression can be found in the text and in the setting. According to Christy 1961:Vol2:112, when the same song is sung by two sensitive artists, it is highly unlikely that the general style, tone, colour and mood will be markedly different; however, dynamics, tempo, word accentuation, and innumerable details often are. Thus, the keys must be studied by the singer in order to express and keep the interpretation on trac k. The two requirements for interpretation include the fidelity to the composers intent and that it must contain an essentially creative element of the interpreters own making, illuminating the subject with fresh light. (Christy 1961:Vol1:190). Furthermore, the expression must be honest, sincere, simple and direct, which means that nothing must be added or placed over the music that will distract attention from the work itself. Also, the singer must reproduce the music with insight, imagination and vitality in his own unique way it must not be copied from others. Interpretation has four main factors including appropriate and fervent mood or emotion, eloquent diction, adequate technique and a natural, sincere stage presence. (Christy 1961:Vol1:190). EMBELLISHMENTS Embellishments comprise of, but are not limited to the appoggiatura, acciaccatura, mordent, gruppetto or turn, trill and the portamento. These are techniques that are of vital importance in the interpretation of music. In the appoggiatura, the singer usually has to apply his own taste due to its indeterminate value. There are some accented notes in a melody that form the bass of the intervals since they lean on the next note to which they descend. The appoggiatura was used by singers long before it was written down, because of the enjoyable sound and is often absent in the score. (Shakespeare: 115). The acciaccatura and mordent is different from the appoggiatura as it is written with a stroke through the stem and tail. This does not have an affect on the value of the next note but it is sung much quicker. The acciaccatura is usually a small note where as the appoggiatura is written as a whole note. (Shakespeare: 115). The gruppetto or turn is a group of three or four notes. If the higher interval is a tone, the lower tone is a semitone and if both intervals are semitones it is known as a chromatic turn. (Shakespeare: 115). Sung in rapid alternation with the note of the scale above it, the trill is an embellishment that has a principle note that belongs to the harmony of the composition. A trill is usually finished with a turn. (Shakespeare: 115). The portamento carries the voice from one interval to the next, then passing lightly through the intervening tones. It also indicates a phrase and the Legato rendering of a passage. (Behnke: The technique of singing: 99) Legato Slur Intonation Colour in the voice timbre (emotion) Following the conductor Discuss the concept of DISCIPLINE Technical aspects According to Hayward (see 1994:205) style can be interpreted in many different ways. Interpretation can be defined as communicating understanding. Interpretation can best be expressed in a persons own language according to James Nolan in his book Interpretation, Techniques and exercises. Expression and conveying of meaning, feeling and idea through sound can be defined as interpretation (Christy 1967:109). CHAPTER 4: Acting Within the South African context, this integration of The Good Voice, Musicianship and Acting is deficient. There are various reasons for this lack of attention given to the development of acting skills with singer-actors. One is that there are not many qualified tutors in South African institutions that combine the field of acting and musical performance. Another reason is the absence of appropriate development programs and relevant material in curriculums. As a result, there is less interest from students to pursue a career as a singer-actor. In support of this argument, Knobel and Steinert (2002:155) claim that the acting teacher should be just as important to you as your singing teacher and can be of great help to you throughout your singing career. Interestingly enough, contrary to this understanding are the arguments of authors such as Bean, Goldovsky and Balk, who posit that acting classes à ¢Ã¢â€š ¬Ã‚ ¦ are very often of little benefit to the singing actor Bean (2007:167). These two opposing views illustrate that there are no consensus among academics about the importance of acting skills (al dan nie) of the opera