Boeing - Airbus Case Analysis

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Boeing is faced with a set of decisions that are critical to the health and ultimately survival of the firm. The issues they face are both short and long term. Their strategy regarding the 7E7 market requires that decisions be made and that tactics be defined which propel the company in the short run. Longer term, Boeing must enact a strategy that truly defines its existence as a diversified multi unit firm. On the surface, the framework of the ‘develop versus diversify' debate is positioned as a mutually exclusive decision that implies little room for compromise. However, this paper will propose a potential strategy that seeks to mitigate this constraint.

Boeing should define a strategy to fund the development of the 7E7. The company has thrived in the past by successfully gambling on cutting edge jet design. This strength in profitably bringing innovative commercial planes to market indicates a prospective competitive advantage that customers, analysts, and some board members feel Boeing should leverage. In some ways, this skill may also be viewed as a core competence that could prove fruitful if they further pursue diversification.

McDonnell and Stonecipher's conservative approach to development was partially blamed for McDonnel Douglas' historical demise. Even though their apparent focus on short term stock appreciation is curious given their large personal stakes, the fiscal disciple they seek to institute could have a positive effect on Boeing's global position.

From a ‘comparative' standpoint, Airbus may have the advantage given the government subsidies, but from a ‘competitive' standpoint Boeing could reap massive global rewards if they could find inventive ways to develop planes for less. In light of McDonnell and Stonecipher's very aggressive development savings goals, it's likely infeasible that the 7E7 could be introduced for less than 40-60% of the 777. Therefore, Boeing should strive to find the answer that is somewhere in between. The key to their short term strategy is to find a way to fund the jet for less. If they are able to do so, they will have funds available for new ventures longer term.

Although typically reserved for business unit rationalization, the growth share matrix provides a useful structure to evaluate Boeing's existing fleet of jets. The matrix ignores various industry and unit characteristics obviously evident in this case, but with some analytical liberties, it helps frame some key concepts. Specifically, if Boeing does not develop the 7E7 into a star, than it is very difficult to envision a strong financial future in commercial jets. So, if the 747, 757, and 767 are than dogs apt to be naturally divested via superior replacement planes, than the 77 and 777 can be viewed as quasi cash cows in light of the low growth rates of the existing lines.

McDonnell and Stonecipher's goal of developing 77 and 777 derivatives as the next product offering may not be the best choice. The limited case data indicate the chances of "wowing" the market and redeveloping these lines into stars is bleak. This makes the question mark status of the 7E7 a critical point.

When Boeing merged with McDonnel Douglas, the company took a giant step towards diversification. In this context, Boeing has already broached many of the ‘new business for the firm' and ‘firm for the new business' questions. Therefore, the pending issues than relate to the success they can reap from their diversified firm, the degree to which they should continue to diversify, and with the luxury of hindsight, the evaluation of their original motivations to merge and diversify.

In order to justify diversification efforts, the incumbent venture should be gauged against three important criteria revenue & earnings growth, risk reduction, and the repositioning of a core business. In terms of corporate growth in revenue alone, the historical addition of McDonnel Douglas was a wise choice. Although the immediate earnings impact is suspect, the merger immediately impacted the top line by contributing over half of the 00 projections. But what else can the McDonnell Douglas units add?

Stonecipher and McDonnell, key proponents of diversification, have pushed for continued expansion into less volatile areas. Because this motivation alone is insufficient to justify diversification, the duos true motivation is determined by semantics and interpretation. Since cash conservation appears to be their key goal, it is doubtful they seek the relatively expensive option of investing in new units solely to reduce their financial risk. Instead, they probably wish to shift their capabilities to less expensive units with more stable cash flows; which is different than reducing systematic portfolio risk.

Boeings diversification dilemma is ripe with pros and cons. The combined company has a powerful skill set that could add a lot of value to the growing units. For example, many similarities exist between commercial and military planes, and both economies of scope and scale may exist. Scale economies could materialize with the introduction of bigger plants producing common materials with a lower per cost unit. R&D efforts could also benefit from scope economies if certain research could be shared resulting in lower costs than two independent efforts.

However, pursuing diversification and shifting their focus away from their primary product could also have devastating effects. Boeing currently owns 50% of the commercial jet market and halting development of the 7E7 may send a negative message. This perception of sacrificing jets for new ventures may indicate a form of surrender to the competitors and stockholders, especially those interested in the commercial sector. .

Although savings generated from not developing the 7E7 could also position them to win price wars on existing jet lines, Boeings established core competence in bringing innovative commercial planes to market is forgone. This unknown opportunity cost is the essence of their dilemma.

