Executive ad legislative department Essay

In the Philippines the executive department is the most essential core of the government. Governance is achievable even without assembly or legislature but ruling with no executive is near impossible. The executive is headed by a president, it is a department of government charged with the administration or implementation of a policy or law. In presidential system it is viewed as a weakling form of government in at least some Latin American countries like Costa Rica, Chile and Venezuela. In this countries, it is argued that the position of the presidency is always challenged. Presidents to succeed in Latin American democracies must mobilize popular support not only from the people but also from other branches of government. As one of the writer concluded: â€Å"presidential rule is not often equated with strong government. Effective executive power is almost indispensable if democracy is to thrive, yet the history of presidential democracies in Latin America has often been one of the immobilized executives. Many strong men ended their careers as weak presidents† (Mainwaring cited in Haque, 2001). In the Philippines alone, elected presidents have experienced difficulty in party legislation, without getting political support among members of Congress. So most often, elected presidents would always establish strong liaison or following from members of the legislative branch to the extent of supporting and financing the candidacy of potential legislative partners. Still yet, the President is the most important and influential leader of the country. The success of the state depends on how effective the President has become in manipulating other branches of government, albeit public criticisms and the intimidating presence of pressure or interest groups. DIFFERENT BRANCHES OF THE PHILIPPINE GOVERNMENT The structure of the Philippine government is divided into three branches: the Legislative Department (Article 6); the Executive Department (Article 7 )7); and the Judicial Department (Article 8). The Legislative Department was placed ahead of the executive department because it is the repository of the people’s sovereignty. It is composed of the Senate, which is the Upper House and Congress, being the Lower House. THE PRINCIPLE OF SEPARATION OF POWERS The powers of the government, by virtue of this principle are divided into three (3) distinct classes: the legislative, the executive and the judicial. They are distributed, respectively among the legislative, executive, and judicial branches or departments of the government. Under the principle of co-equal and coordinate powers among the three (3) branches, the officers entrusted with each of these powers are not permitted to encroach upon the powers confided to the others. If one department goes beyond the limits set by the Constitution, its acts are null and void. The adoption of this principle was motivated by the belief that arbitrary rule would result if the same person or body were to exercise all the powers of the government. PRINCIPLE OF CHECKS AND BALANCES The three co-equal departments are established by the constitution in as balanced positions as possible. To maintain this balance or to restore it if upset, each department is given certain powers with which to check the others. Checks by the President Checks by the Congress Checks by the Judiciary may veto or disapprove bills enacted by the Congress (Sec. 27:1) through pardoning power, he may modify or set aside the judgments of courts (Art. VII, Sec 19) Congress may override the veto of the President (Sec. 27:1) Reject certain appointments of the President (Art. VII, Sec. 16) Revoke the proclamation of martial law or suspension of the writ of habeas corpus by the President (Art. VII, Section 18) Amend or revoke the decision of the Court by the enactment of a new law or by an amendment of the old The power to impeach the President and the members of the Supreme Court. the Supreme Court as the final arbiter may declare legislative measures or executive acts unconstitutional (Art. VIII, Sec 4:2) determine whether or not there has been a grave abuse of discretion amounting to lack or excess of jurisdiction on the part of the Congress or President (Art. VIII, Sec. 2:2)

You Decide 1

Memo To:John & Jane Smith From: Re:Memo summarizing various tax issues 1. John Smith's tax issues: Issue a) How is the $300,000 treated for purposes of federal tax income? Applicable Law ; Analysis: http://www. irs. gov/businesses/small/selfemployed/index. html Conclusion: The $300,000 will be treated as self- employed income. Generally you are self-employed if you carry on a trade or business as a sole proprietor, independent contractor, or if you are a member of a partnership. Self-employed individuals are required to file an annual return, and pay estimated tax quarterly.Issue b) How is the $25,000 treated for purposes of federal tax income? Applicable Law ; Analysis: www. irs. gov Conclusion: The $25,000 will be treated as self- employed income as well. John was awarded the 25,000 that paid up front expenses, so the number will cancel each other out. Issue c) What is your determination regarding reducing the taxable amount of income for both (a) and (b) above? Applicable Law ; An alysis: http://www. efile. com/tax-credit/federal-tax-credits/. Publication 526- Charitable contributions. Section 170-charitable contributions and gifts ( c).Section 48- energy credit Conclusion: Establish a self- employed retirement plan, make IRA contributions, make charitable donations including asset donations according to organizations described in section 501 (c)(3), make energy efficient improvement to the home according to IRC code 48. Issue d) Do I get better tax benefits for paying the lease on office space or for buying the building? What are the differences? Applicable Law ; Analysis: IRC Code 167- there should be allowable reasonable depreciation for wear and tear on property used in the trade or business. http://www. law. cornell. edu). http://www. microsoft. com/business. IRC Code 179-allows tax payers to deduct the cost on certain types of property. Conclusion: There are better tax benefits for buying the building. Owners of rental property can write of repairs imme diately. Deprecation on commercial buildings is taken over 39 years; you can also deduct interest on the purchase loan, property tax, and other qualifying expenses. (www. microsoft. com/business). The total amount you can deduct under section 179 cannot be more than $500,000. (www. irs. gov).When leasing a building, the monthly lease payment is tax deductible, but the tax payer cannot deduct interest, property tax, or depreciate. 2. Jane Smith tax issues: Issue a) What are the different tax consequences between paying down the mortgage (debt) and assuming a new mortgage (debt) for federal income tax purposes? Applicable Law ; Analysis: www. law. cornell. edu Conclusion: Satisfying the mortgage will cancel tax deductions for that mortgage loan. Without the mortgage interest, a customer could be placed in a higher tax bracket. This will cause the tax payer to possible owe more money.Assuming a new mortgage have benefits rather than consequences. Issue b) Can John and Jane Smith utiliz e a 1031 tax exchange to buy a more expensive house using additional money from John's case? Applicable Law & Analysis: IRC code 1031. The IRC code 1031 allows deferral of taxes on the exchange of two assets. IRC code 1031 also allows one to sell an asset with the intension to use proceeds to invest in a like asset. (http://financial-dictionary. thefreedictionary. com/Internal+Revenue+Code+section+1031) Conclusion: John and Jane cannot utilize a 1031 tax exchange.Owners of investments and business property may qualify for a section 1031 deferral. Both properties in the exchange must be held for use in a trade or business or for investment. Property used primarily for personal use does not qualify for like-kind exchange treatment. Issue c) Does Jane have a business or hobby? Why is this distinction important? Applicable Law & Analysis: IRC code 183. The IRC code 183 is also called the â€Å"hobby loss rule†, it minimize losses that can be deducted from income from hobbies or o ther non-profit activities.Conclusion: Jane has a business. If time and effort put into the activity is intended to make a profit, this is considered a business. Business versus hobby is important because taxpayers who incorrectly report losses from hobby activities can be subject to additional taxes, interest and penalties in an audit (http://www. irsvideos. gov/Professional/HobbyBusiness) Issue d) Would Jane (and John) realize better tax benefits if she had a separate business for her jewelry-making activities? Applicable Law & Analysis: www. irs. govConclusion: Jane and John would have better tax benefits if Jane had a separate business for her jewelry- making activities. Cost of goods sold is deducted from your gross receipts to figure your gross profit for the year; this could include the cost of material. Jane can also deduct expenses for the business use of her home. Jane can also deduct car expenses mileage rates from 1/1/11-6/30/11 is . 51 per mile and from 7/1/11-12/31/11 . 55 per mile (www. irs. gov) Issue e) What tax benefits would John realize if he invested $15,000 in Jane's jewelry making? Applicable Law ; Analysis: http://perlmutter. house. ov/index. php? option=com_content;view=article;id=707;Itemid=88- Business tax benefits under the recovery act. Conclusion: Small Business Investment: Spurs investments in small businesses by cutting the capital gains tax on investors in small businesses who buy stock (in the next two years) and hold it for more than 5 years. (www. perlmutter. house. gov) Issue f) Can Jane depreciate her vehicle or jewelry-making equipment? How? Applicable Law ; Analysis: Section 179. Section 179 allows business to deduct the full purchase price of equipment purchased or financed during the tax year. (www. section179. org)Conclusion: Section 179 deduction enables small businesses to deduct up to $250,000 of the cost of machinery, equipment, vehicles and furniture. To qualify for the section 179 deduction, your property must h ave been acquired for use in your trade or business. (http://www. irs. gov/businesses/small/article/0,,id=213666,00. html). The total depreciation deduction (including the section 179 expense deduction) you can take for a passenger automobile (that is not a truck or a van) that you use in your business and first placed in service in 2009 is $2,960 ($10,960 for automobiles for which the special depreciation allowance applies. www. irs. gov) 3. John and Jane Smith tax issue: Issue a) Should John and Jane file separate or joint tax returns? Applicable Law ; Analysis: IRC Code 1- The law that impose federal income tax on income, and sets the amount of tax to be paid. Conclusion: Married individuals filing joint returns will pay $75,528. 50 plus 39. 6% of income over $250,000. If Jane establishes her activities as a trade or business they would have to pay less in taxes.

