Fantasia 1940 1.5 James Algar Samuel Armstrong, Fantasia (1940), Walt Disney Pictures, 120 min. -- ALS
• symphony- an extended composition of a full orchestra, with several movements that are distinct from one another. A number of classical musicians composed symphonies (Webster's New World Dictionary, 1977, p. 1287)

• melody -- a sequence of single tones to produce a rhythmic whole (Webster's New World Dictionary, 1977, p. 885). Melodies are oftentimes the most compelling elements of classical compositions.

• harmony -- the simultaneous sounding of two or more tones when pleasing to the ear (Webster's New World Dictionary, 1977, p. 638) Harmonies are integral to good melodies.

• dissonance -- an incomplete chord until it is resolved with a harmonious chord (Webster's New World Dictionary, 1977, p. 408). Oftentimes, dissonance is used in compositions of Beethoven and others.

• fanfare- a military composition of brass instruments; a loud, showy horn piece. (Virginia Tech, no date).…...

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References

Abhinav, V. (2012). "Mikhail Baryshnikov." Encyclopedia Britannica. Retrieved from   D.B. (1977). Webster's New World Dictionary. New York: Webster's New World.http://www.britannica.com/EBchecked/topic/54550/Mikhail-BaryshnikovGuralnik ,

No author. (No date). "Virginia Tech's multimedia music dictionary." www.music.vt.edu. Retrieved from  http://www.music.vt.edu/musicdictionary/ 

No author (no date). "Ludwig van Beethoven's biography." www.lvbeethoven.com Retrieved from  http://www.lvbeethoven.com/Bio/BiographyLudwig.html 

No author. (2013). "Leonard Bernstein biography." www.biography.com. Retrieved from  http://www.biography.com/people/leonard-bernstein-9210269?page=2

She has re-written history. "Particularly striking is Djebar's use of aphasia and silence, which she paradoxically employs as means of expression and of resistance against the forces of a male societal structure, forces which traditionally are said to promote both aphasia and silence as lack of expression in women" (Soheila Ghaussy). Algerian culture suffered a lot from the hands of the French. The French had aimed to shatter their religious values but the Algerians, men and women both resisted to this. They did not want to be liberated from anything but the French themselves.
In a male oriented and dominated society, Assia Djebar has done a great work and presented us with the perspective on colonialism from the women's point-of-view. "The story of Djebar and the women freedom fighters is also the story of Algeria and the journey from colonization and subjugation to independent nation. Djebar's text refigures nationalist strategies…...

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References

1) Anonymous - Assia Djebar (1936-) - pseudonym of Fatima-Zohra Imalayen. [Online website] Available at on 22/09/2005]http://www.kirjasto.sci.fi/djebar.htm[Accessed

2) Anonymous - Imperialism in North Africa: Newspaper, Hubertine Auclert (Algeria). [Online website] Available at   on 22/09/2005]http://chnm.gmu.edu/wwh/p/180.html [Accessed

3) Nancy Von Rosk - Article Title: "Exhuming Buried Cries" in Assia Djebar's Fantasia. Journal Title: Mosaic. Volume: 34. Issue: 4. Publication Year: 2001. Page Number: 65+.

4) Frantz Fanon 'Algeria unveiled' in, Studies in A Dying Colonialism, London: Earthscan, 1989. Page Number: 62

James Algar and Samuel Armstrong, Fantasia (1940),
The original version of Fantasia was never released again after 1941. The film was a failure, now it is viewed as a great film. That it has gained respect can be seen from the fact that "Fantasia and Snow White and the Seven Dwarfs are the only animated films and the only Disney films to be listed on the American Film Institute's list of the 100 greatest American films of all time." (Turkcebilgi, Fantasia (film) All Movie Guide profile) The original music was composed by the Philadelphia Orchestra and had some unique features like a multi-channel sound format called Fantasound, now known as stereophonic sound. Most of the works played in the film are program music; that is, instrumental music that depicts stories in sound. The music pieces are eight in number and of them - Toccata and Fugue, The Sorcerer's Apprentice, the Dance…...

