Causes Of The Russian Revolution History Essay

Causes Of The Russian Revolution History Essay Before 1905, Russia was a country that was led by a Czar who held full power and control over the country and its inhabitants. The people of the country suffered greatly under the regime of the many of the Czars through reforms, incompetence and general disregard of the needs of the people. Repression and unrest with the peasants in Russia were the cause on the 1905 Russian Revolution. There were many causes of the 1905 Russian Revolution in which some can be traced back to 1861 under the rule of Czar Alexander II and his series of reforms, such as, the Emancipation of the serfs, and creating the Zemstva1. The Emancipation of the serfs was a reform which allowed serfs the freedom of civil rights and allowed them to own land2. There were many problems with this reform. The peasants paid more money to the monarchy than they did to landlords, and nobles kept the best lands for themselves resulting in the peasants to have land which was difficult to farm3. The reform, which was intended to help the peasants and help industrialize the country, did not actually help the peasants at all but increased their impoverish state. With an increase of population, land prices rose while income wages were kept low4. With the growth of Industrialization, the peasants were forced to find jobs in factories, and with the building of railways they were able to travel great distances for work5. This aided in an increase in literacy as items such as books and news papers were more accessible to peasants. The governmental body, the Zemstava was established in 1864 and held responsibilities such as social welfare6. The Zemstava consisted of intellects such as doctors, teachers, nurses and lawyers who often opposed intellectual values of the state. Some members of the Zemstava even had thought of a constitutional monarchy in place of a ruling Czar7. Due to these liberal changes where elected people we given some power, people began to think they could question the authority of the Czar. These reforms, along with other reforms, were still not solving the problems for the people within Russia. The people were still quite discontented and within intellectual classes and secret societies began to for8. When Alexander II died in 1881, his son Alexander III took the throne. In 1891 a great famine occurred, due to rapid industrial growth. During this crisis the Czar displayed incompetence and ill regard towards the peasants that made up the majority of the Russian population9. The government attempted to deal with the famine and mass starvation, but was slowed down by its bureaucracy and a transportation system that was unable to cope10. Politically, it was a disaster as it presented the government as irresponsible, torpid and incompetent. There were many instances that perceived the government as uncaring, as such; widespread rumors of food deliveries being held back until statistical proof was given11 showing the people were unable to feed themselves, often too late for actual help; relief work schemes set up to employ peasantry who where on their death beds; and the removal and quarantine of people who had contracted cholera, which resulted in riots from the public12. The biggest m istake the government made was the postponement of cereal exports which did not come into effect until late into the crisis. The respite of the ban was seen by the people as the main cause of the famine13. Not only did the government fail to help the people, but it was also forbidden for newspapers to publicly name the problem, even though they printed the stories anyway. November 1891, the government finally issued an imperial order asking for volunteers to help with the crisis they were unable to deal with14. Once the crisis had passed, the people no longer trusted the government as the regime had been discredited with its inability to help the people when the people were suffering. The public began to press for a greater role in the affairs of the nation. Social groups began to reappear with great enthusiasm15. Only Marxism seemed able to explain the causes of the famine and began to become a national ideology. The 1890s seemed to become a decade of social change within the emergence of civil society that opposed the czarist state. This seems to be a condition of the upcoming revolution16. It would also seem that in 1894 when Czar Nicholas II ascended the thrown, he would lead a regime that was doomed to failure with all the problems the nation was having. This was all made worse by the loss of the Russo-Japanese war of 1904, the depression and the beliefs of the people that they were not being treated well17. Under the rule of Nicholas II, the people believed they were not being treated as human beings18 as cities grew rapidly and people were forced to live in daunting and unhealthy conditions Many people suffered from debt they were unable to rise out of, and they were exploited within their jobs. In the early 1900s depression set in and many Russians became unemployed. With the Russo-Japanese war in effect, wheat exports to the far west were stopped and the economy suffered as the Czar refused to change.19 In 1902-1903, peasant revolts became more common as strikes increased. The opposition to the Czarist state, the Social Democratic parties, the Bolsheviks, the Mensheviks and Socialist Revolutionaries, became more organized. However, these groups were often not trusted by the workers who supported mutual aid schemes devised by other workers20. The governmental scheme, the Zubatov movement was successful as it provided workers with a legal platform for protesting and allowing occasional strikes. The success of the movement