MIH512-Demography and Health (Module 5-SLP) Essay

MIH512-Demography and Health (Module 5-SLP) - Essay Example The total fertility rate (births per women) has come from 3.1% to 2.7% and is expected to further go down to 2.4%. The crude birth rate (per 1,000 population) has also come down from 25 (in 2001) to 21 (in 2010) and is expected go down to 18 by 2020. Comparatively, the mortality rates have drastically come down. The infant mortality rate (per 1,000 births) has come down from 66 to 49 and expected to go down to 35 by 2020. The net migration rate remains at a constant of -0%. The population of China has grown from 1,270,744 in 2001 to 1,330,141 in 2010, which is further expected to increase to 1,384, 545 by 2020. The growth rate had been constant for the past 10 years (at 0.5%) though it is expected to reduce to 0.2% by 2020. The total fertility rate has also been maintained at 1.5%, which is expected to increase to 1.6% by 2020. The crude birth rate has also been maintained for last 10 years at 12, which is expected to come down to 11 by 2020. The infant mortality rate has come down from 27 in 2001 to 17 in 2010 and is expected to be 13 by 2020. The net migration remains at constant of -0%. The mid year population of United Kingdom has grown from 59,723 in 2001 to 61,285 in 2010, which is expected to further grow to 63,068 in 2020. The growth rate has been constant and is expected to be constant at 0.3%. The fertility rate has been maintained at 1.7% constantly over the last few years and is expected to be maintained. The crude birth rate is also at a constant of 11. The infant mortality rate has been maintained at 5 for last 10 years and is expected to be down to 4 by 2020. The migration rate is maintained at 2% constantly and is expected to be maintained. The mid year population here has steadily increased from 12,622 in 2001 to 14, 753 in 2010 and is expected to increase to 17, 601 in 2020. The growth rate has been maintained at 1.8% for the last 10 years but is expected to be low by 2020 to 1.6%. The fertility rate has been reduced by 0.6% in past few

Plato's Republic and Hobbes Leviathan and Elizabeth Anderson Essay

Plato's Republic and Hobbes Leviathan and Elizabeth Anderson - Essay Example The four features of responsive education produce leaders who more able to fulfill their obligations, since they acquire qualifications that enable them to be receptive and effective when it comes to the interests of all people from every sector of the society. The leaders do not only acquire academic knowledge, but technical knowledge which makes them salient, emotionally betrothed, and consistently entrenched in order to block biases and unconscious stereotypes. The leaders possess awareness, receptiveness, and practical acquaintance, together with competence for courteous intergroup interaction. Such leaders are able to create rapport across group-divisions, and to connect in first and second person viewpoint, by drawing upon individual knowledge regarding life, but in a disadvantageous position. Furthermore, a responsive education creates leaders who imaginatively project their self into other people shoes, through effective communicative proficiency and rapport, even as they hol d themselves answerable to how others act in response to and makes claims about their own conduct. (Anderson, 618). Through social integration, the leaders are able to draw their authority and normative strength from the moral eminence of their subjects, instead of impersonal value of business as usual. Responsive education offers a motivational path to personal identification and charity, and this makes it more likely for the leaders to identify with the disadvantaged group and be

Gender Sexuality and Nationalism in the Early 20th Century in China Essay

Gender Sexuality and Nationalism in the Early 20th Century in China - Essay Example However, with the changes that were facing the country in the early 20th century, the aspects that were previously restricted increased in the number of cases and more people began engaging in different acts. One of the cases that had increased was prostitution that was more acceptable as with the fast growing population and city life people stated in engaging in the acts and although the men were also affected, the women were the most highly affected (Liu, et al 90). There was more premarital sexual behavior since the people that had moved to the urban areas did not believe in sticking to the same rules that restricted them before. There was also a change in nationalism as the state stopped being involved in every aspect of its people’s lives and due to the changes in the global setting, there were other problems that had hit the country. The state stopped looking at the state of affairs of marriages by individuals and as a result, there was increased freedom among the people . The state would however still involve itself in the problems facing the marriage if there was any violence or if the issue was brought to the attention of the state. The state and the people had started changing their previous beliefs and they were slowly integrating the modernity model into their lives that brought with it other sexual behaviors. Masculinity and femininity are also important aspects that were slowly changing in China as the old and patriarchal systems were changing although at a slow rate.

Pain Sounds Aesthetically Essay Example | Topics and Well Written Essays - 1250 words - 1

Pain Sounds Aesthetically - Essay Example The Ballade starts with what sounds like several first clumsy words of a speaker. The speech’s resolute, yet there’s no audience to listen. This feeling of solitude firstly comes from a chordophone only sound: that single speaker is a piano. Secondly, those first â€Å"words† are conveyed by a low pitch. They sound full and resolute due to the loudness of dynamic and long dramatic intervals. Along with overtones that imitate echo, a feeling of no audience’s achieved. Then, phrase by phrase, â€Å"a speech† becomes more normal, logical as dynamic becomes softer, there’re already shorter intervals, and feeling of description comes from a developing accompaniment (basically, chords). Yet a general nervousness stays in this section as well as during the whole Ballade. To oppose the first melody, Chopin starts a new one in a second section (3:18) with the higher pitch (â€Å"Zimerman plays Chopin Ballade No. 1†). The second melody’s dreamy, and it’s developing brings a feeling like a compositor’s dreaming or remembering some nice times. Sound becomes generally, more relaxing due to softness in dynamic; more water-like or misty due to vanishing intervals. It seems that the composer gives listeners an opportunity to have some rest until the dynamic part begins. There’s a minimum of attacks, maximum of decays when performing the second section, but not for long. The first melody returns in the third section (4:20) bringing a feeling of screaming or at least, a loud dramatic, maybe accusing, monolog again. This feeling comes from dominant dynamic loudness, from intervals between accompaniment and the melody, and dominant attacking style of performance, until suddenly, Chopin gets lost in own images, and feelings in forth section (5:23). The feeling of a noisy mess’s achieved by a higher pitch and that now they're more sounds for each time with dominantly, a stable loudness and no interva ls.

How to take a risk in a business Essay Example | Topics and Well Written Essays - 1250 words

How to take a risk in a business - Essay Example It is therefore imperative that to launch a business, risk taking must be embraced and this involves getting out of the comfort zone with an intention of triumphing both economically, socially and technically. All businesses in the current competitive world should take charge of their operations by specifying their target and their plans. This piece of writing offers detailed information on how businesses take risks and the risk taking processes. Various kinds of risks that affect most businesses are strategic risk, compliance risk, financial risk, operational risks, and reputational risks. Risk taking is simply opening oneself to change , honest appraisal of a situation, understanding the risks involved in taking action, weighing the pros and cons of taking the action, making a choice to take the required action and performing the action with full consciousness of the potential outcome. it further requires that a risk taker should accept the consequences of the action taken, ignore others approval in order to make the most appropriate risk, pursue the required action without fear of it affecting others negatively and committing to become an objective in pursuing a rational approach to the problem (Mankiw 605-610). It is especially important to pursue risky decisions to avoid some of the possible regretful situations such as lost business opportunities, avoiding something that one is passionate about, lost market share, outdated technology and finally lose of potential management team. The process of taking business risks starts with carefully calculating the risks by thinking about what the potential risk might be. Calculating risks greatly helps in minimizing some of the most dangerous decisions that may lead to the closure of the business. It is important to identify the risk you want to take and this requires massive intelligence and experience. Gather enough information concerning the risk you are just about to take by determining the most risky activities . Maximize on the actions that you know more about and keep away from the actions you know least about. Risk calculation should be aimed at taking an action that will solve long-term problems. Calculating risks involves consideration of how likely is a situation thus involves the probability and the overall cost of taking the risk. Risk exposures which can be used to prioritize risk, risk reduction leverage that calculates the return on investments are some of the formulas used (Mankiw 605-610). Another important step in risk taking process is minimizing the risks as much as possible by gathering enough information on how to do it. Risk minimization may require categorizing of the type of risk such as industrial changes or financial risks and list specific events and sources unique to the possible actions and list the probable consequences in dollar terms. Calculate each item in 1 to 5 point scale and the consequences that may remain completely vulnerable to the risk. After calculat ing all the costs of various risks, prioritize all the risks from the less costly to the more costly. The period predicted resources required such as financial support that is required to implement the project must be carefully calculated. However, the cost benefit analysis should be taken into consideration by considering the possible benefit that may be earned by taking the risk and the anticipated cost of the risk. Only a few of resources should be risked at once in order

Our modern concept of hell based on the Divine Comedy Research Paper

Our modern concept of hell based on the Divine Comedy - Research Paper Example But what are God’s laws? God’s laws are not just imbedded in the Ten Commandments, but are seeping truth out of the very source that was given to Moses on tablets of stone back in the Biblical days. According to the book of Deuteronomy, God wrote out the law on two tablets of stone. â€Å"He wrote on the tablets, like the former writing, the Ten Commandments, which the Lord had spoken to you on the mountain from the midst of the fire on the day of the assembly, and the Lord gave them to me.† Moses has this believe that without God, people will perish. And their perishing will be in a fiery pit of Hell. Moses was not the only one with this kind of mentality. He was supposedly directed by God to believe that Hell was a real and literal place. Many people today believe in this literal place called Hell and will do anything they can do to keep themselves out of it. They also proselytize and go around and preach so that others they love, or want to spend eternity with will believe the same, and too, be excused from going to this horrible place, with fire, and hatred, and anger, and gnashing of teeth, and fear, torment, endless nights with no sleep, heat, sweat, burning hearts and complete and utter neglecting happens. They do not want their loved ones to suffer, so they preach about Hell, a negative location somewhere â€Å"down there.† According to Dante’s Divine Comedy, written in 1306, he divides his story into three different sections. Each section is a part of Hell that he â€Å"predicts†, someone, or something will go to. Dante seemed to be a spiritual man and used the number three as a symbol. It is believed that he used the number three because the God of the universe was divided into three different parts; Father, Son, and Holy Spirit. Dante, being the main character or poet in his own writing takes himself through several experiences that help him become who he is. Due to Dante’s Divine Comedy, we people of today have formed an opinion and

Analysis of Personal and Organizational Ethics and Values between Assignment

Analysis of Personal and Organizational Ethics and Values between For-Profit and Not-for-Profit Organizations - Assignment Example On the other hand, in a for-profit organization, the organization is operated with the sole purpose of returning profit to its owners and are subjected to paying taxes (Business Dictionary, 2013). The distinctive feature between for-profit and not-for-profit organizations is for-profit organization dispenses profits to its owners while not-for-profit do not. Also, when it occurs that a for-profit organization becomes bankrupt or goes out of business, then its assets will be liquidated and the fund distributed to the shareholders or owners, while when a not-for-profit organization ceases to be, its assets have to be given to another not-for-profit organization. There are however similarities between the two organizations. Both wish to accomplish objectives using management techniques and business tactics that are manly applied in for-profit organizations. The not-for-profit organization that we will be examining is American Red Cross (2013), because it is well organized and has all the properties of a not for-profit organization. Walmart (2013) a for-profit organization will also be examined, because it houses all the properties of a for-profit organization. Both of these mentioned organizations are worth examining when looking at personal and organization or business ethics. There are three business ethic theories that we will observe. These include divine command, virtue and social theory. Austin (2006) describes divine command theory as a view where morality is in some way dependent upon God, and moral obligation entails obedience to God’s commands. A person running a business based on divine command theory would want to use God’s commands to run the business where the employer will treat the employees just as he want to be treated. For instance, if the business is producing running shoes and there is excess work remaining for the day and allowed extra working time has passed, the employer should let the employees go home. This is because in