singer. This statement is underpinned by the neglect of some higher education institutions offering voice training, where little or no training in acting is provided. In the quotation below, Bandelj truly captures the spontaneous physiological, psychological and emotional reactions which authentic acting can bring about in the actors performance. When a singer acts and sings in a mechanical way, it often comes across as disjointed or in some cases ridiculous. It is the emotion that breathes life into the song and makes it relevant, connecting with the audience and transcending facial contortions (Bandelj, 2003:393-394). To avoid that, an actor should utilise the all the involuntary muscle contractions that emotions evoke in the body, either by recalling their own past experiences or imagining themselves personally going through what the character is experiencing. This makes the whole action more believable. Gilfrey, Bonavia agrees that the ability to act, though considerably under-estimated, is not the only or the most necessary qualification for the operatic stage. Acting in opera is a comparatively modern accomplishment (Bonavia, 1915:79). This observation, by Bonavia, pays homage to the deeply rooted tradition of well-respected opera singers being famous for their magnificence of voice; but of their skill in acting there is hardly any mention to be found anywhere (Bonavia, 1915:79). ( Dink hier aan enige ou opera wat opgevoer is en waar daar slegs aandag aan die sang gegee is) Ultimately, Bonavia contradicts (to some extent) the previous argument by identifying an exception. That is Chaliapin who, according to Bonavia, provides the audience with ever-changing shades of facial expression à ¢Ã¢â€š ¬Ã‚ ¦ the whole character left vividly impressed à ¢Ã¢â€š ¬Ã‚ ¦ Chaliapin is the ideal actor (Bonavia, 1915:80). In terms of the attempts made at acting within the Opera world, there is a history and tradition of operatic gesture and the surprising persistence of melodramatic effects and gestural overstatement (Smart, 2004:26). While this is certainly applicable to the Nineteenth Century, we need to be cognisant of how this tradition of gestural overstatement may be (erroneously) assumed to be the only acting required of the singer actor in the twenty-first Century. That is, even in the times of Verdi, the role of gesture à ¢Ã¢â€š ¬Ã‚ ¦ (grew) à ¢Ã¢â€š ¬Ã‚ ¦ as formal conventions loosened (Smart, 2004:136). The appropriate question therefore is, to what extent have formal conventions loosened further, particularly in a world hallmarked by electronic media and social networking? As indicated in the introduction, Television and DVDs, have provided unrestricted access to Opera to an ever-increasing sophisticated and demanding audience in the entertainment space. This view is further reinforced by the writing of RePass (1953:10-18) who states that à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦(PL). Building the Character The creation of a character role by the singer-actor is the basis and starting-point of the combination of singing and acting. While it cannot be doubted that an excellent singing technique à ¢Ã¢â€š ¬Ã‚ ¦ (viz., The Good Voice and Musicianship) à ¢Ã¢â€š ¬Ã‚ ¦ is essential to the success of any opera singer, other skills required for a convincing performance, among them acting, are often given less attention by singers and their teachers (Gilfrey, 2007:1). Innate talent is not the sole factor as the ability of a singer-actor to create a character role is severely impacted by the cultural beliefs of what acting is and also how it is measured. When keeping this in mind it becomes evident that the creation of a character, especially in the case of singer-actors, are based on the teachings of Konstantin Stanislavsky better known as the method acting technique. The method acting technique is an approach that the Russian actor developed to whose approach stresses the internal preparation of actors (Bandelj, 2003:393). This focus differs from that of the other schools of acting namely The English School of Acting, The Bertold Brechts epic theatre and Japanese Noh Drama. The interaction experienced by the singer-actors on stage and the director with the constant feedback assures a more lifelike portrayal. The fundamental driver of method acting is the wish to reproduce reality. All (acted) behaviours and interactions need to be seen to be psychologically, emotionally and socially authentic and plausible, while