worried the government about worker loyalty to the Tzar and it was shut down21. However, one still existed in 1904, led by Father George Gapon, The Assembly of Russian Working Men. At first this group was focused on forming clubs and such activities, but as time went on they became more radical. The catalyst, which led to the march on Bloody Sunday, was sparked by four members of Father Gapons association being fired from their jobs22. It expanded to a strike of over 100 000 people stopping work on 7 January 190523. The demands, the right to elect permanent representatives in factories, an eight hour work day, better wages, free medical care and access to education, were typical worker demands. The workers wanted to be treated as people with more equality, justice and dignity within the work place and end issues such as sexual harassment and ill treatment. On January 7 Father Gapon was ordered to put an end to the march. Even if he had wanted to, it would have been impossible as the people were ready to die for this cause24. Bloody Sunday was final blow to the Russian people who after this day fully revolted against the Tsarist state. 150 000 people marched on the Winter Palace. They marched singing Hymns and patriotic songs in a peaceful state of mind.25 The people believed they would present their problems to the Tzar, and the Tzar, having an obligation to the people, would help end their miseries and solve the problems they desperately wanted solved. However, the Tzar was not even at his traditional home as he had left for some quiet time and reflection with his family26. What was intended as the people of the nation coming to their Tzar in peaceful display for help turned into a day of massacre. During the night 12 000 soldiers were dispersed through the city in anticipation of the march and to prevent marchers from reaching the palace. As the marchers approached the Narva Gates, they were faced with the guns of the waiting infantry27. The soldiers fired two warning shots and a third gun was aimed directly at the crowd. The people panicked and some of the marchers dispersed, but most dropped to the ground. The soldiers, who were nervous, also panicked and open fired into the crowd. Estimations of the death toll ranged between 150-200 people, while 450-800 people were estimated as being injured.28 In the middle of the chaos, Father Gapon was heard exclaiming There is no God any longer. There is no Tzar.29 After the display of ill regard towards the peasants during the march, people, much in anger, continued to strike against the regime. In January over 400 000 workers participated in a workers strike across the country. However, without an organized leader, they did not result in much success. It was known by many that that the events of Bloody Sunday where just the beginning as shown in a letter by a student named Kerensky: I am sorry not to have written to you earlier, but we have been living here in such a state of shock that it was impossible to write. Oh, these awful days in Peter will remain forever in the memories of the people who lived them. Now there is silence, but it is also the silence before the storm. Both sides are preparing and reviewing their own forces. Only one side can prevail. Either the demands of society will be satisfied (i.e. a freely elected legislature of peoples representatives) or there will be a bloody and terrible conflict, no doubt ending in the victory of the reaction. 30 Throughout 1905, peasants continued to participate in strikes. May of 1905 is significant within the strikes as it was the the first time a strike committee called themselves soviets.31 70 000 were involved in the strike and and took charge of local military and political operations.32 This was achieved through non-official elections held throughout Russia in the beginning of creating the soviets.33 As the people rebelled, cases of arson on gentry land increased, and land seizures occurred. People from all types of work joined unions that organized massive strikes. The people began to call for a constitution.34 In September unrest continued to escalate. The All Russian Peasant Union to over 100 000 members in 42 provinces. By this time Lenin was an active member and encourage the people to fight an uninterrupted revolution that might convene until socialism was established.35On October 17 1905 the Czar issued the October Manifesto. This reform offered civil liberties, a state Duma an d a cancellation of peasant redemption payments36. As well, a large amount of land was sold to the peasant bank for resale to peasants with easy terms. However, the Manifesto did not seem to help. Provincial leaders began to complain that the peasants took the promises of the Manifesto and seized lands as the peasants still resisted tradition authority37 The people continued to revolt. In November, the country was in full rioting. By December of 1905 army mutinies began to take affect in cities and in Odessa on the Potemkin battleship. However, by this time, the government began to repress the strikes by force. Punishments, such as public floggings and the burning of peasant villages were becoming common. Between October 1905 and March 1906, The number of strikes receded from 450 000 to 50 000 soviet strikes.38 In November, The All Russian Peasants Union met in Moscow. The Union delegates demanded a few things such as a constitutional assembly and the transfer of all landed property. The Financial Manifesto of December 1905 was signed, which called for a mass refusal to pay taxes and a demand by depositors for payments39. The regime responded by arresting the delegates. A congress of Zemstva and Town Duma representatives met and to organize a proposal to the government to restore order to