Sociology of Education Essay Example for Free

Sociology of Education Essay Education is a social institution that sociologists are very interested in studying. This includes teaching formal knowledge such as reading, writing, and arithmetic, as well as teaching other things such as morals, values, and ethics. Education prepares young people for entry into society and is thus a form of socialization. Sociologists want to know how this form of socialization affects and is affected by other social structures, experiences, and outcomes. Sociology of education is a field that focuses on two separate levels of analysis. At a macro-level, sociologists work to identify how various social forces, such as politics, economics, culture, etc. , creates variation in schools. In other words, what effects do other social institutions have on the educational system? At a micro-level, sociologists look to identify how variation in school practices lead to differences in individual-level student outcomes. That is, when schools have different teaching methods or have different practices, how does that affect the individual students and what are the individual outcomes? Example of Sociological Studies on Education A classic study by sociologist James Coleman done in 1966, known as the â€Å"Coleman Report† looked at the performance of over 150,000 students and found that student background and socioeconomic status were much more important in determining educational outcomes than were differences in school resources, such as per pupil spending. He also found that socially disadvantaged black students benefited and did better in school when they were in racially mixed classrooms rather than black only classrooms. This ignited controversy that still continues today. Major Sociological Theories of Education Like any other topic in sociology, the three major theoretical perspectives (functionalism, conflict theory, and symbolic interaction theory) each have different views on education. The functionalist perspective argues that education serves many important functions in society. First, it socializes children and prepares them for life in society. This is not only done by teaching â€Å"book knowledge,† but also teaching the society’s culture, including moral values, ethics, politics, religious beliefs, habits, and norms. Second, education provides occupational training, especially in industrialized societies such as the United States. Unlike in less complex societies or in the United States prior to 1900 when most jobs and training were passed on from father to son, most jobs in the United States today require at least a high school education, and many professions require a college or post-graduate degree. The third function that education serves, according to functionalist theorists, is social control, or the regulation of deviant behavior. By requiring young people to attend school, this keeps them off the streets and out of trouble. The symbolic interaction view of education focuses on interactions during the schooling process and the outcomes of those interactions. For instance, interactions between students and teachers can create expectations on both parts. The teacher begins to expect certain behaviors from students, which in turn can actually create that very behavior. This is called the â€Å"teacher expectancy effect. † For example, if a White teacher expects a black student to perform below average on a math test when compared to White students, over time the teacher may act in ways that encourage the black students to get below average math scores. Conflict theory looks at the disintegrative and disruptive aspects of education. These theorists argue that education is unequally distributed through society and is used to separate groups (based on class, gender, or race). Educational level is therefore a mechanism for producing and reproducing inequality in our society. Educational level, according to conflict theorists, can also be used as a tool for discrimination, such as when potential employers require certain educational credentials that may or may not be important for the job. It discriminates against minorities, working-class people, and women – those who are often less educated and least likely to have credentials because of discriminatory practices within the educational system. The sociology of education is the study of how public institutions and individual experiences affect education and its outcomes. Educational Sociology and Sociology of Education are two branches of study that are sometimes understood as one and the same branch, but they are actually not so. They indeed show some differences between them when it comes to the subjects of their study and the nature of the branches f study On the other hand educational sociology is the branch of study that deals with the various methods providing better education to society through an in depth research of our culture and society. Educational sociology is a subject that has to take both the sociologists and the educationists into consideration. This makes the subject an invaluable asset to all the students and researchers of social sciences, particularly sociology and education. It is a general belief that such of those who are involved in a deep study of education will benefit more from the branch of educational sociology In the poem of Okot p Biteks â€Å"My Husbands Tongue is Bitter† is evident in its use of the self  and other. The speaker of the poem is a black woman talking to her husband. The husband sees their colonizers as modern, progressive, civilized and educated. He considers learning English and following their acts would also make him one of them (colonizers), and by doing so, he will acquire the identity of the self. On the other hand, he offended his wife and his own people by citing and ennumerating their deeds as backward, primitive and ignorant.