concurrently acting as an integrating mechanism to the plot and to the other cast members. Drawing on his/her own experiences and observations the actor needs to appear spontaneous while using objects in both a symbolic (or metaphorical way) and a literal way (Bandelj, 2003:393). This, and the additional use of props to facilitate the portrayal of the situation, are all tied together by the passion of the actor and the pursuit of truth as art imitates life or indeed verisimilitude (Bandelj, 2003:394). The quality of the voice has much more to do with the correct training and technique, rather than the singers natural endowment, especially later in life as the singer ages. *The W questions to build a character role (also mentioned in the PowerPoint) Who? What? Where? When? Why? And HOW? Contributing Elements to Building a

Bastard Out of Carolina Essay -- essays research papers

One of the most complex and elaborate characters in Bastard Out of Carolina by Dorothy Allison is Bone. Throughout the story Bone has to live a life where she thinks that she is the leading mystery of the trouble being caused. She has numerous unhappy situations and is in no way self-satisfied with herself. She doesn’t appreciate who she is physically. She constantly thinks she is the most homely and dull person who causes the most inconvenience in the family. This sense of selflessness is mainly due to the physical and sexual abuse brought upon by Daddy Glen, Bone’s stepfather. Unfortunately, the assaults were stretched out over a long period of time, leaving little chance for Bone to recover as an adult if any at all. I decided to take a more scientific approach to discussing Bone’s future as an adult. The most common disorders I feel Bone is likely to face are posttraumatic stress, cognitive distortions, emotional pain, and avoidance, an impaired sense of sel f and interpersonal difficulties. After finishing some research I concluded that Bone would most likely be diagnosed with posttraumatic stress disorder. It entails enduring certain psychological symptoms that occur in reaction to a highly distressing, psychically disruptive event. A diagnosis of posttraumatic stress disorder (PTSD) requires the occurrence of a traumatic event, as well as frequent experiencing of the event through nightmares or intrusive thoughts, a numbing of general responsiveness to, or avoidance of, current events, and persistent symptoms of increased arousal, such as jumpiness, sleep disturbance, or poor concentration. All of these occurrences are a result from the sexual abuse Bone was forced to tolerate from Glen. Triggers of flashbacks include sexual stimuli or interactions, abusive behavior by other adults, disclosure of one's abuse experiences to others, and reading or seeing sexual or violent media depictions, all of which would more than likely be experienced throughout Bone’s adult life. Unfortunately all of these experiences are apart of life and in most cases can’t be avoided. Bone is obviously going to be exposed to such things, which could induce flashbacks. Without question Bone would suffer from cognitive distortions. As a result from the traumatic events throughout her life with Glen her assumptions and self-perceptions typically reflect an overestimation of the a... ...ren attempt suicide each year because they can‘t bear being abused any longer. Fortunately, Bone hasn’t reached that point yet. Depending on the circumstances ahead in the future, I see suicide as a last resort.   Ã‚  Ã‚  Ã‚  Ã‚  It is important to appreciate that these issues are very complex, and to be familiar with how abuse and neglect can affect various aspects of a person's life. Child abuse does not affect every person the same. The extremity of the abuse and different situations determine the effect. Some people could live on to become great people and do great things. They don’t look at the abuse as something negative but rather as something that made them strong and made them believe that they were better and could do better than the situation that they were in. Dealing with abuse after it is over is the toughest thing to handle, most people that could afford therapy go to it, but since most people can‘t afford it they try to deal with it the best they can. Although in most cases the child is removed from the home that the abuse is happening in, sometimes child abuse can slip by unnoticed and that can have severe consequences on the child as well as others.