Boeing is faced with an extremely difficult situation. The "catch " scenario of choosing one option, which effectively closes the door on another option, is precisely what they must combat. The upside of further diversification, coupled with a stellar new product offering, could enable Boeing to soar to new heights. Since pursuing both choices may seem infeasible, the plane development, albeit a cheaper one, should take precedence with residual funds shifted towards new ventures.

The strategy required to make this happen will require tremendous thought and precision execution. The keys to success include pioneering development processes to introduce products for less; continuing to leverage their competence in designing industry leading commercial planes; defining the minimum seed investment for new ventures; effectively applying their managerial competence to new markets; and continuing to develop the management structure and transfer policies for the expanding new ventures.

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Puck: The Harmless Devil

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Robin Goodfellow, also known as Puck or Hobgoblin, is a merry sprite, represented as "a very Shetlander among the gossamer-winged, dainty-limbed fairies, strong enough to knock all their heads together, a rough, knurly-limbed, fawn-faced, shock-pated, mischievous little urchin". Since Puck has no human feelings, he has no precise human meaning. He is strategic in A Midsummer Night's Dream as he is seen not only as a spectator of the plays happenings, but as a commentator and interpreter of the plays actions.

Puck brings about the confusion of the young Athenians as he tries to carry out Oberon's wishes; the king has taken pity on Helena and hopes to turn Demetrius scorn for her into love. Puck simply enchants the first male he sees, not realizing that it is the wrong person. Here is introduced the fact that just because he is a supernatural being he can't make a mistake. In fact, he makes several. With great amusement, however, he watches the confusion he has made and comments "Lord, what fools these mortals be!"

Puck is an ambivalent figure, a mischief-maker at best, and something weirder also, though the play confines him to harmlessness, and indeed bring benignity out of his antics. He is definitely seen more as a prankster than a wicked sprite. The word puck or pook originally meant a demon out for mischief or a wicked man, and Robin Goodfellow was once a popular name for the Devil. Puck, however, is neither wicked nor the Devil, and can be seen as benevolent.

Although the world of the fairies exhibits several characteristics common to popular belief and folklore tradition, it is to a considerable extent a new creation of Shakespeare's own. This is particularly true when we think of Puck, whose descent from Robin Goodfellow or Hobgoblin only accounts for one aspect of his being. If one examines the numerous statements that Puck utters about himself and that the others utter about him, one immediately realizes that Shakespeare has created a complex dramatic fugure to whom is assigned a key position within the fabric of the play. He is assigned the role of spectator several times, and as such he comments on the action.

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Clearly Robin Goodfellow evolved in fairy lore as a supernatural explanation for the many trivial mishaps and accidents so commonplace in domestic living. He is the most purely entertaining of the fairy band. The error on Puck's part that we see in the beginning bears a deep significance for it shows that the fairies do err and that the influences they exert as supernatural agents in the play do not in the least answer to anything providential, but rather contain filaments of arbitrariness, self-depreciation, and folly. Yet his interventions in the development are as much the result of a casual mood or mischievous him as they are the result of premeditated instructions from his master, Oberon.

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Harry Potter IS a Good Book

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The ¡§witchcraft and wizardry¡¨ of Harry Potter began taking over the world in 18 with the release of J.K. Rowling¡¦s first novel Harry Potter and the Sorcerer¡¦s Stone. It immediately grabbed the attention of children and young adults creating a craze among youngsters the literary world has never seen. Drawing more and more of a fan base with the release of the second-of-seven in the series, Rowling erupted onto the literary scene. Her magical creation eventually developed into a global phenomenon when Harry Potter started bewitching the hearts of quite a range of people from teens in their high school years all the way to adults of most any age. Through the release of the fourth and most recent book, her audience continued to grow by consistently outselling each previously released novel. The books have been an inspiration to the majority of its readers, rousing a newfound creativity and imagination unprecedented by any work of children¡¦s literature. Children are fascinated by the mystery and wonder of the secrets of Hogwarts and Gringott¡¦s, while parents are enthralled by the clever wit and conflict. Even now Rowling¡¦s success is continued with the colossal pre-sales of the unreleased fifth book, Harry Potter and the Order of the Phoenix, which have already superceded those of her previous release.