Structural characteristics of a marketing orientated business

Structural characteristics of a marketing orientated business There are many definitions of marketing. The better definitions are focused upon customer orientation and satisfaction of customer needs. Marketing is the social process by which individuals and groups obtain what they need and want through creating and exchanging products and value with others Marketing is the management process that identifies, anticipates and satisfies customer requirements profitably The Chartered Institute of Marketing (CIM). The CIM definition (in common with Barwells definition of the marketing concept) looks not only at identifying customer needs, but also satisfying them (short-term) and anticipating them in the future (long-term retention). The right product, in the right place, at the right time, at the right price Adcock. This is a snappy and realistic definition that uses McCarthys Four Ps. Marketing is essentially about marshalling the resources of an organization so that they meet the changing needs of the customer on whom the organization depends Palmer. This is a more recent and very realistic definition that looks at matching capabilities with needs. Marketing is the process whereby society, to supply its consumption needs, evolves distributive systems composed of participants, who, interacting under constraints technical (economic) and ethical (social) create the transactions or flows which resolve market separations and result in exchange and consumption. Bartles. Question 1. Enlighten the company on the marketing concept and process, to include a) characteristics of marketing oriented company including structure and culture, b) explain the various elements of the marketing concept, c) access the benefits and costs of a marketing approach. Answer: Structural characteristics of a marketing-orientated business A business that has a marketing orientation sees the needs of customers and consumers as vital. As it develops and markets products to meet those demands, certain structural characteristics become apparent in the business. Structure: Every organization made up of more than one person will need some form of organizational structure. An organizational chart shows the way in which the chain of command works within the organization. The way in which a company is organised can be illustrated for a packaging company. The company will be owned by shareholders that choose directors to look after their interests. The directors then appoint managers to run the business on a day-to-day basis There are different kinds of organizational structure. The most common organizational structure are: -tall -flat Culture: The culture within the organization is known as corporate culture. A market oriented company like Paper Chase Ltd, will have to develop an attitude and way of doing things such that the whole organization embraces the concept that the customers are the key to the companys success and their wants and needs should be satisfied at all times. A corporate culture towards customer orientation and satisfaction should involve providing prompt valuable service. The Marketing Concept The marketing concept is the philosophy that firms should analyze the needs of their customers and then make decisions to satisfy those needs, better than the competition. Today most firms have adopted the marketing concept, but this has not always been the case. The marketing concept has 3 key elements. A customer orientation The customer is always right when they believe they are right.   They may be dead wrong.     But if by their understanding of the situation they believe they are right, then you need to acknowledge their belief.   Only after you have honored that belief and acknowledged that it can you begin to present a different way of looking at the situation.   That takes time and effort.   Seldom is it worth skipping that process An integrated company effort The all structure of the organization must work together to fulfil customers needs and wants. If any section of the organization fails to meet the requirements of the customer, it will result in lost opportunities or dissatisfied customers. A profit-goal rather than just a sales-goal Every company want more profit. This is the one another concept. On the othe hand customers want good product in best price. That means both wants to be satisfied. This satisfaction may well be the result of negotiation where the customer has accepted on alternative product or organization has had to accept lower profit. But they (Both) must be satisfied with the exchange. Otherwise, it will not be marketing. Benefits of Strategic Interactive Marketing * More affluent customers: Those customers that acquire the various interactive technologies are more affluent and value their time more highly. They will pay for responsive service and for having their particular needs met. * Accurately targeting promotions: Personalized and animated illustrations could be electronically delivered regularly or on special occasions (e.g. birthdays, anniversaries, car renewal). * Higher sales conversions through raising customer confidence, and inducing buy-in: Complex offering, whereby a number of different product benefits are inter-linked, could more easily be comprehended through graphics and animation. Using interactive software, including simulation techniques, the customer is able to involve themselves in the development and exploration of various options and see real life illustrations. * Product Awareness: Customer (or sales representative) can have access comprehensive product information to address a wide range of needs (one-stop shopping). Lower Costs * Distribution and sales costs are much lower (see the Booz-Allen Hamilton example banking transaction costs). There are no sales persons to employ, no expensive premises, and customers even perform the data entry! * Servicing costs: Besides the obvious e-mail type links to customer services, customers could directly view or enquire on their product portfolio. * Promotional costs: Electronic delivery is substantially lower, especially when media rich formats are involved. When products or services change, there are no wasted brochures etc * Product retention: Customer (or sales representative) can have access comprehensive product information. In the case of investment products it is imperative that correct advice is given in order to comply with the Financial Services Act. Market Exploitation * Market responsiveness: In response to competitor actions or legislation, etc., changes can be quickly made to products and services and then distributed to customers and suppliers. * Cross-selling: By linking into other companys delivery medium, one companys products can be cross-sold to another, and the linking reciprocated. * Differentiation: A go-ahead insurer has the ability to present a lively and innovative image and to break away from the traditionally stuffy image of the insurance industry. Promotion * Promotion needs to direct customers to different access points according to their capability and inclination to design their own product or service. See Design. Design * Products and services need to be design and made available at a component level under construction together with business rules under construction that define the possible combinations and limits. * Quite often there will be a base (or core) component to which further components are added. * Starter products and services of pre-built components will be available to help customers into the design process. * Product information needs to be available at the component level as well as for any base product. Pricing * Products and services need pricing at a component level and to take into account the distribution method (customer self service, agent or sales person, face to face, via the telephone or the Internet, etc.). Production * Production systems need to assemble the components according to the unique customer design. * A detailed record of the product or service will need to be kept so that it can later be serviced or amend (see Servicing). Servicing * Profiles of individual customer products as well as profiles of the individual customers need to be available to support staff and the customer throughout the life of the product or service. Question 2. Explore the concepts of segmentation, targeting and positioning with reference to Paper Chase Ltd a) Identify and explain the macro and micro environment influencing Paper Chase, b) propose segmentation criteria for any 2 products from the brain storming sessions c) which markets Paper Chase should target and factors influencing their choice d) How buyer behaviour affects the marketing of Paper Chase products. Answer: Marketing environment The term marketing environment relates to all of the factors (whether internal, external, direct or indirect) that affects a firms marketing decision-making or planning and is subject of the marketing research. A firms marketing environment consists of two main areas, which are: Macro environment On the macro environment a firm holds only little control. It consists of a variety of external factors that manifest on a large (or macro) scale. These are typically economic, social, political or technological phenomena. A common method of assessing a firms macro-environment is via a PESTLE (Political, Economic, Social, Technological, Legal, and Ecological) analysis. Within a PESTLE analysis, a firm would analyze national political issues, culture and climate, key macroeconomic conditions, health and indicators (such as economic growth, inflation, unemployment, etc.), social trends/attitudes, and the nature of technologys impact on its society and the business processes within the society. Micro environment A firm holds a greater amount (though not necessarily total) control of the micro environment. It comprises factors pertinent to the firm itself, or stakeholders closely connected with the firm or company. A firms micro environment typically spans: * Customers/consumers * Employees * Suppliers * The Media By contrast to the macro environment, an organization holds a greater degree of control over these factors. Market segmentation Market segmentation pertains to the division of a market of consumers into persons with similar needs and wants. As an example, if using Kelloggs cereals in this instance, Frosties are marketed to children. Crunchy Nut Cornflakes are marketed to adults. Both goods aforementioned denote two products which are marketed to two distinct groups of persons, both with like needs, traits, and wants. The purpose for market segmentation is conducted for two main issues. First, a segmentation allows a better allocation of a firms finite resources. A firm only possesses a certain amount of resources. Accordingly, it must make choices (and appreciate the related costs) in servicing specific groups of consumers. Furthermore the diversified tastes of the contemporary Western consumers can be served better. Market segmentation can be defined in terms of the STP acronym, meaning Segment, Target and Position. Segment Segmentation involves the initial splitting up of consumers into persons of like needs/wants/tastes. Four commonly used criteria are used for segmentation, which include: * Geographical (e.g. country, region, city, town, etc.) * Psychographic (i.e. personality traits or character traits which influence consumer behavior) * Demographic (e.g. age, gender, socio-economic class, etc.) * Behavioural (e.g. brand loyalty, usage rate, etc.) The two products, from the brain storming session, selected for criteria Paper Chase Ltd are: Tea Tea Cup Tea and Tea Cup has three different Segment Tea Cup Large Medium Small Tea Milk Tea Green Tea Red Tea Target Once a segment has been identified, a firm must ascertain whether the segment is beneficial for them to service. The DAMP acronym, meaning Discernible, Accessible, Measurable and Profitable, are used as criteria to gauge the viability of a target market. DAMP is explained in further detail below: * Discernable How a segment can be differentiated from other segments. * Accessible How a segment can be accessed via Marketing Communications produced by a firm. * Measurable Can the segment be quantified and its size determined? * Profitable Can a sufficient return on investment be attained from a segments servicing? The next step in the targeting process is the level of differentiation involved in a segment serving. Three modes of differentiation exist, which are commonly applied by firms. These are: * Undifferentiated Where a company produces a like product for all of a market segment. * Differentiated In which a firm produced slight modifications of a product within a segment. * Niche In which an organization forges a product to satisfy a specialized target market. Position Positioning concern how to positions a product in the mind of consumers. A firm often performs this by producing a perceptual map, which denotes products produced in its industry according to how consumers perceive their price and quality. From a products placing on the map, a firm would tailor its marketing communications to suit meld with the products perception among consumers. Buying behaviour A marketing firm, in the course of its operations, must ascertain the nature of buying behaviour, if it is to market properly its product. In order to entice and persuade a consumer to buy a product, the psychological/behavioural process of how a given product is purchased. Buying behaviour consists of two prime strands, namely being consumer (B2C) behaviour and organizational/industrial behavior (B2B). B2C buying behaviour This mode of behaviour concerns consumers, in the purchase of a given product. The B2C buying process is as thus: * Need/want recognition * Information search * Search for alternatives (to satisfy need/want) * Purchase decision * Post-purchase evaluation As an example, if one pictures a pair of sneakers, the desire for a pair of sneakers would be followed by an information search on available types/brands. This may include perusing media outlets, but most commonly consists of information gathered from family and friends. If the information search is insufficient, the consumer may search for alternative means to satisfy the need/want. In this case, this may be buying leather shoes, sandals, etc. The purchase decision is then made, in which the consumer actually buys the product. Question 3. Identify and analyse the individual elements of Paper Chase marketing, to include product, price, promotion, place, people, process and physical evidence. Answer: Marketing mix In the early 1960s, Professor Neil Borden at Harvard Business School identified a number of company performance actions that can influence the consumer decision to purchase goods or services. Borden suggested that all those actions of the company represented a Marketing Mix. Professor E. Jerome McCarthy, at the Michigan State University in the early 1960s, suggested that the Marketing Mix contained 4 elements product, price, place and promotion. Product The product aspects of marketing deal with the specifications of the actual goods or services, and how it relates to the end-users needs and wants. The scope of a product generally includes supporting elements such as warranties, guarantees, and support. Pricing This refers to the process of setting a price for a product, including discounts. The price need not be monetary; it can simply be what is exchanged for the product or services, e.g. time, energy, or attention. Methods of setting prices optimally are in the domain of pricing science. A number of modes of pricing techniques exist, which span: * Elasticities (whether Price Elasticity of Demand, Cross Elasticity of Demand, or Income Elasticity of Demand) * Market skimming pricing * Market penetration pricing Elasticitys are a microeconomic concept, which gauges how elastic demand is for a given good/service. In a marketing context, its usefulness relates to the suitable level at which a product can be priced, in accordance with price, a products complements and substitutes, and the level of income a consumer possesses. Market skimming pertains to firm releasing a good in a first to market scenario. As an example, picture a company which releases a new type of personal media playing system. It may set the good at an initially high level, but reduce it over time, once the level of demand gradually rises. Market skimming is best operable within a first to market scenario, since there would be few competitors within the companys industry. Market penetration concerns pricing policies for late entrants to a market. Placement (or distribution) This refers to how the product gets to the customer; for example, point-of-sale placement or retailing. This third P has also sometimes been called Place, referring to the channel by which a product or service is sold (e.g. online vs. retail), which geographic region or industry, to which segment (young adults, families, business people), etc. also referring to how the environment in which the product is sold in can affect sales. Promotion This includes advertising, sales promotion, including promotional education, publicity, and personal selling. Branding refers to the various methods of promoting the product, brand, or company. These four elements are often referred to as the marketing mix, [5] which a marketer can use to craft a marketing plan. The four Ps model is most useful when marketing low value consumer products. Industrial products, services, high value consumer products require adjustments to this model. Services marketing must account for the unique nature of services. In order to recognize the different aspects of selling services, as opposed to Products, a further three Ps were added to make a range of Seven Ps for service industries: * Process the way, in which orders are handled, customers are satisfied and the service is delivered. * Physical Evidence is tangible evidence of the service customers will receive (for example a holiday brochure). * People the people meeting and dealing with the customers. As markets have become more satisfied, the 7 Ps have become relevant to those companies selling products, as well as those solely involved with services: customers now differentiate between sellers of goods by the service they receive in the process from the people involved Question 4. Select any 2 products from the brain storming session and elaborate on the application of different marketing mix (to include extended marketing mix elements) to different markets segments and context. Briefly discuss the areas that need consideration, should Paper Chase consider foreign expansion in the future. Answer: Marketing mix for Coffee: Product: Paper Chase Ltd have different kind of Coffee for customers Price: Price are very reasonable for Coffee. So that people can purchase easily Promotion: This company give different kind of advertisement. Place: Paper Chase always find new and comfortable places for the customer. Marketing mix for Clock Product: This company has different type of clock for the customers. Price: Price of the clock always are in customer budget. So that customer can purchase easily. Place: Paper Chase should seek a comfortable place. The atmosphere should be nice. Promotion:Paper Chase provides different kind of promotion. Like advertising, discount, coupon etc. Mr. Smith will think what types of product need for customer. Then those products are supply for the customer. They need widely marketing and more communicate with the customer. Then customer will be attractive for product line or company. Paper chase provide special supply some product. As for example Pens with company logos because whose company ordered the product their company logo will be printed pens body.

Nature vs Nurture Essay -- Arguementative Essays

Nature vs Nurture Most of us have an intuition that, although our genes provide advantages and constraints, we retain great control over our lives. However, we are developing a second, competing intuition that, like it or not, our genes determine our abilities, our preferences, and our emotions. We would like to think we are much more than the sum of our genes, but scientists have apparently demonstrated that our genes determine some of our most complex behavioral and cognitive characteristics. The focus on genes as the primary mode of biological explanation has been especially clear in the marketing of the Human Genome Project. In support of this project, Robert L. Sinsheimer, biologist and former chancellor at the University of California, Santa Cruz, affirmed, "[i]n the deepest sense we are who we are because of our genes." (Berkowitz 1996) Does the available scientific evidence actually tell us that our genes determine our behavioural, emotional, and cognitive characteristics? Do single genes specify particular behavioural traits? To answer these questions, most non-scientists depend upon the cursory reports of new research findings that appear regularly in the lay press. These reports are oversimplified and may be shaped by the desire of both journalists and scientists to create an exciting story. As a result, our perceptions of the scientific evidence may be skewed by a few dramatic findings, some of which may be wrong. Nowhere has this been more clear than in the representation of the roles of genes in determining uniquely human characteristics, involving our thoughts, emotions, and behaviours. Within the past decade, there have been highly visible reports localizing genes for manic-depression (Baron et al. 19... ...Sussex, K.K. Kidd, C.R. Allen, A.M. Hostetter, and D.E. Housma. 1987. Bipolar Affective Disorder Linked to DNA Markers on Chromosome 11. Nature 325: 783-787 Gelernter, J., S. O'Malley, N. Risch, H.R. Kranzler, J. Krystal, K. Merikangas, J.L. Kennedy, and K.K. Kidd. 1991. No Association Between an Allele at the D2 Dopamine Receptor Gene (DRD2) and Alcoholism. JAMA 266: 1801- 807 Hamer, D.H., S. Hu, V.L. Magnuson, N. Hu, and A.M.L. Pattatucci. 1993. A Linkage between DNA Markers on the X-Chromosomes and Male Sexual Orientation. Science 261: 321-327 Kelsoe, J.R., E.I. Ginns, J.A. Egeland, D.S. Gerhard, A.M. Goldstein, S.J. Bale, D.L. Pauls, R.T. Long, K.K.Kidd, G. Conte, D.E. Housman and S.M. Paul. 1989. Re-evaluation of the Linkage Relationship Between Chromosome 11p Loci and the Gene for Bipolar Affective Disorder in the Old order Amish. Nature 342: 238-243. Nature vs Nurture Essay -- Arguementative Essays Nature vs Nurture Most of us have an intuition that, although our genes provide advantages and constraints, we retain great control over our lives. However, we are developing a second, competing intuition that, like it or not, our genes determine our abilities, our preferences, and our emotions. We would like to think we are much more than the sum of our genes, but scientists have apparently demonstrated that our genes determine some of our most complex behavioral and cognitive characteristics. The focus on genes as the primary mode of biological explanation has been especially clear in the marketing of the Human Genome Project. In support of this project, Robert L. Sinsheimer, biologist and former chancellor at the University of California, Santa Cruz, affirmed, "[i]n the deepest sense we are who we are because of our genes." (Berkowitz 1996) Does the available scientific evidence actually tell us that our genes determine our behavioural, emotional, and cognitive characteristics? Do single genes specify particular behavioural traits? To answer these questions, most non-scientists depend upon the cursory reports of new research findings that appear regularly in the lay press. These reports are oversimplified and may be shaped by the desire of both journalists and scientists to create an exciting story. As a result, our perceptions of the scientific evidence may be skewed by a few dramatic findings, some of which may be wrong. Nowhere has this been more clear than in the representation of the roles of genes in determining uniquely human characteristics, involving our thoughts, emotions, and behaviours. Within the past decade, there have been highly visible reports localizing genes for manic-depression (Baron et al. 19... ...Sussex, K.K. Kidd, C.R. Allen, A.M. Hostetter, and D.E. Housma. 1987. Bipolar Affective Disorder Linked to DNA Markers on Chromosome 11. Nature 325: 783-787 Gelernter, J., S. O'Malley, N. Risch, H.R. Kranzler, J. Krystal, K. Merikangas, J.L. Kennedy, and K.K. Kidd. 1991. No Association Between an Allele at the D2 Dopamine Receptor Gene (DRD2) and Alcoholism. JAMA 266: 1801- 807 Hamer, D.H., S. Hu, V.L. Magnuson, N. Hu, and A.M.L. Pattatucci. 1993. A Linkage between DNA Markers on the X-Chromosomes and Male Sexual Orientation. Science 261: 321-327 Kelsoe, J.R., E.I. Ginns, J.A. Egeland, D.S. Gerhard, A.M. Goldstein, S.J. Bale, D.L. Pauls, R.T. Long, K.K.Kidd, G. Conte, D.E. Housman and S.M. Paul. 1989. Re-evaluation of the Linkage Relationship Between Chromosome 11p Loci and the Gene for Bipolar Affective Disorder in the Old order Amish. Nature 342: 238-243.