the nation. The proposal was made of agrarian and legal reforms. Soon things began to settle down and people began to lose interest40. There were many causes of the 1905 Russian Revolution as the people suffered under the regime of a Czar. Reforms,such as the Emancipation of the Serfs, creation of the Zemstva aided in the beginning of the road to revolution. Issues were intensified and the Czar showed incompetence and ill regard towards the peasants in the famine of 1891. These issues caused a lot of unrest within the peasant population of the Russian regime. The catalyst of Bloody Sunday and the response of repression through the massacre sent the country into a series of mass revolt that made up the revolution. Czar Nicholas IIs repressive response was met with more rebellion from the inhabitants of the country. It wasnt until the government and Duma officials came a an agreement accepted by the regime and the people that the revolution of 1905 came to an end. However, through all these issues it remains evident that the main cause of the 1905 Russian Revolution was caused by the repression and unrest of the peasa nts. 1 Maureen Perrie, The Russian Peasant movement of 1905-1907: Its social composition and revolutionary significance Past and Present 57 (Nov., 197):123-155 2 Perrie, 123-155 3Perrie, 123-155 4Perrie, 123-155T 5Perrie, 123-155 6Perrie, 123-155 7Perrie, 123-155 8Perrie, 123-155 9Orlando Figes, A Peoples Tragedy: Russian Revolution 1891-1924 (Great Britain: Jonathon Cape, Random House, 1996), 157 10Figes, 158 11Figes, 158 12Figes, 158 13Figes, 158 14Figes, 159 15Figes, 161 16Beryl Williams, 1905 Russia History Today 55.5 (May 2005) : p. 44-48 17Williams, 44-48 18Williams, 44-48 19Williams, 44-48 20Williams, 44-48 21Williams, 44-48 22Williams, 44-48 23Williams, 44-48 24Williams, 44-48 25Williams, 44-48 26Williams, 44-48 27Williams, 44-48 28Orlando, 178 29Orlando, 177 30Orlando, 180 31Eric R Wolf, Peasant wars of the twentieth century (United States of America: First Harper Torchbook, 1969), p.85 32Wolf, 85 33Robert Service, The Russian Revolution, 1900-1927 () p.31-32 34Service, 33 35Esther Kingston-Mann, Lenin and the challenge of Peasant Militance: From Bloody Sunday, 1905 to the dissolution of the first Duma, Russian Review, 38.5 (Oct, 1979) pp. 434-455 36Kingston-Mann, 434-455 37Kingston-Mann, 434-455 38Wolf, 87 39Kingston-Mann, 434-455 40Kingston-Mann, 434-455

John Adams †Harmonielehre Essay

By inventing the serial system of twelve tone music and atonalism, Schoenberg had created â€Å"the agony of modern music†. The minimalists had rebelled against the systematic, â€Å"aurally ugly† music of Schoenberg and the avant-garde beliefs of atonality being the â€Å"Promised Land†, choosing instead to return to traditional tonality. Adams partially agreed with the rebellion against Schoenbergian music, his works containing distinctly minimalist elements. Thus when he spoke about â€Å"freeing [him]self from the model Schoenberg represented†, he meant to reject serialism and atonality, as well as the process of composing which â€Å"demands rigorous systemization of structure†. However, Adams has also expressed his respect for Schoenberg. Kirchner, with whom Adams studied while at Harvard, had himself been a student of Schoenberg. Though the minimalists had already paved the way for departure from the Schoenbergian model, it was perhaps still a difficult decision for Adams to divert from such an influential figure. After all, Schoenberg pioneered serialism and atonality. In addition, having grown up listening to the popular music of his time, Adams was constantly struggling to find a balance between what he listened to (notably American jazz, popular music, gospel music and rock ‘n’ roll) and the music that he studied in university. Adams had upset two camps of thought with Harmonielehre’s 1985 premiere: â€Å"Minimalists thought it was a tribute to their No. 1 bogeyman while modernists saw it as a reactionary piece that took their hero’s name in  vain.† This essay thus seeks to discuss the main characteristics of Adams’s compositional style in particular reference to Harmonielehre, and hence attempt to determine if, as a result of Adams’s internal conflicts, the said work is more of a refreshing new departure or a return to tried and tested orchestral gestures. Adams’s derivation from atonality may be considered a return to tried and tested orchestral gestures. He was particularly taken with the expressiveness of tonality, appreciating its potential to affect emotions in the hands of masters like Wagner, whom he greatly admired. In contrast, he found atonality â€Å"severely limiting in both its expressive range as well as in its ability to maintain large formal structures.† Adams has re-embraced tonality in much of his music including Harmonielehre, containing long passages employing a single set of pitch classes usually encompassed by one diatonic set. His earlier pieces generally remain diatonic throughout. The first movement of Harmonielehre begins and ends with pounding E minor chords repeated in a typical minimalistic style, and the piece culminates with a tidal wave of brass and percussion over an E-flat major pedal point. However, Adams is not a complete traditionalist as his harmonic vocabulary does not remain limited to purely diatonic chords. Non-diatonic pcs are frequently introduced in his later pieces beginning with Harmonielehre. Pcs outside E minor are first introduced in b.19 of the first movement, in this case D, making the chord an Em7. Example 1. John Adams, Harmonielehre, mm. 17-21, orchestral reduction D reappears in b.31 and henceforth gains prominence. Here, it is featured in the piano, blurring the E minor centre. Example 2. John Adams, Harmonielehre, harmonic