Despite Rowling¡¦s immense and continuously growing accomplishments, there are critics who argue that Harry Potter is not indeed a good book. One in particular is Jack Zipes, author of Sticks and Stones The Troublesome Success of Children¡¦s Literature from Slovenly Peter to Harry Potter and a professor of German at the University of Minnesota. Zipes, regarded as one of the most elite dignitaries in the field of children¡¦s literature, criticizes the Potter novels by implying that they are ordinary and simply-written (Zipes 171). Eventually moving from a literary to a social critic, he feels he has ground enough to say that Harry Potter is part of the eternal return to the same-and, at the same time, part of the success and process by which we homogenize our children (Amazon.com ).¡¨ Giving inadequately supported evidence, he attacks the cultural value of Harry Potter for children and children¡¦s literature by constantly attempting to instill the idea that children¡¦s literature cannot be good if it is successful (Zipes 17). ¡§What criteria can one use to grasp the¡Kvalue and quality of J.K. Rowling¡¦s books, which have allegedly helped readers of all ages to read again with joy, just because they are so successful (Zipes 17)?¡¨ He continues to argue that readers measure the excellence of the books based upon the ¡§witchcraft phenomenon.¡¨ Zipes explains that the phenomenon, not blamed on Rowling but simply brought to the lime light by her, is what has captivated such a vast and wide-ranging audience. It is not the measure of the success of Harry Potter, he supports, but the examination of her works ¡§as critically as possible¡¨ which can determine the quality of her literature (Zipes 17). When asked about what she thinks of critics of her work, Rowling replied ¡§I think they are...misguided. Everyones entitled to their own opinion, but not to impose their views on others (Harrypotter.com 1).¡¨

The problem derived from such extremely sided views is that it inhibits the true essence of what literature is supposed to bring to a society, focusing now primarily on industrialized literate nations. Novels and books provide an artistic and innovative way to diversify the imagination and to open the mind to the unordinary and everyday. This serves as an outlet from what usually and eventually becomes a boring and dull world. People yearn for assortment and variety, and while literary works offer this selection, negative advancements on the question of value of these effects inhibits the ability of literature to provide these advantages. Why must people like Zipes feel it necessary to find fault with these works simply because of their success? In doing so, he has shown no positive repercussion and has given no examples of any greater literary feat that should instead be the apple of the eye of the literary world.

Why does a man, no matter how historically eminent, have the audacity to attack children¡¦s literature, especially Harry Potter, in the first place? One could determine that although easily disagreeable, Zipes¡¦ fervor of the subject entails him the opportunity to construct bold and censuring ideas. One writer from the Library Journal reviews his book by saying, ¡§While not every reader will agree entirely with Zipes thesis, [people] need to be aware of his point of view (Amazon.com ).¡¨ When his viewpoint contributes no obvious erudite benefit to the greater part of his literary audience, how can he just command the role of this almighty scholar that assumes the right to attack such a breathtaking and global phenomenon like Harry Potter? It seems as if his views and arguments are extracted from some misconstrued idea that our society needs a figure to decipher the good and bad, and that this, he presumes, is what the population will then base their decisions upon what to read. He taxes our ability to properly raise the coming generations, arguing that ¡§our investment in children is paradoxically curtailing their freedom and creativity (Amazon.com ).¡¨ No more wrong could this assumption be, for it is a wake up call to very few that we are becoming even more so independent and self-assuring of our individual ability to choose and make assessments.

Custom Essays on Harry Potter IS a Good Book Exactly who then should determine whether or not a book is good? An intellectual and somewhat evident way of analyzing the worth of a novel is by questioning the interpretation of the reader. Should it not be left to the consumer, who economically sustains approximately half of the relationship between the demand and supply of the Harry Potter market, to determine what she feels is laudable of such appreciation? If such a conjecture were correct, then theoretically Harry Potter could irrefutably be deemed good based solely on the theories from which the United States democratically prides itself.

As a democracy, the United States bases the largest part of its policies on the opinions expressed by the majority of its people. By having implemented such a structural market economy, the US has developed into a nation currently dominated by a flourishing middle class. Since the middle class essentially determines the key political and economical ideas and activities respectively displayed by our nation, it is equivocal to deduce that the immeasurable popularity of Harry Potter in the U.S., determined by both the blockbuster success of the two released films as well as the record sales of Rowling¡¦s four books, is a direct result of the opinion of the middle class that the four novels are most certainly good. Since the structure of the government and economy in the United States is quite complex, accepted, and institutionalized, Zipes¡¦ attempt to bash this much adored children¡¦s fiction is sharply countered. For all sake in the matter, any pursuance of such claim lacks the true importance of what characters like Harry Potter really give to a culture, society, or generation.