Essay --

According to the Stanford Encyclopedia of Philosophy, the discussion of definite and indefinite descriptions has been at the center of heated debates of analytic philosophy for over a century. There have been many compelling arguments and interesting views by many philosophers on this topic and it is hard to yet conclude whose argument is more correct. In this essay, I will first briefly explain Russell’s analysis of definite descriptions, then present both Strawson’s and Donnellan’s views of descriptions in opposition to Russell’s, then I will conclude the essay by showing why I find the analysis of definite descriptions by Donnellan more persuasive than the others’. To put it simply, Russell believes that the statement, ‘the F is G’ has three components: existence (âˆÆ'xFx), uniqueness (∀x∀y((Fx∠§Fy)→y=x)), and predication (∀x(Fx→Gx)). In other words, for a statement, ‘the F is G,’ to be true, there must exist at least one thing which is F, there must exist at most one thing which is F, and whatever is F must be G. To expand on this, a sentence of the form ‘The F is G’ states, ‘There is one and only one F and it is G’ and the difference between ‘The F is G’ and ‘An F is G’ is that the latter is just stating there is a (G) F, whereas the use of the definite article, ‘the,’ emphasizes extra uniqueness. For example, it is true to speak of â€Å"the son of Eric† even when Eric has several sons, but it would be more correct to say â€Å"a son of Eric.† Russell further argues that if there is no unique F, an a ssertion of â€Å"the F is G† is false. Strawson thinks otherwise. Strawson claims that Russell confuses properties of a sentence with properties of a use of that sentence. To explain, while Russell thinks truth-value belongs to sentence meanings... ...rase ‘the F’ to refer to something, thus it does not completely embrace the definite descriptions as actually used in a natural language. For example, when I say, â€Å"the leaves are red,† I am referring to the object, leaves, that I am trying to communicate across, but with Russell’s theory, this may not be the case. Using Strawson’s theory, we must ascertain what object is being identified or referred to and what is being ascribed to it even before we evaluate for truth or falsity. For instance, when I say, â€Å"Smith’s murderer is insane,† and it turns out that Smith was not actually murdered at all, then his theory fails as the description, ‘Smith’s murderer,’ does not apply to anyone. Contrastingly, to me at least, Donnellan’s theory encompasses the weaknesses of the theories by the other two, which is why I believe it is the more persuasive argument over the others’.