sketch The end of the last movement (Meister Eckhardt and Quackie), features more  chromatic harmonies, with a ‘vast harmonic struggle that breaks through into an emphatic release on E-flat major’. Unlike a traditional tonal piece with systematically planned harmonies and a conclusive modulatory sequence, Adams simply â€Å"place[s] the keys together, as if in a mixer, and let them battle it out†. Nevertheless, the chromaticism is built on a diatonic basis, evident from their association with diatonic passages and the secondary role of the non-diatonic pcs. Harmonielehre is thus largely a tonal work and parodies the book by the same title written by Schoenberg, in which he discusses the functions of tonal harmony only to completely renounce it. By the title of Harmonielere, Adams explores aspects of harmony within his own language. Adams’s subscription to minimalism may also be considered a return to tried and tested orchestral gestures since minimalism had been going on for some time before he came on scene. The principal minimalist features include â€Å"a continuous formal structure, an even rhythmic texture and bright tone, a simple harmonic palette, a lack of extended melodic lines, and repetitive patterns.† Some of Adams’s early piano works, notably Common tones in Simple Time (1979-80, rev. 1986), Light Over Water (1983), and Phrygian Gates (1978) fit the aforementioned criteria. This is also observed in the opening of Harmonielehre (Example 3). The minimalistic repetitions of the E minor chords result in the creation of a repetitive pulse. Example 3. John Adams, Harmonielehre, mm. 1-10, orchestral reduction A simple harmonic palette (as discussed earlier) is a feature of both the Minimalist and Tonal traditions. Slow harmonic changes are evident in the opening (Example 3) – the E minor chord lasts till b.19 when D is introduced in the flutes and oboes and only 26 bars later (b.45) is a C added. The harmony finally changes again at b.59.These simple harmonies and gradual harmonic movement further imply the influence of minimalism. Example 4. John Adams, Harmonielehre, harmonic sketch However, Adams expands these minimalist techniques rather than using the aesthetic and style common in Reich’s or Riley’s music. While most minimalists (with the notable exception of La Monte Young) shunned the minimalist label, Adams embraces it and feels that he has exceeded the label: â€Å"Minimalism really can be a bore – you get those Great Prairies of non-event – but that highly polished, perfectly resonant sound is wonderful.† His later works, while still bearing some minimalist characteristics, depart from the common aesthetic, and no attempt is made to achieve systematic purity. Adams formulates his melodies using an additive technique, which is common to Glass. However, unlike Glass, there is no obvious pattern as to where or when Adams chooses to add or subtract notes, and the resultant melody is unpredictable. This is seen in the second violins in the first movement (Example 5): Example 5. Adams, Harmonielehre, mm. 180-84, second violins Another example can be drawn from the opening, featuring the Minimalist repetition of E minor chords which do not recur in any regular rhythmic pattern. The sense of pulse is unclear and somewhat unpredictable as the chords move closer by increments and create a syncopated effect, compromising the Minimalist technique of even and continuous pulsation. Adams’s deviation from Minimalism is also evidenced by his remarks in relation to Harmonielehre: â€Å"I’m not the kind of composer who†¦ previsages the entire structure of a piece in advance†¦ in a certain sense, I feel the structure as I’m creating it.† Adams is not a â€Å"pure† Minimalist – while he utilizes Minimalist techniques, his simultaneous fondness of expressivity is unique. The combination of both traits is a refreshing departure from both extremities. In Adams’ words, â€Å"I don’t have the kind of refined, systematic language that [the minimalists]  have†¦ I rely a lot more on my intuitive sense of balance†¦ as far as I can tell, most nineteenth-century composers wrote on intuitive levels.† He found that the Minimalist aesthetic of non-teleology resulted in a ‘confined emotional bandwidth’ and threatened to limit Minimalist music. Thus in most of his works, he employs Minimalist techniques to explore its â€Å"expressive emotional potential – something the first generation [of Minimalists] generally eschewed.† Adams’ fondness for expressiveness is not only evidenced by his embracement of tonality, but also by other signature Romantic traits found in his works. This is especially true in Harmonielehre, which â€Å"verges on Minimalism, but touches almost as much on a melodic Romanticism†. The combination of minimalist techniques with Romantic expressivity is evidenced in the opening of the last movement. The flutes take the accompanying line, with repetitive patterns first on E and G, then on an E minor triad. A melody characterised by expressive leaps (taken by the strings) is heard over the shimmering waves of repetition. Such timbre further creates a warm, emotive sound. The same movement contains a passage beginning with pounding E minor chords. The harmony here is relatively simple, gradually shifting from one chord to the next through the addition or alteration of a note (a rather Minimalist characteristic). Minimalist harmony combines with the Romantic textures to culminate in the climax (Example 6), with the texture and sound continuously thickening and broadening. Example 6, Harmonic sketch, Meister Eckhardt and Quackie Another example can be seen in the first movement (mm. 254-300), which contains a broad singing melody first carried by the solo horn then cellos, and later the upper strings. The accompanying triple arpeggios (first harp and woodwinds) weld the section with the preceding passage of repetitive patterns and pulses. Along with the sustained brass chords, the music reaches a climax with the amalgamation of the two different styles, reminiscent of Romanticism with the broadening texture and warm sound. Example 7. Harmonielehre I (bar 257 – 267) Thus although these passages clearly exceed the Minimalist style in their melodic and harmonic construction, the Minimalist technique dominates the accompaniment in rhythm and texture, a distinct example of how the music is a ‘refreshing new departure’. â€Å"The shades of Mahler, Sibelius, Debussy, and the young Schoenberg are everywhere in this strange piece.