Literature is the product of imaginative or creative writing that presents a door of unpredictable opportunity for a reader. Rowling¡¦s collection undoubtedly meets this criterion. The reader, however, is left to open this offered door, for it is the world in which she creates for herself that determines her attitude toward what has been read. No single judgment concerning the ability of a book to compete with other undoubtedly notable works should stigmatically disconcert the ownership of insight that belongs to each individual reader. This insight is what should be taken from a work of text, not a critique. It is what makes literature special, especially children¡¦s literature¡Xthe unique ability to change and contort to individual variation. What makes Harry Potter great, though, is that the books are able to do that with great ease. Even better is that they have managed to do so by captivating a far greater range and number of people all over the world than any work by Jack Zipes ever has, and probably ever will º.

Works Cited

Amazon.com. Editorial Reviews Sticks and Stones. 000 http//www.amazon.com/exec/obidos/tg/detail/-/04158117/00-67471- 6807?v=glance&s=books

Harrypotter.com. ¡§The Daily Prophet News and Events The Harry Potter author speaks!¡¨ September, 001, Interview transcript.

Rowling, J.K. Harry Potter and the Sorcerer¡¦s Stone. New York Scholastic, 17.

Zipes, Jack. Sticks and Stones. New York Routledge, 00.

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Beloved

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It is the ultimate gesture of a loving mother. It is the outrageous claim of a slave(Morrison 187). These are the words that Toni Morrison used to describe the actions of the central character within the novel, Beloved. That character, Sethe, is presented as a former slave woman who chooses to kill her baby girl rather than allowing her to be exposed to the physically, emotionally, and spiritually oppressive horrors of a life spent in slavery. Sethes action is wrong She has killed her child. Sethes motivation is not so clearly defined. By killing her Beloved child, has Sethe acted out of true love or selfish pride? The fact that Sethes act is irrational can easily be decided upon. Does Sethe kill her baby girl because she wants to save the baby from slavery or does Sethe end her daughters life because of a selfish refusal to reenter a life of slavery? By examining the complexities of Sethes character it can be said that she is a woman who chooses to love her children but not herself. Sethe kills her baby because, in Sethes mind, her children are the only good and pure part of who she is and must be protected from the cruelty of slavery(Morrison 51). In this respect, her act is that of love for her children. The selfishness of Sethes act lies in her refusal to accept personal responsibility for her babys death. Sethes motivation is that she displays her love by mercifully sparing her daughter from a horrific life, yet Sethe refuses to acknowledge that her show of mercy is also murder. Throughout Beloved, Sethes character consistently displays the double nature of her actions. Not long after Sethes reunion with Paul D. she describes her reaction to School Teachers arrival Oh, no. I wasnt going back there[Sweet Home]. I went to jail instead(Morrison 4). Sethes words suggest that she has made a moral stand by her refusal to allow herself and her children to be dragged back into the evil of slavery. From the beginning, it is clear that Sethe believes that her actions were morally justified. The peculiarity of her statement lies in her slip of the horrifying fact that her moral stand was based upon the murder of her child. By not even approaching the subject of her daughters death, it is also made clear that Sethe has detached herself from the act. Even when Paul D. learns of what Sethe has done and confronts her with it, Sethe still skirts the reality of her past. Sethe describes her reasoning to Paul D., ... So when I got here, even before they let me get out of bed, I stitched her a little something from a piece of cloth Baby Suggs had. Well, all Im saying is thats a selfish pleasure I never had before. I couldnt let all that go back to where it was, and I couldnt let her or any of em live under School Teacher. That was out(16). Sethes love for her children is never-ending, yet she still shifts the burden of responsibility away from herself. She acknowledges that it was a selfish pleasure to make something for her daughter, yet Sethe refuses to admit any selfishness in her act of murder. She is frustrated with Paul D. confronting her Sethe knew that the circle she was making around the room would remain one. That she could never close in, pin it down for anybody who had to ask. If they didnt get it right off-- she could never explain. Because the truth was simple, not a long-drawn-out record of flowered shifts, tree cages, selfishness, ankle ropes and wells. It was simple. She was squatting in the garden and when she saw them coming and recognized schoolteachers hat, she heard wings. Little hummingbirds stuck their needle beaks right through her head cloth into her hair and beat their wings. And if she thought anything, it was No. No. Nono. Nonono. Simple. She just flew. Collected every bit of life she had made, all the parts of her that were precious and fine and beautiful, and dragged them thought the veil, out, away, over there where no one could hurt them(16). Sethes frustration is a product of her different way of reasoning. She views her children as an extension of her life that needed to be protected, at any cost. Sethes concept of loving and protecting her children becomes synonymous with her killing