Glossary of Musical Terminology

Glossary of musical terminology From Wikipedia, the free encyclopedia Jump to: navigation, search This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian (see also Italian musical terms used in English), in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by â€Å"(Fr)† and â€Å"(Ger)†, respectively.Others are from languages such as Latin and Spanish. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms here. For a list of terms used in jazz, country, rock, and o ther popular music genres, see the Glossary of jazz and popular musical terms. Contents| A B C D E F G H I J K L M N O P Q R S T U V W Z References  Ã‚   External links| A a, a (Fr): at, to, by, for, in, in the style of†¦ * a 2: see a due in this list * a battuta: return to normal tempo after a deviation; same as ‘a tempo' * abbandonatamente, con abbandono: free, relaxed * aber (Ger): but * a bene placito: up to the performer * a cappella: in the manner of singing in a chapel; i. e. , without instrumental accompaniment * accarezzevole: expressive and caressing * accelerando, accel. : accelerating; gradually increasing the tempo * accent: emphasize, make a particular part more important * accentato/accentuato: accented; with emphasis acceso: ignited, on fire * acciaccato: broken down, crushed; the sounding of the notes of a chord not quite simultaneously, but from bottom to top. * acciaccatura: crushing; i. e. , a very fast grace note that is â€Å"crushed† agains t the note that follows and takes up no value in the measure * accompagnato: accompanied; i. e. , with the accompaniment following the soloist, who may speed up or slow down at will * adagietto: rather slow * adagio: at ease; i. e. , play slowly * adagissimo: very, very slow ad libitum (commonly ad lib; Latin): at liberty; i. e. , the speed and manner of execution are left to the performer * a due: intended as a duet; for two voices or instruments; together; two instruments are to play in unison after a solo passage for one of the instruments * affannato, affannoso: anguished * affettuoso, affettuosamente, or affectueusement (Fr): with affect (that is, with emotion); see also con affetto * affrettando: hurrying, pressing onwards * agile: swiftly * agitato: agitated al, alla: to the, in the manner of (al before masculine nouns, alla before feminine) * alla breve: in cut-time; two beats per measure or the equivalent thereof * alla marcia: in the style of a march * allargando: broadeni ng, becoming a little slower each time * allegretto: a little lively, moderately fast * allegretto vivace: a moderately quick tempo * allegrezza: cheerfulness, joyfulness * allegro: cheerful or brisk; but commonly interpreted as lively, fast * allegrissimo: very fast, though slower than presto all' ottava: â€Å"at the octave†, see ottava * als (Ger): than * alt (English) (also alt dom or altered dominant): a jazz term which instructs chord-playing musicians such as a jazz pianist or jazz guitarist to perform a dominant (V7) chord with altered upper extensions (e. g. , sharp 11th, flat 13th, etc. ). * altissimo: very high * alto: high; often refers to a particular range of voice, higher than a tenor but lower than a soprano * alzate sordini: lift or raise the mutes; i. e. , remove mutes * am Steg (Ger): at the bridge; i. . , playing a bowed string instrument near its bridge, which produces a heavier, stronger tone (see sul ponticello in this list) * amabile: amiable, pleasant * amoroso: loving * anacrusis: a note or notes that precede the first full bar; a pickup * andamento: used to refer to a fugue subject of above-average length * andante: at a walking pace; i. e. , at a moderate tempo * andantino: slightly faster than andante (but earlier it is sometimes used to mean slightly slower than andante) * angstlich (Ger. ): anxiously a niente: to nothing; an indication to make a diminuendo which fades to pppp * a nessuna cosa: to nothing; an indication to hold a fermata until it dies away (this only works with instruments which cannot sustain a note) * anima: feeling * animandosi: animated, lively * animato: animated, lively * antiphon: a liturgical or other composition consisting of choral responses, sometimes between two choirs; a passage of this nature forming part of another composition; a repeated passage in a psalm or other liturgical piece, similar to a refrain. 1] * apaise (Fr): calmed * a piacere: at pleasure; i. e. , the performer need not follow the rhythm strictly, for example in a cadenza * appassionato: passionately * appoggiatura also called a â€Å"leaning note†: one or more grace notes that take up some note value of the next full note. * a prima vista: Sight-read (lit. â€Å"at first sight†); i. e. , (to be) played or sung from written notation but without prior review of the written material * arco: the bow used for playing some string instrument; i. e. played with the bow, as opposed to pizzicato (plucked), in music for bowed instruments; normally used to cancel a pizzicato direction * arietta: a short aria * arioso: airy, or like an air (a melody); i. e. , in the manner of an aria; melodious * armonioso: harmoniously * arpeggio: like a harp; i. e. , the notes of the chords are to be played quickly one after another (usually ascending) instead of simultaneously. In music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise. Arpeggios are frequ ently used as an accompaniment.See also broken chord in this list. * arpeggiato: a way of playing a chord: starting with the lowest note, and with successively higher notes rapidly joining in. Sometimes the effect is reversed, so that the highest note is played first. * assai: very * assez (Fr): enough, sufficiently * a tempo: in time; i. e. , the performer should return to the main tempo of the piece (after an accelerando or ritardando, etc. ); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet) * attacca: attack or attach; go straight on; i. e. at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause * Ausdruck (Ger): expression * ausdrucksvoll/mit Ausdruck(Ger): expressively, with expression * avec (Fr): with or with another B * B: German for B flat (also in Swedish, Finnish, Icelandic, Danish and Croatian); H in German is B natural * barbar o: barbarous (notably used in Allegro barbaro by Bela Bartok) * Bartok pizzicato: a term which instructs string performers to play a pizzicato note to pull the string away from the fingerboard so that it snaps back percussively on the fingerboard. bass: the lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony; in an orchestral context, the term usually refers to the double bass. * basso continuo: continuous bass; i. e. , a bass part played continuously throughout a piece to give harmonic structure, used especially in the Baroque period * battement (Fr. ): used in the 17th-century to refer to ornaments consisting of two adjacent notes, uch as trills or mordents * beat: (1) the pronounced rhythm of music; (2) one single stroke of a rhythmic accent * bellicoso: warlike, aggressive * ben or bene: well; in ben marcato (â€Å"well marked†) for example * bend: jazz term referring either to establishing a pitch, sliding down half a step and returning to the original pitch or sliding up half a step from the original note. * beschleunigte (Ger): accelerated, as in mit beschleunigter Geschwindigkeit, at an accelerated tempo * bewegt (Ger): moved, with speed binary: a musical form in two sections: AB * bird's eye: a slang term for fermata, which instructs the performer to hold a note or chord as long as they wish * bis (Lat): twice; i. e. , repeat the relevant action or passage * bisbigliando: whispering; i. e. , a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume * bocca chiusa: with closed mouth * bravura: boldness; as in con bravura, boldly * breit (Ger): broad * bridge: Transitional passage connecting two sections of a composition, also transition.Also the part of a stringed instrument that holds the strings in place and transmits their vibrations to the resonant body of the instrument. * brillant e: brilliantly, with sparkle * brio: vigour; usually in con brio * brioso: vigorously (same as con brio) * broken chord: A chord in which the notes are not all played at once, but in some more or less consistent sequence. They may follow singly one after the other, or two notes may be immediately followed by another two, for example. See also arpeggio in this list, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass. bruscamente: brusquely C * cadenza: a solo section, usually in a concerto or similar work, that is used to display the performer's technique, sometimes at considerable length * calando: falling away, or lowering; i. e. , getting slower and quieter; ritardando along with diminuendo * calore: warmth; so con calore, warmly * cambiare: to change; i. e. , any change, such as to a new instrument * canto:chorus; choral; chant * canon or kanon (Ger): a theme that is repeated and imitated and built upon by other instruments with a time delay , creating a layered effect; see Pachelbel's Canon. cantabile or cantando: in a singing style * capo: 1. Capo: a key-changing device for guitars and banjos; 2. head; i. e. the beginning (of a movement, normally). * capriccioso: capriciously, unpredictable, volatile * cedez (Fr): yield, give way * cesura or caesura (Latin form): break, stop; i. e. , a complete break in sound (sometimes nicknamed â€Å"railroad tracks† in reference to their appearance) * chiuso: closed; i. e. , muted by hand (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form, in this list) * coda: a tail; i. e. a closing section appended to a movement * codetta: a small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement * col, colla: with the (col before a masculine noun, colla before a feminine noun); (see next for example) * colla parte: with the soloist; as an instruction in an orchestral score or part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo performer (usually for a short passage) * colla voce: with the voice; as an instruction in a choral music/opera score or orchestral part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo singer (usually for a short passage) * col legno: with the wood; i. e. , the strings (for example, of a violin) are to be struck with the wood of the bow, making a percussive sound; also battuta col legno: beaten with the wood * coloratura: coloration; i. e. , elaborate ornamentation of a vocal line, or (especially) a soprano voice that is well-suited to such elaboration * colossale: tremendously col pugno: with the fist; i. e. , bang the piano with the fist * come prima: like the first (time); i. e. , as before, typically referring to an earlier tempo * come sopra: as above; i. e. , like the previous tempo (usually) * common time: the time signature 4/4: four beats per measure, each beat a quarter note (a crotchet) in length. 4/4 is often written on the musical staff as . The symbol is not a C as an abbreviation for common time, but a broken circle; the full circle at one time stood for triple time, 3/4. * comodo (or, commonly but less correctly, commodo): comfortable; i. e. , at moderate speed; also, allegro comodo, tempo comodo, etc. con: with; used in very many musical directions, for example con allegrezza (with liveliness), con amore (with tenderness); (see also col, colla, above) * con affetto: with affect (that is, with emotion) * con amore, or (in Spanish and sometimes in Italian) con amor: with love, tenderly * con anima: with feeling * con brio: with spirit, with vigour * con dolore: with sadness * con forza: with force * con (gran, molta) espressione: with (great, much) expression * con fuoco: with fire, in a fiery manner * con larghezza: with broadness; broadly * con moto: with motion * con somma passione: with great passion * con slancio: with enth usiasm * con spirito: with spirit; with feeling con sordina, or con sordine (plural): with a mute, or with mutes; several orchestral instruments can have their tone muted with wood, rubber, metal, or plastic devices (for string instruments, mutes are clipped to the bridge, and for brass instruments, mutes are inserted in the bell); compare senza sordina in this list (which instructs the musicians to remove their mutes); see also Sordino. Note: sordina, with plural sordine, is strictly correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music. * con sordino, or con sordini (plural) (incorrect Italian): see con sordina, above * con variazioni: with variations/changes conjunct: an adjective applied to a melodic line that moves by step (intervals of a 2nd) rather in disjunct motion (by leap). * contralto: * contrapuntalism: see counterpoint * coperti (plural of coperto, which may also be seen): covered; i. e. , on a drum, muted with a cloth * crescendo: growing; i. e. , progressively louder (contrast diminuendo) * cuivre: brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivre automatically[1] * cut time: Same as the meter 2/2: two half-note (minim) beats per measure. Notated and executed like common time (4/4), except with the beat lengths doubled. Indicated by . This comes from a literal cut of the symbol of common time.Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve. D * da capo: from the head; i. e. , from the beginning (see capo in this list) * D. S. : Dal Segno, from the sign () * D. S. al fine or dal segno al fine: from the sign to the end; i. e. , return to a place in the music designated by the sign and continue to the end of the piece * D. S. S. al coda or dal segno al coda: same as D. S. al coda, but with a double segno * D. S. S. al fine or dal segno al fi ne: from the double sign to the end; i. e. , return to place in the music designated by the double sign (see D. S. al coda) and continue to the end of the piece * deciso: decisively decelerando: slowing down; decelerating; opposite of accelerando (same as ritardando or rallentando) * decrescendo or decresc. : same as diminuendo or dim. (see below) * deest: from the Latin deesse meaning absent; placed after a catalogue abbreviation to indicate that this particular work does not appear in it. [2] The plural,desunt is used when referring to several works. * delicatamente or delicato: delicately * detache: act of playing notes separately * devoto: religiously * diminuendo, dim. : dwindling; i. e. , with gradually decreasing volume (same as decrescendo) * disjunct: an adjective applied to a melodic line which moves by leap (intervals of more than a 2nd) as opposed to conjunct motion (by step) * dissonante: dissonant divisi or div. : divided; i. e. , in a part in which several musicians n ormally play exactly the same notes they are instead to split the playing of the written simultaneous notes among themselves. It is most often used for string instruments, since with them another means of execution is often possible. (The return from divisi is marked unisono: see in this list. ) * doit: jazz term referring to a note that slides to an indefinite pitch chromatically upwards. * dolce: sweetly * dolcissimo: very sweetly * dolente: sorrowfully, plaintively * dolore: pain, distress, sorow, grief * doloroso: sorrowfully, plaintively * doppio movimento: twice as fast double stop: the act of playing two notes simultaneously on a melodic percussion instrument or string instrument * downtempo: a slow, moody, or decreased tempo or played or done in such a tempo. It also refers to a genre of electronic music based on this (downtempo). * drammatico: dramatically * drop: jazz term referring to a note that slides to an indefinite pitch chromatically downwards. * Dur (Ger): major; u sed in key signatures as, for example, A-Dur (A major), B-Dur (B? major), or H-Dur (B major). (See also Moll (minor) in this list. ) * duolo: (Ital) grief * dumpf (Ger): dull * dynamics: the relative volume in the execution of a piece of music E * e (Ital), or ed (Ital – used before vowels): and eco: the Italian word for â€Å"echo†; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect * ein wenig (Ger): a little * Empfindung (Ger): feeling * encore (Fr): again; i. e. , perform the relevant passage once more * en dehors (Fr): prominently * energico: energetic, strong * enfatico: emphatically * en pressant (Fr): hurrying forward * en retenant (Fr): slowing * eroico: heroically * espansivo: effusive; excessive in emotional expression; gushy. * espirando: expiring; i. e. , dying away * espressione: expressively * espressivo or espr. : expressively * estinto: extinct, extinguished; i. e. , as soft as possible, lifeless, barely audible * etwas (Ger): somewhat F facile: easily, without fuss * fall: jazz term describing a note of definite pitch sliding downwards to another note of definite pitch. * falsetto: vocal register above the normal voice * fermata: finished, closed; i. e. , a rest or note is to be held for a duration that is at the discretion of the performer or conductor (sometimes called bird's eye); a fermata at the end of a first or intermediate movement or section is usually moderately prolonged, but the final fermata of a symphony may be prolonged for twice its printed length or more for dramatic effect. * feroce: ferociously * feurig (Ger): fiery * festivamente: cheerfully, celebratory * fieramente: proudly fill (English): a jazz or rock term which instructs performers to improvise a scalar passage or riff to â€Å"fill in† the brief time between lyrical phrases, the lines of melody, or between two sections * fine: the end, often in phrases like al fine (t o the end) * flat: a symbol (? ) that lowers the pitch of a note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too low. * flautando (may also appear as flautendo): flutelike; used especially for string instruments to indicate a light, rapid bowing over the fingerboard * flebile: mournfully * focoso or fuocoso: fiery; i. e. , passionately * forte or f (usually): strong; i. e. , to be played or sung loudly * fortepiano or fp (usually): strong-gentle; i. e. , 1. loud, then immediately soft (see dynamics), or 2. n early pianoforte * fortissimo or ff: very loud (see note at pianissimo in this list) * fortississimo or fff: as loud as possible * forza  : musical force * forzando or fz: see sforzando in this list * freddo: cold(ly); hence depressive, unemotional * fresco: freshly * frohlich: lively, joyfully * fugue (Fr), fuga (Latin and Italia n): literally â€Å"flight†; hence a complex and highly regimented contrapuntal form in music. A short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses. * funebre: funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo. * fuoco: fire; con fuoco means with fire * furia: fury * furioso: furiously G * G. P. Grand Pause, General Pause; indicates to the performers that the entire ensemble has a rest of indeterminate length, often as a dramatic effect during a loud section * gaudioso: with joy * gemendo: groaningly * gentile: gently * geschwind (Ger): quickly * geteilt (Ger): See divisi * getragen (Ger): sustained * giocoso or gioioso: gaily * giusto: strictly, exactly, e. g. tempo giusto in strict time * glissando (simulated Italian[citation needed]): a continuous sliding from one pitch to another (a true glissando), or an incidental scale ex ecuted while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento in this list. * grandioso: grandly * grave: slowly and seriously * grazioso: gracefully gustoso: with happy emphasis and forcefulness H * H: German for B natural; B in German means B flat * Hauptstimme (Ger): main voice, chief part; i. e. , the contrapuntal line of primary importance, in opposition to Nebenstimme * hemiola (English, from Greek): the imposition of a pattern of rhythm or articulation other than that implied by the time signature; specifically, in triple time (for example in 3/4) the imposition of a duple pattern (as if the time signature were, for example, 2/4). See Syncopation. * hervortretend (Ger): prominent, pronounced * Homophony: A musical texture with one voice (or melody line) accompanied by chords; also used as an adjective (homophonic).Compare with polyphony, in which several voices or melody lines are performed at the same time. I * immer (Ger): always * imperioso: imperiously * impetuoso: impetuously * improvvisando: with improvisation * improvvisato: improvised, or as if improvised * in altissimo: in the highest; i. e. , play or sing an octave higher * incalzando: getting faster and louder * innig: intimately, heartfelt * insistendo: insistently, deliberate * in modo di: in the art of, in the style of * intimo: intimately * intro: opening section * irato: angrily * -issimo: a suffix meaning ‘extremely', e. g. fortissimo or prestissimo * -issimamente: a suffix meaning ‘as†¦ as can be', e. g. leggerissimamente, meaning ‘as light as can be' J Jazz standard (or simply â€Å"standard†): a well-known composition from the jazz repertoire which is widely played and recorded. K * keyboardist (Eng)  : a musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or pop ular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. * kraftig (Ger): strongly * Klangfarbenmelodie (Ger): â€Å"tone-color-melody†, distribution of pitch or melody among instruments, varying timbre L * lacrimoso: tearfully; i. e. , sadly * laissez vibrer, l. v. Fr): allow the sound to continue, do not damp; used frequently in harp music, occasionally in piano or percussion. For percussion ; electric guitar, â€Å"let ring† is more common. [1] * lamentando: lamenting, mournfully * lamentoso: lamenting, mournfully * langsam (Ger): slowly * largamente: broadly; i. e. , slowly (same as largo) * larghetto: somewhat slowly; not as slow as largo * larghissimo: very slowly; slower than largo * largo: broadly; i. e. , slowly * leap (skip): a melodic interval greater than a major 2nd, as opposed to a step. Melodies which move by a leap are called â€Å"disjunct†. Octave leaps are not uncommon in flori d vocal music. * lebhaft (Ger): briskly, lively * legato: joined; i. e. smoothly, in a connected manner (see also articulation) * leggiero, leggiermente or leggiadro: lightly, delicately (The different forms of this word, including leggierezza, â€Å"lightness†, are properly spelled in Italian as legger- without the i. ) * leggierissimo: very lightly and delicately * lent (Fr): slowly * lentando: gradual slowing and softer * lentissimo: very slowly * lento: slowly * liberamente: freely * libero: free, freely * lilt: a jaunty rhythm * l'istesso: see lo stesso, below * loco: [in] place; i. e. , perform the notes at the pitch written, generally used to cancel an 8va or 8vb direction. In string music, also used to indicate return to normal playing position (see Playing the violin). 1] * long accent Hit hard and keep full value of note (>) * lontano: from a distance; distantly * lo stesso (or commonly, but ungrammatically, l'istesso): the same; applied to the manner of articulatio n, tempo, etc. * lo stesso tempo (or l'istesso tempo): the same tempo, despite changes of time signature * lugubre: lugubrious, mournful * luminoso: luminously * lunga: long (often applied to a fermata) * lusingando: coaxingly M * ma: but * ma non troppo: but not too much * maestoso: majestically, in a stately fashion * magico: magically * maggiore: the major key * magnifico: magnificent * main droite (French): [played with the] right hand (abbreviation: MD or m. d. * main gauche (French): [played with the] left hand (abbreviation: MG or m. g. ) * malinconico: melancholic * mancando: dying away * mano destra: [played with the] right hand (abbreviation: MD or m. d. ) * mano sinistra: [played with the] left hand (abbreviation: MS or m. s. ) * marcatissimo: with much accentuation * marcato, marc. : marked; i. e. , with accentuation, execute every note as if it were to be accented * marcia: a march; alla marcia means in the manner of a march * martellato: hammered out * marziale: martia l, solemn and fierce * massig (German): moderately (also: ma? ig) * MD: see mano destra and main droite * melancolico: melancholic melisma: the technique of changing the note (pitch) of a syllable of text while it is being sung * measure (US): also â€Å"bar† the period of a musical piece that encompasses a complete cycle of the time signature, e. g. , in 4/4 time, a measure has four quarter note beats * medesimo tempo: same tempo, despite changes of time signature * medley: piece composed from parts of existing pieces, usually three, played one after another, sometimes overlapping. * meno: less; see meno mosso, for example, less mosso * messa di voce: in singing, a controlled swell, i. e. crescendo then diminuendo, on a long held note, especially in Baroque music and in the bel canto period[1] * mesto: mournful, sad meter (or metre): the pattern of a music piece's rhythm of strong and weak beats * mezza voce: half voice; i. e. , with subdued or moderated volume * mezzo: half ; used in combinations like mezzo forte (mf), meaning moderately loud * mezzo forte: half loudly; i. e. , moderately loudly. See dynamics. * mezzo piano: half softly; i. e. , moderately softly. See dynamics. * mezzo-soprano: a female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker vocal tone than sopranos, and their vocal range is between that of a soprano and that of an contralto. * MG: see main gauche * misterioso: mysteriously * mobile: flexible, changeable moderato: moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato * modere (Fr): moderately * modesto: modest * modulation is most commonly the act or process of changing from one key (tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature. * Moll (German): minor; used in key signatures as, for example, a-Moll (A minor), b-Moll (B? minor), or h-Moll (B minor) (see also Dur (major) in this list) * molto: very * morendo: dying; i. e. , dying away in dynamics, and perhaps also in tempo * mosso: moved, moving; used with a preceding piu or meno (see in this list), for faster or slower respectively * MS: see mano sinistra moto: motion; usually seen as con moto, meaning with motion or quickly * movement: a section of a musical composition (such as a sonata or concerto) * munter (German): lively * Mussete (Fr) a dance or tune of a drone-bass character, originally played by a musette * muta [in†¦ ]: Change: either a change of instrument, e. g. flute to piccolo, horn in F to horn in Bb; or a change of tuning, e. g. guitar muta 6 in D. Note: does not mean â€Å"mute†, for which con sordina or con sordino is used. [1] Muta comes from the Italian verb mutare (to change into something). N * narrante: narratingly * natural: a symbol (? ) that cancels the effect of a sharp or a flat (see in this list) * naturale or nat. : natural; i. e. discontinue a special effect, such as col legno, sul tasto, sul ponticello, or playing in harmonics * N. C. : no chord, written in the chord row of music notation to show there is no chord being played, and no implied harmony * Nebenstimme (Ger): secondary part; i. e. , a secondary contrapuntal part, always occurring simultaneously with, and subsidiary to, the Hauptstimme * nicht (Ger): not * niente: â€Å"nothing†, barely audible, dying away * nobile or nobilmente: in a noble fashion * nocturne (Fr): a piece written for the night * notes inegales (Fr): unequal notes; a principally Baroque performance practice of applying long-short rhythms to pairs of notes written as equal; see also swung note * notturno: same as nocturne (see above) number opera: an opera consisting of â€Å"numbers,† e. g. arias, intermixed with recitative O * obbligato: required, indispensable * octave: interval between one musical pitch and another with half or double its frequency. 