Analysis of the Movie Doctor Zhivago Essay -- Doctor Zhivago Russian R

Analysis of the Movie Doctor Zhivago Doctor Zhivago is a historically accurate movie. It is a love story that takes place during the Russian Revolution, World War One, and the Russian Civil War. Doctor Zhivago is historically correct because of the events it represents, the people the actors portray, and the level of detail put into the setting. At the beginning of the movie, there is a scene showing a man handing out flyers asking workers to join him in a peaceful march to protest against the Tsar. The man’s name is Pasha. He is an ordinary worker who believes to reform Russia there must be a complete revolution of thought and action. Pahsa, when asked if he was part of the Bolshevik party, claims no allegiance. The Bolsheviks were people who were attempting to gain a much more favorable lifestyle for the working class. The Bolsheviks were lead by Lenin, who would end up leading Russia. Since someone questioned if Pasha was a Bolshevik because of his actions, one would believe that the Bolsheviks were doing the same thing; trying to get people to revolt against the Tsar. When the workers who received the flyers join Pasha in the peaceful march, they are attacked Russian soldiers. The soldiers charge at them and the people turn and run. Those unable to escape are killed or injured. In the movie, this event took place in Moscow, but it was representing â€Å"The Bloody Sunday Massacre† which took place in St Petersburg, January 22, 1905. Doctor Zhivago portrayed this event very well. They have the march during the winter of 1905, which is the actual time that the â€Å"Bloody Sunday† event took place. Also, both the people marching in the movie and the people marching in real life wanted the same things. They wanted bread, better working conditions, and eight-hour days. The setting of the massacre scene in front of the Russian palace is correct because in actuality, the massacre took place in front of the Winter Palace. Doctor Zhivago also uses one of its characters to represent one of the historical figures who was involved in the â€Å"Bloody Sunday Massacre†. After the massacre, Pasha escapes with only a cut to his face. He goes to his fiancà ©e, Laura, to ask for help. She asks how he got injured and he tells her about the massacre. He describes how the soldiers slaughtered women and children who only asked for bread to eat. Since he was the... ...go is quite accurate in it’s portrayal of the facts. Everything from the ideas about the revolution to details on the buildings were historically correct. Names and locations might have been changed, but what they represented is factual. Even though the movie’s focus is on the love story and not the revolution, the details for the revolution seem to be accurate. Bibliography 1) Adams, Arthur E. The Russian Revolution and Bolshevik Victory: Why and How? Boston: D.C. Heath and Company, 1960. 2) â€Å"Bloody Sunday.† Spartacus Educational. 2002. Spartacus Educational. October 15, 2004 3) Field, Daniel. Rebels in the Name of the Tsar. Boston: Houghton Mifflin Company, 1976 4) Moorehead, Alan. The Russian Revolution. New York: Harper and Brothers Publishers, 1958. 5) Oliva, L. Jay. Russia and the West: From Peter to Khrushchev. Boston: D.C. Heath and Company, 1965. 6) Roark, James L. and others. The American Promise: a History of the United States: Second Compact Edition. Boston and New York: Bedford/St. Martin’s, 2003. 7) Vernadsky, George. A History of Russia: Fourth Edition, Completely Revised. New Haven: Yale University Press, 1954.

Eating the Right Food

â€Å"You are what you eat† said for the first time Anthelme Brillat-Savarin back in 1826 and since then this phrase is being used a lot by nutritionists. If this is really true, then a lot of Americans would appear to be unhealthy, treated with chemicals and, commercially raised animal flesh. While this does not sound very nice, it is nonetheless a description of the typical Americans who survive on the consumption of big macs and greasy French fries. â€Å"Unfortunately, studies show that over eighty five percent of Americans no longer eat even one meal at home together every day† (Bond, 4). It is true, and what should the average Americans do about this problem? They should better choose what they eat. Eating the right food is like getting an A at school. If you eat right food you will most likely be healthy. If you are getting A’s at school, you will most likely be successful. Eating the right food will contribute to your healthy living. By making the right choices, you will help yourself avoid some very serious problems. Making poor choices like eating too much wrong food, increases your chances of developing cancer, heart disease, diabetes, digestive disorders and aging related loss of vision. An example for that is the obesity, which is a major health concern in the United States. â€Å"Obesity can be linked to some 300,000 deaths and $117 billion in health care costs a year† (Espejo, 11). This