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References

Aoptpourri. Ran (1985) - By Akira Kurosawa Visual Spectacle.

BBC. Strictly Ballroom (1992) Reviewed by Sandi Chaitram. 2001.

Organizational Structure Language and Theory
Fantasia should consider producing larger quantities and reduce the prices of the products as a way of attracting more and more customers. By doing this, she will be advertising her products and entering into the market segment of other countries and geographical areas that have no idea of the existence of FPF pieces. Such a move is necessary for the company to make considering the availability of finances and labor. The two factors of production are adequate for an economy and labor is viewed as the human effort applied to the production of goods and services. The people in question are those employed and the unemployed who are aspiring to be part of the company hence want to be considered part of the labor available to the economy of the company. Examples of labor include law enforcement, and this factor distinguishes two forms of labor.

The first…...

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References List:

Salas, C. (2009). The Influence of Organizational Structure on Customer Issue Resolution: A Phenomenological Study. Ann Arbor, MI: Proquest LLC.

Shafritz, J. M., Ott, S. J. & Jang, Y. S. (2011). Classics of Organizational Theory (7th Ed.).Belmont, Calif.: Wadsworth.

The protagonist's resistance is thus effective, psychologically in the sense that the fire-watcher has been given a gift that other members of society and the world might lack, a sense of his own personal ineffectuality, true, but also a sense of the ultimate transience of all human desires for boundaries and possession. This does not necessarily provide a solution to the problem of social marginalization, or of the historical conflicts presence in Israel and waged in the political sphere, but it does provide a certain ideological 'gift' to the marginalized man.

In contrast, Anita Desai's short story is more lighthearted in its analysis of cultural marginalization. In her story, the central protagonist travels to another city in India and establishes a career for herself, quite contrary to how she has been taught to live. The central, female protagonist does not fall into the conventional mode of simply marrying an acceptable boy,…...

However, critics complain that although the creatures created are fascinating as will be discussed later, the merging of special effects with the film itself is far from seamless. "Alas much of the effects work is considerably underset by thick matte lines - uncharacteristically poor work from Brian Johnson" (Scheib). Those thick matte lines are very visible at times during the film, particularly during the flying sequences when Flagor flies the young warrior on his journeys to save the besieged Fantasia.
This could be seen as a valid criticism of the special effects. However, it could also be seen as a way for the special effects team to underscore the intention of the film. The intention is to create a world drawn out of people's imaginations. The imagination is a place of dreams, not perfection. It is a place of vivid images and creation, but not necessarily ones that are so…...

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Works Cited

Brian Johnson" Yahoo Movies. 2006. 5 November 2006.  http://movies.yahoo.com/movie/contributor/1801927305/awards 

Dark Crystal, The. The Jim Henson Company. 2004. 5 November 2006.  http://www.henson.com/entertainment/fantasy_dc.html 

Ebert, Roger. Video Companion: 1996 Edition. Kansas City: Andrews and McMeel, 1996.

Neverending Story, The. Dir. Wolfgang Petersen. Warner, 1984.

Sexual Activity in Adolescence
The scholarly literature on adolescence and health reflects the fact that some young people make risky decisions regarding sexual activities -- and the use of drugs also plays a role in their behavior. In this paper, those issues and others related to adolescent behaviors -- including the earlier initiation of sexual activities -- will be presented through in-depth analysis.

Adolescent Sexual Activities and Psychosocial Adjustments

There has been an assumption in the literature for some time that when adolescents delay their first sexual experience, they adjust better psychosocially as young adults a bit later in their lives. Another assumption has been that instances where young adults have their first sexual intercourse experience between 16 and 18 years of age "…are linked to lower adjustment in many life domains" (Haase, 2012, 199).

However, a peer-reviewed research article in the journal European Psychologist challenges those notions with empirical data that is…...