Beloved and attempting to kill the rest. Sethe can see no wrong here. Placing her children outside the horror of slavery, even if it meant taking their lives, was in her mind a justified act of love, nothing more. Ironically, it is Paul D. who reveals the contradictions that Sethe refuses to see in her own logic This here Sethe talked about love like any other woman; talked about baby clothes like any other woman, but what she meant could cleave the bone. This here Sethe talked about safety with a handsaw. This here Sethe didnt know where the world stopped and she began. Suddenly he saw what Stamp Paid wanted him to see more important than what Sethe had done was what she had claimed. It scared him(164). Paul D.s character suggests that although the killing act might have been committed out of a irrational, hysterical, loving mothers need to protect her children, Sethes claim that she was and is justified in those actions can not be accepted. Paul D. recognizes what Sethe can not. When Paul D. calls into question her thinking, Sethe still refuses to see her own role in what has come to pass What you did was wrong, Sethe. I should have gone on back there? Taken my babies back there? There could have been a way. Some other way. What way? You got two feet, Sethe, not four... (165) Sethes problem is rooted in her inability to recognize the boundaries between herself and her children. Paul D. stabs at the heart of this problem by suggesting that Sethe had overstepped her boundaries by killing her child. The concept that Sethe equates her life and self-worth with her connection to her children is most graphically illustrated in her mad ravings to the reincarnation of Beloved. Sethe details a defense for killing her baby to the woman she believes is her reincarnated, murdered daughter. Within this defense, Sethe explains in the greatest detail her reasoning for cutting her childs throat. Sethe pronounces that the worst thing in life was that anybody white could take your whole self for anything that came to mind. Not just work, kill, or maim you, but dirty you. Dirty you so bad you couldnt like yourself anymore. Dirty you so bad you forgot who you were and couldnt think it up. And though she and others lived through and got over it, she could never let it happen to her own. The best thing she was, was her children. whites might dirty her all right, but not her best thing, her beautiful, magical best thing-- the part of her that was clean.(51) Sethes words suggest that the only part of herself that she cares for is her children. Indeed, the only reason that she killed her daughter is because Sethe refused to let School Teacher or any other white person dirty her children as Sethe herself had been dirtied. Sethes nobility is apparent. She loves her children to much to let them be tarnished by slavery. Unfortunately, Sethes nobility is tainted by the fact that she can not recognize absurdity of the murderous act she has committed. Even in her shameful defense, Sethe is proud. Sethes undaunted pride is illustrated by her words, And no one, nobody on this earth, would list her daughters characteristics on the animal side of the paper. No. Oh no. Maybe Baby Suggs could worry about it, live with the likelihood of it; Sethe refused- and refused still(51). Toni Morrison, in an effort to describe the motivation and pride of Sethes character, made the statement, To kill my children is preferable to having them die (Morrison 187). Saving her children from slavery and the promise of spiritual and emotional death that such an institution imposes is the rational of love that Sethes character clings to. The truth that Sethes character selfishly avoids is the actual physical death that she has inflicted upon her child. understanding why a woman would kill any child, let alone her own baby, is at best an enigma. Sethes character is no exception. Sethes motivation does not fit into a simple schematic. Sethe is presented as a woman who loves her children so much that she is willing to kill them rather than allow them to be broken by an evil institution. Love is, then, Sethes primary motivation for killing her baby. However, Sethes love for her children does not preclude her responsibility for Beloveds death. Indeed, Sethes selfish fault lies in the fact that she has shifted the locus of responsibility from herself to the institution that has spawned her. Ultimately, it is Sethe who is responsible for her childs death, not slavery. Sethe kills her daughter to demonstrate her love. Sethe exhibits her selfish pride by repudiating her own guilt. Does Sethe realize her fault? Perhaps. When presented the notion that Sethe, and not her children, is her own best thing, her reply takes the form of a question, Me? Me?(7). Morrison leaves the reader with the sense that Sethe might realize that she has loved her children too much, and herself not enough.

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Berlioz's Symphonie Fantastique

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Beethoven's Fifth Symphony & Berlioz's Symphonie Fantastique

Throughout the course of history there have been many distinct musical periods. Evolving out of some of these timeframes came many musical geniuses such as Mozart, Haydn, Bach, Schubert, Handel, Berlioz, and Beethoven. Each artist carried with them their own sense of style when creating their music. These decisions were a reflection of the musical period in which they were categorized. The two works I chose to analyze in this paper are Beethoven's Symphony No. 5; first movement, and Berlioz's Symphonie Fantastique; fourth movement. Each falls under the category of either the Classical Period (Beethoven) or the Romantic Period (Berlioz.)