† The second movement of Harmonielehre (The Anfortas Wound) alludes to Sibelius’ Fourth Symphony (1910 – 11), which Adams claims as the ‘primary generating model’ , evidenced by the long, melancholic melody played by muted cellos. This movement also bears a programmatic reference to Wagner’s Parsifal (1857 – 1882) featuring Anfortas , represented by the long, elegiac trumpet solo. Wrenching harmonies, constantly descending chords and regular meters contribute to ‘†¦the imagery of sickness and confinement, one day after another, just rolling on.’ The ending of the movement contains two giant climaxes, the second one a tribute to Mahler’s unfinished Ninth Symphony (1909 – 1919). The first movement bears a tribute to the late Romantics, including allusions to, ironically, Schoenberg’s Gurrelieder (1900 – 1911). The shimmering effect in the opening of the third movement even alludes to early Impressionism. These Romantic traits, along with the Minimalistic slow harmonic rhythms, again show the eclectic treatment of both styles. In conclusion, Harmonielehre is a combination of â€Å"the harmonic economy of Minimalism with the picturesque extravagance of late-Romantic orchestration.† Adams does not revolutionize music in the way that Schoenberg or the minimalists did by completely rejecting the previous popular approach to composition. His music could thus be considered a return to tried and tested orchestral gestures. However, by combining both romantic expressiveness and minimalist techniques, he has created a new level of balance between the two which is indubitably a refreshing departure from both styles. In his own words, Adams says that â€Å"[Many composers] want to rewrite history or something. I don’t.† Bibliography Books J. Adams, Hallelujah Junction: Composing an American Life (London, 2008) A. Schoenberg, Theory of Harmony (London, 1983) O. Karolyi, Modern American Music: from Charles Ives to minimalists (United States, 1996), 304 D. A. Lee, Masterworks of 20th-Century Music: The Modern Repertory of the Symphony Orchestra (New York, August 2002), 1-7 Watkins, 572. / 576-77 Articles J. Adams, Introductory Notes for Harmonielehre John Adams, quoted in Michael Steinberg, â€Å"Harmonium, by John Adams,† program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B. Philip Clark, Programme Notes for the BBC National Orchestra of Wales, 28 Jan 2011 The discussion between Jonathan Cott and Adams concerning Harmonielehre in liner notes to Harmonielehre (Nonesuch 79115, 1985) T. A. Johnson, ‘Minimalism: Aesthetic, Style or Technique?’, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 T. A. Johnson, ‘Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach’, Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), 117-156 T. May, ‘Interview: John Adams reflects on his career’, The John Adams Reader, ed. Thomas May (USA, 2006), 2-28 C. Pellegrino, ‘Aspects of Closure in the Music of John Adams’, Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), 147-175 A. Ross, ‘The Harmonist’, The John Adams Read er, ed. Thomas May (USA, 2006), 29-44 K. R. Schwarz, â€Å"Young Composers: John Adams,† Music and Musicians, Mar. 1985, 10. K. R. Schwarz, ‘Process vs. Intuition in the Recent Works of Steve Reich and John Adams’, American Music, Vol. 8, No. 3 (Autumn, 1990), 245-273 M. Steinberg, ‘Harmonielehre’, The John Adams Reader, ed. Thomas May (USA, 2006), 101-105 John Adams, quoted in Michael Steinberg, â€Å"Harmonium, by John Adams,† program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B David Sterritt, â€Å"John Adams and His Nixon in China’: Could This Be Another ‘Porgy and Bess’?† Christian Science Monitor, 19 Oct. 1987, 21-22 John Adams, â€Å"From Nixon in China to Walt Whitman: An Interview with John Adams† interview by Edward Strickland, Fanfare, Jan-Feb. 1990, 46. Websites P. Gutmann, ‘John Adams – Popularity without Pondering’, Classical Notes (accessed 15 November 2011), http://www.classicalnotes.net/columns/adams.html#harmonielehre J. Kosman, ‘Harmonielehre, John Adams’, Chester Novello (accessed 15 November 2011), http://www.chesternovello.com/default.aspx?TabId=2432&State_3041=2&workId_3041=23704 D. Robertson, ‘Transcript of David Robertson: Conductor and music scholar discusses the importance of John Adams’ orchestral work â€Å"Harmonielehre† in helping us understand the way music can look back yet anticipate the new in musical sounds’, The Music Show (accessed 20 November 2011), http://www.abc.net.au/rn/music/mshow/s924166.htm C. Zeichner, ‘Minimalism maximized – John Adams’, Ariama (accessed 21 November 2011), http://www.ariama.com/features/minimalism-maximized-john-adams Discography J. Adams, Harmonielehre, City of Birmingham Symphony Orchestra, Sir Simon Rattle (EMI Classics), 1994, CD B000002RU2 General Comments An excellent response to the question. You have used an admirable range of sources and, most importantly, identified critical material arising from the premiere of the piece. You have not only used music examples effectively, but