statistics is very scary and it shows us how serious can be the wrong choice of our food. If we want to live healthy, we have to eat right. Eating the right food is not a hard thing to do. We just have to know some basic rules. One way to choose the right food is to follow the Food Guide Pyramid, developed by The Ivanova 2 United States Department of Agriculture (USDA). More than one hundred years ago in 1894, the USDA published its first food guide, where the author, a nutritionist, introduced the idea of food groups. The five food groups defined in the food guide were milk and meat, cereals, fruits and vegetables, fats and fatty foods, and sugars and sugary foods. The guide made recommendations about eating food from each food group to remain healthy. MyPyramid is the most recent food guide, designed to provide Americans with a wide variety of food recommendations that will promote their health. MyPyramid was a major revision of the Food Guide Pyramid. It was designed to illustrate recommendations found in the Dietary Guidelines for Americans 2005 released by the USDA in January 2005. MyPyramid is intended to help Americans choose the right food to eat. It is designed to help people learn how to eat a healthy diet and live an active lifestyle. The latest food pyramid makes recommendations in seven categories: grains, vegetables, fruits, milk, meat and beans, oils, discretionary calories, and Ivanova 3 physical activity. Each food category is a different color in the pyramid with different recommendations. The highest recommendation according to the pyramid is for grains, milk and vegetables. The lowest recommendation is for oils and meat. MyPyramid assumes that people will eat from all food categories. I have found that following MyPyramid is the simplest way of balancing my meals. It separates foods into groups and graphs the amount of each group needed in an average person’s diet. The second way to choose the right food is to eat local and seasonal food. Eating local food has a lot of advantages. The shorter the distance that food travels from farm to table, the better. The long-distance transport of food requires more preservatives, packaging, refrigeration and fuel. By purchasing local foods in-season, you eliminate the environmental damage caused by shipping foods thousands of miles, your money spent on food goes directly to the farmer, and your family will be able to enjoy the health benefits of eating fresh, unprocessed fruits and vegetables. Eating locally does not mean to give up products like coffee and tea, which are grown only in certain regions. But it does mean to make choices when possible in favor of those foods that are produces near you. â€Å"Get out of the supermarket whenever you can† (Pollan, 33) is one of the Michael Pollan’s food rules. This rule implies the importance of going to the local farmer’s market. In the farmer’s market you will find fresh whole foods picked at the peak of nutritional quality. You will find food that â€Å"your great-great-grandmother would have recognized as food† (Pollan, 7). There are a lot of programs that try to promote growing fresh produce. South Central Los Angeles’ â€Å"Food from the Hood† program has brought ttention to the potential of its embattled Crenshaw district, while providing with Ivanova 4 college funds for the high school students who maintain organic gardens. San Francisco’s Fresh Start Farms employs homeless families to grow produce forthe city’s many restaurants. And U. S. prisons have taken to garden ing projects in a big way, like San Francisco County Jail’s Garden Project, which has prisoners growing food for local soup kitchens† (Motavalli, 17). These programs are great examples of promoting growing fresh and organic food. But that should embrace a larger number of people engaged with growing fresh produce. Not only homeless people, prisoners and students. Different programs should be developed in larger areas, where people can join and help grow fresh and organic food. Try to eat most foods only when they are in season, or can seasonal food in order to eat and enjoy it all year round. Buying seasonal produce also provides an opportunity to try new foods and to experiment with seasonal recipes. And it simply tastes better! Every region of the world has its harvest seasons. In order to eat locally, we have to be familiar with what is local and seasonal in the area we live. For example, in my country Bulgaria in winter time there is not a big variety of local foods that you can buy, because of the severe weather conditions. So we usually buy bananas and oranges, that are imported. But in spring, where everything comes to life, we start buying strawberries and cherries. I was not used to eat strawberries all over the year before, because in my country we grow strawberries only in spring and this is the only time of the year that you can buy and eat strawberries. Here you can buy strawberries any time of the year, but I do not do that, because they do not taste good. In summer time in Bulgaria