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Works Cited

Cooper, M.L., Wood, P.K., and Orcutt, H.K. (2003). Personality and the Predisposition to Engage in Risky or Problem Behaviors During Adolescence. Journal of Personality and Social Psychology, 84(2), 390-410.

Fantasia, H.C., Sutherland, M.A., and Kelly-Weeder, S. (2012). Gender Differences in risky behavior among urban adolescents exposed to violence. Journal of the American Academy

of Nurse Practitioners, 24(7), 436-442.

Haase, C.M., Landberg, M., Schmidt, C., Ludke, K., and Silbereisen, R.K. (2012). The later, the Better? Early, Average, and Late Timing of Sexual Experiences in Adolescence and Psychosocial Adjustment in Young Adulthood. European Psychologist, 17(3), 199-212.

Adorno's Negative Theology And The Religious Dimension Of Art
Religion in art can perform a variety of roles. A religious picture, literary text or piece of music can be didactic in intent, spreading knowledge of religious teachings, ideologies and practices; it can serve a commemorative purpose, reminding present generations of the significance of past episodes, or the examples of particular individuals, in shaping present religious belief and practice; it can be inspiring in an emotional or spiritual sense, acting to create a suitable emotion or feeling of a religious nature in its audience. Art with religious content or purpose can be contemplative or bombastic in character, and can convey a message that is conservative or radical in political, social or cultural terms; it can operate on an individual or a collective level, and inspire engagement with the world or withdrawal from it; it can work through great formal simplicity or abstruse…...

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Bibliography

Adorno, Theodor W., Aesthetic Theory, trans. Hullot-Kentor, Robert (London: Athlone Press, 1996).

Adorno, Theodor W., Dialectic of Enlightenment (London: Verso, 1979).

Adorno, Theodor W., Kierkegaard: Construction of the Aesthetic, trans. Hullot-Kentor, Robert (Minneapolis, MN: University of Minnesota Press, 1989).

Adorno, Theodor W., Notes to Literature, trans. Nicholson, Shierry Weber (New York: Columbia University Press, 2 vols., 1992).

The new France would, in the Proudhonist version of anarchism, be a collective of collectives, a society without any formal organization, in which individual identity groups made their own rules and moved toward individual, local goals they deemed appropriate:
The Commune was against centralization; its aim was a federation of communes. The Commune was for a people's government in which distinctions between governors and governed would be erased: representatives would receive wages of average workers, be popularly elected, and be subject to immediate recall. The Commune was militantly antireligious: the aim was to free humanity from clerical machination and superstition. And finally, the Commune was for destruction of bourgeois property: cooperative ownership and self-management of production were envisaged.

In stark contrast to the authoritarianism of the Marxian socialists, the anarchists believed firmly in the capacity of the "right" people to spontaneously organize themselves and re-organize society. While sharing many of the…...

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Bibliography

Fantasia, Rich. "From Class Consciousness to Culture, Action and Social Organization." Annual Review of Sociology 21 (1995): 269+.

Levy, Carl. "Anarchism, Internationalism and Nationalism in Europe 1860-1939." The Australian Journal of Politics and History 50, no. 3 (2004): 330+.

Marx, Karl, and V.I. Lenin. The Civil War in France: The Paris Commune. 2nd ed. New York: International Publishers, 1993.

McMillan, James F. France and Women, 1789-1914: Gender, Society and Politics. London: Routledge, 2000.

They would actually recompose it during rehearsals and change it wherever they thought was necessary, in order to improve the performance. This is perhaps the reason that early music is often referred to as being 'performer oriented'.
Early music also had an abundance of musical instruments of every conceivable category and type, and some of the more common ones were the stringed instruments which could be plucked, bowed or strummed, and the wind instruments, which could be played by blowing one's breath into a hole, while the fingers would play the melody. The viola da gamba, an early precursor of the violoncello, was one of the easier to play stringed instruments of the early times, which retained its popularity even during the nineteenth century. It is in fact across between a violin and a guitar; while it is fretted like the guitar, it is bowed like the violin. A typical…...