It is debated whether or not Beethoven's Fifth Symphony is the most memorable musical phrase of all time. I chose the first movement because this is where the rhythmic idea of the three short notes followed by the long note is introduced. This particular part in the symphony is very important because it is the one and only element that dominates the entire symphony. There are two rhythmic themes in the first movement. Already mentioned is the " short notes and a long note" followed by the second theme which contains all quarter notes. This theme contrasts the beginning theme in that it has a smooth contour compared to the expressive and accented rhythm of the first theme.

In this movement we hear a simple melody that will be heard and developed throughout the entire movement. In actuality the first theme rhythm is heard in almost every bar of music in the first movement. The second melody of this theme contrasts the first. The second theme has a smooth line with an overall shape. There are no sudden changes in key or tonality in this piece; although, this is not to say that Beethoven did not use dissonant chords, he just doesn't resolve them like any other normal resolution we might hear of the time.

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A symphony is a long orchestral work that is organized into four movements. The first movement is almost always organized into sonata-allegro form. Sonata-allegro form consists of four main sections exposition, development, recapitulation, and coda. This is the form that Beethoven's Fifth Symphony; first movement follows. Beethoven got his musical ideas across by using dynamics to create and shape the piece. The tempo of this movement is fast and spirited. The combination of the tempo and the dynamics were the elements that basically shaped the first movement in this symphony.

Beethoven uses a symphonic orchestra in this piece. Some of the instruments used include flutes, oboes, clarinets, bassoons, french horns, timpanis, and probably one of the most important sections in this piece; the strings. Beethoven introduces, then reintroduces themes one and two throughout the movement. The strings introduce the first theme with their low plucking, then the horns pick up to lead into theme two. Beethoven mainly uses the horns to introduce new parts of the movement. For example, the horns introduce both the second theme and they are responsible for the introduction into the development of the movement. Beethoven alternates the woodwinds, brass, and strings to create a feeling of tugging between the three orchestral sections. There is also a time when the oboe is used as a countermelody to the " short notes and a long note" motive. The closing theme at the end of the movement gives the audience a different feeling than the closing theme in the first part of the movement because it has switched to C major mode.

The next piece to be discussed is Berlioz's Symphonie Fantastique; fourth movement. This particular piece falls into the Romantic Period and is categorized as a program symphony. The fourth movement portrays the story of the character's "March to the Scaffold." The form that Berlioz uses in this movement is loose ternary. In this movement Berlioz uses syncopation (upsetting a meter by accenting a weaker beat) throughout to create the steady march rhythm, hence the title "March to the Scaffold." Berlioz also forms what is called an ide fixe throughout this piece. The ide fixe is a very important part of the symphony because it serves as the symphony's recurrent theme. In each movement its appearances are varied in harmony, rhythm, meter, tempo, dynamics, register, and instrumental color.

Berlioz's uses a large orchestra in this piece, unlike Beethoven who used the symphonic orchestra. Some of the instruments included in this movement are flutes, piccolos, clarinets, french horns, bassoons, trumpets, cornets, timpanis, bass drums, bells, and strings. The instrumentation itself is a novel- harps, cornets, ophicleides, and a battery of percussion. Berlioz also specified many innovative effects, an oboe to imply distance, violins played with the wood of their bows to invoke terror and a strikingly modern minimalist (twentieth century) passage of chords for solo timpani to suggest echoing thunder. Each of these plays an important role in the overall mood of the movement.

In the opening of this movement we hear syncopation of horns, timpani, and low strings which give the implication of a dark mood. The first theme is then introduced in a minor scale played by low stings which descend the scale. The second theme is then introduced and includes brass and woodwinds. The whole opening section is then repeated. The development arises and the first theme is reintroduced except this time it is ascending the scale, rather than descending. The movement closes with the ide fixe with the melody played by the clarinet, followed by a loud chord that cuts off the melody.

This movement is played in G minor and follows a quadruple meter. There is a mix of textures in this movement, but one that I was able to pick out quite easily was the somber theme in basses and cellos which is polyphony. The dynamics in this movement range from p to fff, beginning with p in the opening of the movement to f in the end of the movement.

Structurally this movement forms a companion piece to the waltz with the marching theme. With the menacing introduction by the percussion and deep brass, the two themes alternate, the first possessing an eerie quality, the second one stridently pronounced on cornets and trumpets with trombones "growling" beneath. After the first theme builds to a tremendous climax, the ide fixe theme, once more on the clarinet, makes a momentary appearance before being peremptorily cut off by massive and conclusive brass chords.