we buy peaches, apricots, tomatoes, corn and a lot more. In California on the other hand, in winter we can enjoy grapefruits, lemons, oranges, lettuce, mushrooms, and potatoes. An important part of buying local is making an effort to purchase fresh fruits and vegetables when they are in season in your area. Although today's global marketplace allows us to buy foods grown virtually anywhere in the world all year round, these options are not the most sustainable. Even if you do not want to change any of your eating habits, you can at least make sure to buy local produce when it's available, rather than purchase the same type of food from three thousand miles away! The third way to choose the right food is to eat fresh food and a lot of fruits and vegetables. Fresh food comes out of the ground and comes to your plate with as little interference as possible. The freshest produce is what you grow yourself and pick just before you eat it. Eating fresh food is as simple as it sounds. It does not mean avoiding frozen or canned food, but it rather means to eat food as close to its natural state as possible. Frozen foods and vegetables are nearly as good as fresh ones and they may even be more nutritious than fresh fruits and vegetables that have been stored for weeks or months under conditions that prevent ripening. Canned fruits and vegetables are usually fine, though many come loaded with salt and added sugar. (Willet, 126). â€Å"Eat plenty of fruits and vegetables† (Willet, 114). As child you hated to hear it. As a teenager, you promised yourself you would never say it to your children. This wisdom however is passed from generation to generation. This is a timeless advice, simple and easy to remember. The National Cancer Institute recommends that each of us eats at least five servings of fresh fruits and vegetables a day, since they play a very beneficial role in protecting against cancer, heart disease and other health problems. But what exactly are fruits and vegetables? â€Å"To a botanist, a fruit is any plant part that contains seeds, any by process of elimination, a vegetable is everything else: leaves, stems, flowers, roots and bulbs† (Willet, 115). The reason experts recommend so many servings of fruits and vegetables is that they offer the best way to prevent chronic diseases such as diabetes and cancer. We should simply â€Å"Eat food† (Pollan, 5). It is easy to say, but hard to do, especially with all the new food products that are introduced annually to the market. Most of these items do not even deserve to be call food. They consist mostly of ingredients derived from corn and soy that no normal person keeps in their pantry. Lastly, the right food to eat will be anything, but fast food. Most people choose fast food because it is convenient, fast, and cheap. Fast restaurants are everywhere, on every corner. They always have the best deals for food. Everything seems so delicious and in most of the times it is really delicious. But the problem is that is not healthy and this is absolutely the worse choice of food that we can make. â€Å"It’s not food if it arrived through the window of your car† (Pollan, 43). Fast food cannot be called food. We should avoid fast food restaurants if we care at least a little bit about ourselves. There is almost always a healthier choice. It may not be the cheapest or the fastest route, but I think that overall nutrition is more important than the thickness of our wallet. Cost, convenience, and lack of time all contribute to the bad eating habits most people have. Not everyone can afford to eat well in America, which is shameful, but most of us can. â€Å"Americans spend, on average, less than 10 percent of their income on food, down from 24 percent in 1947, and less than the citizens of any other nation†(The New York Times, January, 28, 2007). And those of us who can afford to eat well should. Paying more for the right food will contribute not only to your health also to the health of others who might not themselves be able to afford that sort of food: the people who grow it in the farms. Planning what to eat can eliminate impulse and over eating. In conclusion, choosing the right food to eat is not always easy. These are different ways to choose better our food. Choosing the right food to eat is choosing a better life. When we choose better our food we contribute actively to our health and to our life. MyPyramide is one way to choose the right food to eat. It gives us an idea how to balance the food we eat and what food to eat more and what to eat less. Another way to make a better food choice is eating a local and seasonal food. This is also not a very hard thing to do. We just have to make a little research on the local farmer’s markets and what kind of produce is grown seasonally in the area we live. The third way is to eat fresh produce and as many fruits and vegetables as possible. The last and maybe the most important thing to eat right is to avoid fast food. These are easy steps to living a happy, healthy and right life.