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Nicholas Kraft went on from success to more success until the time when he inadvertently injured his finger, after which he found that he could not play his beloved instrument any more. He composed for the violoncello four Concertos, nine Duets, a Polonaise, a Bolero, a 'Scene pastorale,' a 'Rondo a la chasse,' and two Fantasias, of which one is an arrangement of airs from the 'Freischiitz.' Nicholas Kraft, the son of Anton Kraft, had a son who was named Friedrich. Although he too was a clever cellist, nothing much is known about him. Another violoncellist, named Joseph Linke, was also popular at around the same time that Anton Kraft was popular. Some of his better known compositions include a Concerto, three books of Variations, a Polonaise, a 'Rondoletto,' and a Caprice on Rossini airs.

Both Linke and Anton Kraft seem to have played the violoncello more form an artistic point-of-view than the virtuoso style, while Joseph Merck played on the virtuoso side. This individual was a person who was training to be a violinist, but unfortunately, was bitten so very seriously by a dog that he found that he could never play the violin again. He therefore took to playing the violoncello, for which he was given instruction by Philippe Schindlocker. He was an avid learner, and he progressed well with his lessons. In the year 1816, he became the first Violoncellist in the Grand Opera at Vienna. Some of his renowned compositions are one Concerto, one Concertino, one Adagio and Rondo, one Polonaise, four books of Variations, 'Vingt Exercises' -- Op. 11, and Six Etudes -- Op. 20.

Karl Leopold was yet another famous violoncellist of the nineteenth century, and he was the musician to the Prince of Furstenberg. He produced a Concerto, Duets, Fantasias, Variations,

Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment (Harper Perennial, James Gaines), 2006.
Gaines' book discusses two of history's greatest men, each of whom became great for a different reason. One was a political leader and statesman the other a musician. he biography of each could not have been more different. Both had tough lives and both fought against enormous stakes but one lived in a palace and the other travelled from place to place living in some at most only 3 years. One sampled jail and the other saw his partner killed and was saved by being sent to the military. One was homosexual and the other happily married in love. Bach's love in contradistinction to that of Frederick was more serene and meaningful. His music absorbed him and made him happy. He was focused; his life purely devoted to cantatas…...

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Two great men who met at the end of one's life and the pinnacle of the energy of another. Their lives could not have been more different but both can inspire us in different ways.

Source

Gaines, J "Evening in the Palace of Reason: Bach Meets Frederick the Great in the Age of Enlightenment." Harper Perennial, 2006."

Arrival and Intercession by the Firebird

The Firebird flies in, typified by high and rapid notes, as he arrives, followed by his pleading, a sweet singing and an obvious pleading and intercession on the part of Prince Ivan.

Dance of Kastchei's etinue, Enchanted by the Firebird

As all are enchanted by the Firebird, they dance and respond to his fiery brilliance, depicted by trills and arpeggios.

King Kastchei's Infernal Dance by All his Subjects

One can hear the tromping and panting of the subjects as they dance faster and faster in response to the Firebird. The music becomes more and more rapid and sweet, yet is interrupted by loud beats of percussion and phrases of increasing threats.

Lullaby

This part of the music is slow and rhythmical, putting one to sleep, as if one were drifting on a slow tide out to sea. The sweet melody is truly a beautiful lullaby which could be calming and peaceful.

Kastchei's…...

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References

Last.Fm. 2008. Igor Stravinsky, the Firebird, Listen Free at Last.FM. (Entire track of Igor Stravinsky's the Firebird). Retrieved November 18, 2008 at  http://www.last.fm/music/Igor+Stravinsky/the+Firebird .

Sherrane, Robert. 2007. Igor Stravinsky. Music History 102: A guide to western composers and their music. New York, NY: Julliard School.

Shoemaker, Paul. 2005. Igor Stravinsky, the Firebird Review, Music Web International. Retrieved November 18, 2008 at  http://www.musicweb-international.com/classrev/2005/Sep05/stravinsky_firebird_6110081.htm .