The classical and romantic period both have certain styles associated with them. Some composers, such as Beethoven, are considered late classical early romantic, so in many ways they are very similar. These two pieces are probably one of the most well known pieces of their time. Beethoven's polyphonic/homophonic style and the ever so famous " note and then a long note" motive will live forever in the subject of classical music. On the other hand, Berlioz's piece Symphonie Fantastique donates the unique use of program symphony with the entire work unified by the ide fixe. Both men are enormous contributors to the history of classical music.

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Improvement Objectives

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JPS IMPROVEMENT OBJECTIVES

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The following information is a compilation of improvement objectives to fix the major problems for JPS. The objectives defined below will be incorporated into the eventual design of the to-be system for JPS. Remember this information is confidential and for your eyes-only. This is very sensitive material and cannot be viewed by any JPS employee or any Umbrella Corp. employee not involved in the JPS analysis.

I. In order to assist JPS' cash flow problem we would like to implement a Management Information System (MIS) geared towards Fred. This MIS would provide periodic reports about topics such as operation efficiency, effectiveness, and productivity. We hope this system will help Fred monitor, plan, and control the management processes at JPS to make better decisions. This way JPS won't be forced into a tight crunch with cash flows. Reports generated might consist of routine, scheduled reports, ad hoc reports, or exception reports.

II. Our objective is to create a database with all inventory computers and then apply the Economic Order Quantity (EOQ) model to this database system. With this model management will be able to determine the level of inventory acceptable and then the information system will be able to track inventory and when it falls below the reorder point, the inventory software will automatically generate a purchase order. In order to accomplish we plan on implementing a Materials Requirement Planning (MRP) software system. This will be an integrated system and will link functional departments like the office operations, the preservation lab, distribution/inventory, and promotion/corporate accounts at JPS. The new MRP II system will allow JPS to establish a just-in-time system that works with the reorder point to deliver products exactly when needed.

III. Using suggestions from Martha and Clifford we plan on creating an online order form for customers or corporations to quickly and easily order from the website and eliminate email requests. This should eliminate the down-time that the email would create while waiting for someone to receive the order. With this new online form the customer's request will proceed directly into the MRP system and automatically be placed in the system for processing.

IV. Another objective we have on the Umbrella Corp. JPS team is to work hand in hand with D.B. Wiederholt, Martha, and Willis to create a standardized pricing base for estimation to help the process of order taking and efficiency at JPS. This will hopefully eliminate any confusion customers have on how much orders will cost each time and clear up confusion with Mr. Wiederholt's "gut feeling" system of estimation. Regulating these prices should make for a faster compilation of a customer's estimates and a way to be positive that JPS is making money with each order.

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Unchanged, Unchanging

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To state that people continue on an unchanged and unchanging journey is of course absurd and preposterous in almost all circumstances. Various composers today have created texts which express and emphasise the concept that change is ever present in our world.

Composers such as Skrzynecki, Hulub, Robert, Vellis and the Wachowski brothers all display texts in which change and changing perspectives are examined in a variety of ways. In context, there is substantial evidence in the texts which supports the concepts that change is undeniable and unstoppable.

Text 1 "Crossing The Red Sea" by Peter Skrzynecki

Write my Essay on Unchanged, Unchanging for meRight away we see change. In the title "Crossing The Red Sea" the word crossing represent change, changing from one place to another.

There is also a change in time. In the first stanza it is the afternoon, the sun is setting and the people are discussing their past. In the fourth stanza it is night time and the peoples perspective on life has changed as they dream of a better life in their uncertain future. In the fifth stanza it is dawn and peoples perspectives change again as they awake from their dreams.

"Daybreak took away

The magic of dreams."

But of course the biggest change would have to be where the poem is set on a migrant boat travelling from their homeland to Australia. They are going to the other side of the world, to a country where they don't speak the language or understand the culture.

Text "10 Mary Street" also by Peter Skrznecki.

Within the first couple of lines change is outlined.

"We departed each morning, shut the house"

This represent change in several ways. One he departs the house, changing location but also a change in cultures, leaving his European culture at home and moving out into the Australian culture.

"We lived together -

Kept pre-war Europe alive

With photographs and letters,

Heated discussions

And embracing gestures

Visitors that ate

Kielbasa, salt herrings

And rye bread, drank

Raw vodka or cherry brandy

And smoked like

A dozen puffing billies."