made your own harmonic analyses where none others were available. Your writing style is clear and concise and citation accurate. Countermarker’s comment: agreed. An outstanding essay, well-done! ——————————————– [ 1 ]. J. Adams, Introductory Notes for Harmonielehre [ 2 ]. Loc. cit. [ 3 ]. J. Adams, Hallelujah Junction: Composing an American Life (London, 2008), p.107 [ 4 ]. K. R. Schwarz, ‘Process vs. Intuition in the Recent Works of Steve Reich and John Adams’, American Music, Vol. 8, No. 3 (Autumn, 1990), p.245-273 [ 5 ]. Philip Clark, Programme Notes for the BBC National Orchestra of Wales, 28 Jan 2011 [ 6 ]. Adams, Op. cit., 104 (Hallelujah Junction) [ 7 ]. Henceforth abbreviated as â€Å"pcs† [ 8 ]. T. A. Johnson, ‘Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach’, Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), 117-156 [ 9 ]. Examples: Harmonium (1980), Common Tones in Simple Tone (1979) and Shaker Loops (1978) [ 10 ]. T. A. Johnson, ‘Minimalism: Aesthetic, Style or Technique?’, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 [ 11 ]. Johnson, Op. cit, 136 (Journal of Music Theory) [ 12 ]. Adams, Op. cit., 130 (Hallelujah Junction) [ 13 ]. M. Steinberg, ‘Harmonielehre’, The John Adams Reader, ed. Thomas May (USA, 2006), 101-105 [ 14 ]. T. A. Johnson, Op. cit, (Journal of Music Theory), 117-156 [ 15 ]. T. A. Johnson, Op. cit. (The Music Quarterly), 747-773 [ 16 ]. T. A. Johnson, Op. cit. (The Music Quarterly), 747-773 [ 17 ]. David Sterritt, â€Å"John Adams and His ‘Nixon in China’: Could This Be Another ‘Porgy and Bess’?† Christian Science Monitor, 19 Oct. 1987, 21-22 [ 18 ]. John Adams, quoted in Michael Steinberg, â€Å"Harmonium, by John Adams,† program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B [ 19 ]. K. R. Schwarz, Op. Cit. (American Music) 245-273 [ 20 ]. T.A. Johnson, Op. Cit. (Journal of Music Theory), 117-156 [ 21 ]. From the discussion between Jonathan Cott and Adams concerning Harmonielehre in liner notes to Harmonielehre (Nonesuch 79115, 1985) [ 22 ]. John Adams, in an interview held in 1986 [ 23 ]. T. May, ‘Interview: John Adams reflects on his career’, The John Adams Reader, (USA, 2006), 2-28 [ 24 ]. K. Robert Schwarz, â€Å"Young American Composers: John Adams,† Music and Musicians, Mar. 1985, 10. [ 25 ]. Joseph Pehrson, New music Connoisseur, review for Harmonielehre [ 26 ]. T. A. Johnson, Op. Cit. (Journal of Music Theory),754 [ 27 ]. Adams, Op. Cit., Notes for Harmonielehre [ 28 ]. Steinberg, Op. Cit., 103 [ 29 ]. Based on C.G. Jung’s discussion of Anfortas, the king whose wounds could never be healed [ 30 ]. Steinberg, Op. Cit., 105

An Investigation Into the Differences Between Retail and Investment Banks Essay

Over the past decades, retail banks have remained the main commercial bank for consumers, rather than corporations or other banks. The investment bank has become more popular amongst individuals, corporations and governments which are interested in raising their profits. Retail banks and investment banks have different organizational structures and activities. So they have many differences, such as services, customers and profits. And this report aims to distinguish between the retail bank and the investment bank in order to identify their specific service areas. Firstly, the author will review some literature focusing on the definitions. Secondly, the author will illustrate the differences between them from their target activities and functions. Retail banks offer a range of services to individual customers and small businesses, rather than to large companies and other banks. These include: savings and transactional accounts, mortgages, personal loans, debit cards and credit cards. An investment bank is a bank which specializes in providing funds to corporate borrowers for startup or expansion and does not accept deposits but provides services to those who offer securities to investors, and to those investors themselves. It may also assist and support companies which are involved in mergers and acquisitions, and provides ancillary services such as market making, trading of derivatives, fixed income instruments, foreign exchange, commodities, and equity securities. From the definitions above, it clearly shows that the two types of bank provide substantially different services to customers. As a normal customer, I think the retail banks are better than the investment banks. And there are three advantages of the retail banks. Firstly, the retail banks have more branches than the investment banks. For example, Lloyds TSB Bank is a retail bank in the United Kingdom, and according to Lloyds TSB website, the bank has nearly 1,900 branches across the UK. This means that you can find the branches of TSB almost everywhere. So you can deal with some normal business easily, the branches of retail banks can be found almost everywhere. For example, you want to make emergency loans, you do not have enough time to find an investment bank to make loans, so you must choose the retail banks. Moreover, the retail banks can supply some services which the investment banks do not provide. When you want to transfer from one account to another account, you can not go to the investment banks, because the investment banks do not offer this kind of service. Therefore, if you want to deal with some normal business (such as savings, mortgages and credit cards) at a bank, it would be better to choose the retail banks. The Royal Bank of Scotland is one of the retail banking is part of the Royal Bank of Scotland Group, and together with NatWest and Ulster Bank, provides branch banking facilities throughout the UK. And it can provide almost every service that the retail banks have. So it has a good reputation in Scotland. Finally, the risk of retail banks is relatively lower than the investment banks. You can get money from the rate of interest which can be higher than the other banks. Such as Barclays Corporate which belongs to the Barclays Group and provide these kinds of services (such as savings, transactional accounts, mortgages, debit cards, credit cards). It offers a service called monthly savings which is its regular savings plan that allows you to save regularly over 12 months, and you can get higher interest rates are paid where no withdrawals have been made in the previous month. This means that you can get high fixed interest of up to 3. 