Stravinsky, Igor. 2000. The Firebird (Original 1910 Version). (Score). New York, NY: Dover Miniature Series.

Matthew Passion, is one of western music's sublime masterpieces" (Sherrane). Thus, Bach got many of his musical ideas from the religious world, from the Bible, and from the sermons in the churches he served, and perhaps that is one reason his music is still so popular and moving today. It was written with passion and spirituality, and so it touches the hearts of listeners even today.
In conclusion, Johann Sebastian Bach is one of the world's great composers. He spent his entire life writing music, mostly for the church, and he left a legacy that lives on even today. His music is still inspiring and magnificent, and it represents the most popular music of his time, giving a glimpse into the musical hits of the past.

eferences

Boyd, Malcolm, and John Butt, eds. J.S. Bach. Oxford: Oxford University Press, 1999.

Linton, Michael. "Bach to the Future." First Things: A Monthly Journal of eligion…...

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References

Boyd, Malcolm, and John Butt, eds. J.S. Bach. Oxford: Oxford University Press, 1999.

Linton, Michael. "Bach to the Future." First Things: A Monthly Journal of Religion and Public Life Mar. 2007: 37+.

Marshall, Robert L., ed. Eighteenth-Century Keyboard Music. New York: Routledge, 2003.

Stapert, Calvin R. "Johann Sebastian Bach: Life and Work." The Christian Century 12 June 2007: 34+.

(White, 33)
And it was rightly found in a life form which we encounter daily in our real lives- insects. ightly, insects possess the shape, form as also the texture that aligns perfectly within the realm of computer technology and the restricted movement was also not a vital challenge to the evolving medium of animation. This started with "A Bug's Life." From then onwards, the Pixar Studio has gone even more into the details of character design which were not believed to be possible till that period, like fantasy monster, fishes and cartoon superheroes. Like the 2D animation prior to that, 3D is yet to defeat the human form in any means in which the characters are able to act in a natural manner and no look like models made of plastic or wooden sculptures in the absence of the life form inside them. (White, 33)

The initial stage of phasing…...

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References

Belgrave, Tito a. Applying the 12 principles to 3D animation. July, 2003.  http://features.cgsociety.org/story_custom.php?story_id=1429 

Collie, Craig. The Business of TV Production.

Cambridge University Press. 2007.

Cusson, Roger; Maffei, Pia; Discreet Logic Inc. 3ds Max 7 Fundamentals and Beyond Courseware. Focal Press. 2005.

hen it was introduced in 1954, executive producer Edward Selzer considered it "distasteful" and ordered it retired, however Jack arner loved the cartoon character and ordered additional cartoons created (Robert). By 1991, the Tasmanian Devil's popularity had reached cult status when "Taz-Mania" joined the Fox network's afternoon lineup (Robert).
For the most part, McKimson's cartoons were faster-paced and more graphic than those of other directors, and he is known for having a "squarer" style (McCorry). For example, Kevin McCorry points out that McKimson's "Bugs has droopier eyes and in earlier cartoons squatter and fatter legs, his Daffy has wider beak, and his Sylvester has fluffier, white cheek hair" (McCorry).

Vladimir (Bill) Tytla (1904-1968) is considered as "Animation's Michelangelo" (Vladimir). His most famous characters include the evil puppeteer, Stromboli, in "Pinocchino," the winged devil, Chernabog, in "Fantasia," and the baby elephant in "Dumbo" (Vladimir). As Frank Thomas and Ollie Johnston recalled, "Everything…...

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Works Cited

McCorry, Kevin. "Remembering Robert McKimson." Retrieved February 5, 2007 at http://looney.goldenagecartoons.com/articles/mckimson.html

Robert McKimson Biography." Retrieved February 5, 2007 at  http://www.hollywood.com/celebritydetail/Robert_McKimson/188510 

Vladimir Tytla." Disney Legends. Retrieved February 5, 2007 at  http://legends.disney.go.com/legends/detail?key=Vladimir+Tytla