Later Skrznecki is looking to the future and what will happen when the house is pulled down.

"Inheritors of a key

That'll open no door

When this one's pulled down."

Text "Post Card" again by Peter Skrznecki.

In the beginning Skrnecki is speaking as if it is a photograph which of course it is.

"Red buses on a bridge

Emerging from a corner-

High-rise flats and something

Like a park borders

The river with its concrete pylons.

The sky's the brightest shade.

Then his tone changes and he speaks as if it is a place.

"Warsaw, Old town,

I never new you

Excepted in the third person-

Great city

That bombs destroyed."

His tone again changes and he speaks as it is a person.

"I repeat, I never new you,

Let me be."

"And refuse to answer

The voices of the red gables."

"A lone tree

Whispers

"We will meet

Before you die."

The way he relates to the postcard changes from a photographic image to a place to a person.

Text 4 "The Door" by Mroslav Holub..

What is outside the "Door" will continually change - because of the responders frame of mind, because of the social context in which the "Door" is opened and because of when the responder opens the "Door". The poem does not change its language or its context but asks the responder to open their mind to other possibilities and look at it of a different perspective. Perhaps the responder will open new "Doors" to new possibilities.

Text 5 "Sky-High" by Hannah Robert.

Within this text there are two main changes. One time relating to age and the other her perspective, mainly towards the clothes line.

"The ultimate quest of the washing line."

"The best climbing tree in the backyard."

"It's an older, more age-warped washing line, I reach up to now. My hands easily touch the sagging wires."

"Where I was once the curious onlooker, I now write my own semaphore secrets in colourful t-shirts and mismatched socks."

She now hangs her own washing out and has many more pressing problems to solve that how to climb the clothesline.

Text 6 "The Wog Boy" by Aleksi Vellis.

The Wog Boy has some excellent instances that expresses change.

The first instances is right at the beginning of the movie when Steve's (the Wog boy) parents moved to Australia from Italy. This is represented by them arriving on a large ship similar to the one in the poem "Crossing The Red Sea". Also, black and white film is used to help the responder know it was a long time ago. The film then changes to colour to let the responder know that it is now the present. Another significant change occurs then Steve is denounced

by Dirren Hynch as Australia's biggest dole bludger. Steve shrewdly manipulates the situation to his advantage on national TV in a clever scene of role reversal. In no time, children are rapping to Wog Boy tracks and packing snacks in Wog Boy lunch boxes. Steve is famous!

There is one point in the movie which no doubt illustrates change and that is when Steve and his best friend Frank have a fight.

Frank "You've changed !"

Steve "Don't say that."

Frank "I saw you. You were loving it."

Steve "No, you're the one with the problem Frank. You haven't changed."

Frank "See you admit it. You have changed."

What could be a better example of change than that.

Another example of change is when Frank falls in love for the first time showing he cares about someone besides himself.

Of course the final big change is the public's perspective towards Raelene (The Minister for Employment) when a tape is played showing Raelene and her chauffer taking part in sexual bondage.

Text 7 The Matrix by the Wachowski brothers.

The Matrix expresses change very differently to other texts. It is not obvious at times that there is change. However when we do realise that change has occurred it is very intense, dramatic and frightening.

In the beginning Neo (Mr Anderson) has two lives. By day he is a computer programmer for a respectable software company and the other life is lived by night where he goes by the name Neo and is guilty of almost every computer crime known.

The next real change is not until Neo is awoken from reality (the Matrix) into the real world. The context then changes and time changes.

Morphos "More important then what, is when".

Neo "When?"

Morphos "You think it's the year is 1 but in fact it's closer to 1."

Morphos tries to change Neo's perspective of reality and life.

Neo "I know what your trying to do."

Morphos "I'm only trying to free your mind".

The texts also relates to other texts such as the "Door"

"I can only show you the door. You have to talk through it".

But the biggest change is that of Neo when he changes into the "One" the prophecy.

Morphos "He's beginning to believe."

Trinity "How did you do that. You move like they do. I've never seen anyone move that fast."

Tank "I knew it. He's the one."

All of these texts do a good job of outlining change and only confirm the way in which change affects every part of everyday life no matter how big or small, how obvious or subtle.

Some change is positive and some is negative but change is the reality of life. Change is an never ending process and we should be striving to make changes as positive as possible. Authors will continue to write about change because change is what life is all about.

Please note that this sample paper on Unchanged, Unchanging is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Unchanged, Unchanging, we are here to assist you. Your cheap custom college paper on Unchanged, Unchanging will be written from scratch, so you do not have to worry about its originality.

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