25% AER / 3. 20% in months when no withdrawals are made. And the revenue of the retail banks is stability and fixed. So you do not need to pay more attention to the asset in the retail banks. These advantages of the retail banks are the reasons why the retail banks are better as a normal customer. As an advanced person or a company, I think the investment banks are better. There are also many advantages of the investment banks which usually provide services for the company. First of all, most of the investment banks are global company and it can provide services more widely than the retail banks. Such as Morgan Stanley is a leading global financial services firm providing a wide range of investment banking, securities, investment management and wealth management It reports US$779 billion as assets under its management. Its headquarter located in Midtown Manhattan , New York City. It has companies in 37 countries with over 1,200 offices, employees dedicated to local businesses, government agencies, institutions and individuals. So the investment banks can provide the services (such as trading of derivatives, fixed income instruments, foreign exchange and commodities) all over the world. Secondly, the revenue of the investment banks significantly more than profit of other types of banks. If you save your extra money in the retail banks, you can only get the interest from the rates. But if you sand your money to the investment banks you can get remarkable returns although it has a high risk. For example the Goldman Sachs Group, Inc. is an American investment bank and securities. And it provides mergers and acquisitions advice, underwriting services, asset management, and prime brokerage to its clients, which include corporations, governments and individuals. Amazingly, the company in US profits reached a record $ 13. 39 billion in 2010, on average common shareholders’ equity rate of return is 22. 5%. At last, the investment banks also can provide some special services that the retail banks do not offer. For instance, it can supply a particularly serving called â€Å"financial advice† what can make financial of a company more reasonability and determine the future line of development. UBS AG is a diversified global financial services company, with its main headquarters in Basel and Zurich, Switzerland and UBS is present in all major financial centers worldwide. With â€Å"Premier Advisory Services†, UBS offers you the opportunity to schedule individual one-on-one consultations with CEFS experts who understand your equity-linked compensation as an integrative part of your total wealth management, know about the different plan vehicles and can support you on issues such as â€Å"How can I best align my equity-linked compensation with my total wealth management† or â€Å"When should I exercise, which strategy is the best†.

How Does Jane Eyre Develop Between Chapters 11 and 27 of the Novel - Free Essay Example

Sample details Pages: 4 Words: 1322 Downloads: 9 Date added: 2017/09/11 Category Advertising Essay Did you like this example? The novel Jane Eyre is predominantly a bildungsroman, Jane’s development throughout the novel is one of the most important aspects of the narrative. During Jane’s time at Thornfield she makes huge emotional progress through her relationship with Rochester and the discovery of Bertha Mason, eventually resulting in her departure from Thornfield. In chapter 11 when Jane first arrives at Thornfield She is unsure of her surroundings and the description of the thorn trees alludes to fairytales such as Sleeping Beauty and Briar Rose. This conveys Jane’s innocence and shows the reader how childlike Jane is at this stage of the novel in terms of emotional development. The theme of Jane’s limitations is also highlighted, and Jane’s focus on Mrs Fairfax’s â€Å"bunch of keys† shows the insecurity she feels about not having control over her present or future. However, Jane draws comfort from the discovery that Mrs Fairfax is also a â€Å"dependent†. Don’t waste time! Our writers will create an original "How Does Jane Eyre Develop Between Chapters 11 and 27 of the Novel?" essay for you Create order This shows a departure from the uncertainty she felt when she first arrived at Thornfield, and the use of the same word as was used by John Reed in the first chapter shows how much she has developed since then in order to be able to overcome the distress that the word first caused her. This emphasises the extent to which Jane has already developed and gives the reader an impression for the scope of development still possible for Jane. In the progression from the eleventh to the twelfth chapter we can see how Jane has used her connection with Mrs Fairfax to allow her to become aware of the positive aspects of the other inhabitants of Thornfield Hall and showing that she has already become more mature and is willing to reconsider her initial opinions on the residents of Thornfield like Adele and Rochester. Jane begins chapter 12 by saying: â€Å"the promise of a smooth career as not belied on a stronger acquaintance with the place. † She feels secure at Thornfield and that her impression of the place was correct, reading the novel retrospectively the reader can see that Jane’s statement underlines her naivety and shows her lack of insight into the true goings on at Thornfield. The emphasis of this is shown by Rochester’s omission of the fact that he is Thornfield’s owner when Jane sees him fall off his horse. In chapter 16 we can see Jane beginning to develop feelings for Mr Rochester: â€Å"glad at least to go downstairs; for that brought me closer to Mr Rochester’s presence† This marks a stride in her emotional development as in this instance, rather than developing an attachment to a mother figure in the search for a family, Jane is becoming attached romantically which demonstrates that she is thinking in a more adult way and instead of wanting to join a family it seems that she is striving to create one of her own. Jane’s ongoing suspicions regarding Bertha Mason, whose existence she is at this stage unaware of, show her increasing maturity as she is prepared to look deeper into a situation and is clearly no longer as naive as she was when she previously believed Mrs Fairfax’s explanation that the laughter was Grace Poole. However, Jane is willing to believe what she is told because of her feelings for Rochester which conveys a certain amount of naivety still present as, in a fairly childlike manner; she is inclined to believe what she is told by superiors as opposed to forming her own opinions or inquiring further. Jane’s reformed perspective shows that she has developed from previous chapters. Her opinion was that at Thornfield, everything was as it seemed, she has revised her opinions in an adult way and also, in not enquiring much further about the matter she is showing a mature attitude to protecting her employment and her future. Chapter 20 shows that Jane is beginning to be seen as a more adult character by Rochester as he confides in her and asks her for advice about his situation: â€Å"I’ll put a case to you; which you must endeavour to suppose your own†. Jane’s reply also shows that she is taking on the trust that Rochester has in her and responding in a mature and conscientious way: â€Å"a wanderer’s repose or a sinner’s reformation should never depend on a fellow-creature let him look higher than his equals for strength to amend, and solace to heal†. Jane encourages Rochester to look to God for answers, by distancing herself from this issue Jane is showing an older attitude towards Rochester’s request and the development in her self control can be seen. Furthermore, Jane showing her increased ability to contain her emotions takes the power from Rochester, who at this point has almost complete control over Jane’s emotions, thus empowering Jane and allowing her to overcome the pain caused by the thought of Rochester’s marriage to Blanche. The use of the word â€Å"sinner† shows that she is considering the problem with a more Christian sensibility, a lesson she has learnt from Helen Burns. Jane can be seen to be developing this trait throughout the novel but at this juncture her repression of her emotions shows her to be truly taking the lesson on board and conforming more readily to the expectations of Victorian society. Jane’s heightened sense of Christian morality is highlighted by her return to Gateshead in Chapter 21, where the extent of her development is emphasised by observation of her behaviour in Chapter 1 of the novel. Her cousins’ lack of development merely serves to accentuate Jane’s maturity and willingness to forgive Mrs Reed: â€Å"you have my full and free forgiveness†. Jane’s recently developed ability to suppress her emotions is tested in chapter 23 when Rochester tells her that he has decided to marry Blanche. Jane sobs: â€Å"for I could suppress what I endured no longer†. This demonstrates that despite the fact that Jane has suppressed her feelings before she is unable to do so all the time and implying that there is room for further development and refinement before she conforms totally to the Victorian ideal of womanhood. Jane adds weight to the argument that she still must mature more before she is at that stage in chapter 24. Rochester says that he will load her â€Å"fairy-like fingers with rings†. The use of the description â€Å"fairy-like† implies that Rochester considers Jane small and allusions to fairytales seen throughout the novel evoke the image of Jane in a childlike state. Therefore this statement causes Jane to reconsider the levels of equality between her and Rochester, as she feels unable to participate in a marriage where she still feels like a dependent. Jane’s feeling on the subject causes the reader to notice that Jane is aware of her own development and is reluctant to return to the stage she was at as a child. The discovery of Bertha Mason marks a significant turning point in Jane’s development: â€Å"In the deep shade, at the farther end of the room, a figure ran backwards and forwards†. There are many possible interpretations of this section of the novel, one of which is that Bertha is a metaphor for he trapped emotions which Jane has been suppressing. When Jane sees Bertha at the end of the room it prompts her between chapters 26 and 27 to decide that it is best for her to leave Thornfield. This could be due to the nterpretation that Bertha represents Jane’s future and the motion of running backwards and forwards symbolizes the entrapment promised by her marriage to Rochester. Jane’s maturity in dealing with the situation shows her development and she realises that she needs to retain her autonomy and leave Thornfield. Despite leaving Rochester and regaining her freedom, the way in which Jane executes her actions in a demure manner demonstrates her emotional development and her revised moral views.