12 sem itones equals an octave, so does the first and eighth (hence â€Å"oct†ave) note in a major or minor scale. * omaggio: homage, celebration * one-voice-per-part, or OVPP: the practice of using solo voices on each musical line or part in choral music. * ordinario, or ord. (It. ): in bowed string music, an indication to discontinue extended techniques such as sul ponticello, sul tasto or col legno, and return to normal playing. The same as â€Å"naturale†. organ trio: in jazz or rock, a group of three musicians which includes a Hammond organ player and two other instruments, often an electric guitar player and a drummer. * ossia or oppure: or instead; i. e. , according to some specified alternative way of performing a passage, which is marked with a footnote, additional small notes, or an additional staff * ostinato: obstinate, persistent; i. e. , a short musical pattern that is repeated throughout an entire composition or portion of a composition * ottava: octave; e. g. ottava bassa: an octave lower P * parlando or parlante: like speech, enunciated * Partitur (Ger): full orchestral score * passionato: passionately pastorale: in a pastoral style, peaceful and simple * pausa: rest * pedale or ped: In piano scores, this instructs the player to press the damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells the organist that a section is to be performed on the bass pedalboard with the feet. * penseroso: thoughtfully, meditatively * perdendosi: dying away; decrease in dynamics, perhaps also in tempo * pesante: heavy, ponderous * peu a peu (Fr): little by little * pezzo: a composition * pianissimo or pp : very gently; i. e. , perform very softly, even softer than piano.This convention can be extended; the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo) would be softer than pp. Dynamics in a piece should be interpreted relative to the other dynamics in the same piece. For example, pp should be executed as softly as possible, but if ppp is found later in the piece, pp should be markedly louder than ppp. More than three ps (ppp) or three fs (fff) are uncommon. * piano or p (usually): gently; i. e. , played or sung softly (see dynamics) * piano-vocal score: the same as a vocal score, a piano arrangement along with the vocal parts of an opera, cantata, or similar * piacevole: pleasant, agreeable * piangevole: plaintive * pietoso: pitiful, piteous * piu: more; see mosso for an example piuttosto: rather, somewhat; e. g. allegro piuttosto presto * pizzicato: pinched, plucked; i. e. , in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco (in this list), which is inserted to cancel a pizzicato instruction * pochettino or poch. : very little * poco: a little, as in poco piu allegro (a little faster) * poco a poco: little by litt le * poetico: poetic discourse * poi: then, indicating a subsequent instruction in a sequence; diminuendo poi subito fortissimo, for example: getting softer then suddenly very loud * pomposo: pompous, ceremonious * portamento: carrying; i. e. , 1. enerally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato, in this list * portato or loure: carried; i. e. , non-legato, but not as detached as staccato (same as portamento [2], in this list) * posato: settled * potpourri or pot-pourri (Fr): potpourri (as used in other senses in English); i. e. , a kind of musical form structured as ABCDEF†¦ etc. ; the same as medley or, sometimes, fantasia * precipitato: precipitately prelude or prelude (Fr): a musical introduction to subsequent movements during the Baroque era (1600's /17th century). It can also be a movement in its own right, which was more common in the Romantic era (mid 1700s/18th century) * prestissimo: extremely quickly, as fast as possible * presto: very quickly * prima volta: the first time; for example prima volta senza accompagnamento (the first time without accompaniment) * primo or prima (the feminine form): first Q * quarter tone: Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures. quasi (Latin and Italian): as if, almost, e. g. quasi recitativo like a recitative in an opera, or quasi una fantasia like a fantasia R * rallentando or rall. : Broadening of the tempo (often not discernible from ritardando); progressively slower * rapido: fast * rapide (Fr): fast * rasch (Ger): fast * ravvivando: quicken pace * recitativo: recita tively; one voice without accompaniment * religioso: religiously * repente: suddenly * restez (Fr): stay; i. e. , remain on a note or string * retenu (Fr): hold back; same as the Italian ritenuto (see below) * ridicolosamente: humorously, inaccurate, and loosely * rinforzando (rf, or rinf. ): reinforced; i. e. emphasized; sometimes like a sudden crescendo, but often applied to a single note * risoluto: resolutely * rit. : an abbreviation for ritardando;[3] also an abbreviation for ritenuto[4] * ritardando, ritard. , rit. : slowing down; decelerating; opposite of accelerando * ritenuto, riten. , rit. : suddenly slower, held back (usually more so but more temporarily than a ritardando, and it may, unlike ritardando, apply to a single note) * ritmico: rhythmical * ritmo: rhythm, e. g. ritmo di # battute meaning a rhythm of # measures * ritornello  : a recurring passage for orchestra in the first or final movement of a solo concerto or aria (also in works for chorus). * rolled chord: see arpeggiato in this list roulade (Fr): a rolling; i. e. , a florid vocal phrase * rondo: a musical form in which a certain section returns repeatedly, interspersed with other sections: ABACA is a typical structure or ABACABA * rubato: robbed; i. e. , flexible in tempo, applied to notes within a musical phrase for expressive effect * ruhig (Ger): peaceful * run: a rapid series of ascending or descending musical notes which are closely spaced in pitch forming a scale * ruvido: roughly S * saltando: bouncing the bow as in a staccato arpeggio, literally means â€Å"jumping† * sanft (Ger): gently * scatenato: unchained, wildly[5] * scherzando, scherzoso: playfully scherzo: a light, â€Å"joking† or playful musical form, originally and usually in fast triple metre, often replacing the minuet in the later Classical period and the Romantic period, in symphonies, sonatas, string quartets and the like; in the 19th century some scherzi were independent movements for piano, etc . * schleppen (Ger): to drag; usually nicht schleppen (â€Å"don't drag†), paired with nicht eilen (â€Å"don't hurry†) in Gustav Mahler's scores * schnell (Ger): fast * schneller (Ger): faster * schwungvoll (Ger): lively, swinging, bold, spirited * schwer (Ger): heavy * scordatura: out of tune; i. e. , an alternative tuning used for the strings of a string instrument * scorrendo, scorrevole: gliding from note to note secco, or sec (Fr): dry * segno: sign, usually Dal Segno (see above) â€Å"from the sign†, indicating a return to the point marked by * segue: carry on to the next section without a pause * sehr (Ger): very * semitone: the smallest pitch difference between notes (in most Western music) (e. g. , F–F#) * semplice: simply * sempre: always * senza: without * senza misura: without measure * senza sordina, or senza sordine (plural): without the mute; compare con sordina in this list; see also Sordino. Note: sordina, with plural sordine, is strictl y correct Italian, but the forms con sordino and con sordini are much more commonly used as terms in music.In piano music (notably in Beethoven's Moonlight Sonata), senza sordini or senza sordina (or some variant) is sometimes used to mean keep the sustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely. * serioso: seriously * sforzando or sfz: made loud; i. e. , a sudden strong accent * shake: a jazz term describing a trill between one note and its minor third; or, with brass instruments, between a note and its next overblown harmonic. * sharp: a symbol (? ) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too high in pitch. * short accent: Hit the note hard and short . (^) si (Fr): seventh note of the series ut, re, mi, f a, sol, la, si, in fixed-doh solmization. * siciliana: a Sicilian dance in 12/8 or 6/8 meter[6] * sign: see segno * silenzio: silence; i. e. , without reverberations * simile: similarly; i. e. , continue applying the preceding directive, whatever it was, to the following passage * sipario: curtain (stage) * slargando or slentando: becoming broader or slower (that is, becoming more largo or more lento) * smorzando or smorz. : extinguishing or dampening; usually interpreted as a drop in dynamics, and very often in tempo as well * soave: smoothly, gently * sopra: above * sognando: dreamily solo break: a jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as â€Å"break†), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo. * solenne: s olemn * solo, plural soli: alone; i. e. , executed by a single instrument or voice. The instruction soli requires more than one player or singer; in a jazz big band this refers to an entire section playing in harmony. * sonata: a piece played as opposed to sung. * sonatina: a little sonata sonatine: a little sonata, used in some countries instead of sonatina * sonore: sonorous * sonoro: ringing * soprano: the highest of the standard four voice ranges (bass, tenor, alto, soprano) * sordina, sordine (plural): a mute, or a damper in the case of the piano. Note: sordina, with plural sordine, is strictly correct Italian, but the forms sordino and sordini are much more commonly used as terms in music. See also con sordina, senza sordina, in this list. * sordino: see sordina, above * sortita: a principal singer's first entrance in an opera * sospirando: sighing * sostenuto: sustained, lengthened * sotto voce: in an undertone i. e. quietly * spianato: smooth, even * spiccato: distinct, sepa rated; i. e. a way of playing the violin and other bowed instruments by bouncing the bow on the string, giving a characteristic staccato effect * spinto: literally â€Å"pushed† * spiritoso: spiritedly * staccato: making each note brief and detached; the opposite of legato. In musical notation, a small dot under or over the head of the note indicates that it is to be articulated as staccato. * stanza: a verse of a song * stornello originally truly ‘improvised' now taken as ‘appearing to be improvised,' an Italian ‘folk' song, the style of which used for example by Puccini in certain of his operas. * strascinando or strascicante: indicating a passage should be played in a heavily slurred manner * strepitoso: noisy, forceful * stretto: tight, narrow; i. e. faster or hastening ahead; also, a passage in a fugue in which the contrapuntal texture is denser, with close overlapping entries of the subject in different voices; by extension, similar closely imitative p assages in other compositions * stringendo: gradually getting faster (literally, tightening, narrowing); i. e. , with a pressing forward or acceleration of the tempo (that is, becoming stretto, see preceding entry) * subito: suddenly (e. g. , subito pp, which instructs the player to suddenly drop to pianissimo as an effect) * sul E: â€Å"on E†, indicating a passage is to be played on the E string of a violin. Also seen: sul A, sul D, sul G, sul C, indicating a passage to be played on one of the other strings of a string instrument. * sul ponticello: on the bridge; i. e. in string playing, an indication to bow (or sometimes to pluck) very near to the bridge, producing a characteristic glassy sound, which emphasizes the higher harmonics at the expense of the fundamental; the opposite of sul tasto * sul tasto: on the fingerboard; i. e. , in string playing, an indication to bow (or sometimes to pluck) over the fingerboard; the opposite of sul ponticello. Playing over the fingerb oard produces a warmer, gentler tone. * sur la touche (Fr): sul tasto * syncopation: a disturbance or interruption of the regular flow of downbeat rhythm with emphasis on the sub-division or up-beat, e. g. in Ragtime music. T * tacet: silent; do not play tasto solo: ‘single key'; used on a continuo part to indicate that the notes should be played without harmony * tempo: time; i. e. , the overall speed of a piece of music * tempo di marcia: march tempo * tempo di sturb de neighbors[7] seen in Fats Waller's arrangement of Stardust * tempo di valse: waltz tempo * tempo giusto: in strict time * tempo primo, tempo uno, or tempo I (sometimes also written as tempo I ° or tempo 1ero): resume the original speed * tempo rubato, means â€Å"robbed time†; an expressive way of performing a rhythm; see rubato * teneramente: tenderly * tenerezza: tenderness * tenor: the second lowest of the standard four voice ranges (bass, tenor, alto, soprano) * tenuto: held; i. e. , touch on a n ote slightly longer than sual, but without generally altering the note's value * ternary: having three parts. In particular, referring to a three-part musical form with the parts represented by letters: ABA * tessitura: the ‘best' or most comfortable pitch range, generally used to identify the most prominent / common vocal range within a piece of music * Tierce de Picardie: see Picardy third * timbre: the quality of a musical tone that distinguishes voices and instruments * time: in a jazz or rock score, after a rubato or rallentendo section, the term â€Å"time† indicates that performers should return to tempo (this is equivalent to the term â€Å"a tempo†) * tosto: rapidly * tranquillo: calmly, peacefully * tremolo: shaking; i. e. a rapid repetition of the same note, or an alternation between two or more notes (often an octave on the piano). String players perform tremolo with the bow by rapidly moving the bow while the arm is tense. It can also be intended (in accurately) to refer to vibrato, which is a slight undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes). * tre corde or tc (or sometimes inaccurately tre corda): three strings; i. e. , release the soft pedal of the piano (see una corda) * triplet (shown with a horizontal bracket and a ‘3'): Three notes in the place of two, used to subdivide a beat. * tronco, tronca: broken off, truncated troppo: too much; usually seen as non troppo, meaning moderately or, when combined with other terms, not too much, such as allegro [ma] non troppo (fast but not too fast) * tutti: all; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutt i. See also: ripieno. U * un, uno, or una: one, as for example in the following entries * una corda: one string; i. e. , in piano music, depress the soft pedal, altering, and reducing the volume of, the sound. In some pianos, this literally results in the hammer striking one string rather than two or three. For most notes on modern instruments, in fact it results in striking two rather than three strings. ) Its counterpart, tre corde (three strings; see in this list), is the opposite: the soft pedal is to be released. * un poco: a little * unisono or unis (Fr): in unison; i. e. , several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves. Often used to mark the return from divisi (see in this list). * uptempo: a fast, lively, or increased tempo or played or done in such a tempo. [8] It is also used as an umbrella term for a quick-paced electronic music style. * ut (Fr): first note of the series ut, re, mi, fa, sol, la, si, in fixed-doh solmization. V vagans: the fifth part in a motet, named so most probably because it had no specific range * vamp till cue: a jazz, fusion, and musical theatre term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or â€Å"groove† until the band leader or conductor instructs them to move onto the next section * veloce: with velocity * velocissimo: as quickly as possible; usually applied to a cadenza-like passage or run * vibrato: vibrating; i. e. , a more or less rapidly repeated slight alteration in the pitch of a note, used to give a richer sound and as a means of expression. Often confused with tremolo, which refers either to a similar variation in the volume of a note, or to rapid repetition of a single note. via: away, out, off; as in via sordina or sordina via: ‘mute off' * vif (Fr): quickly, lively * vite (Fr): fast * vittorioso: victoriously * virtuoso: (noun or adjective) perform ing with exceptional ability, technique, or artistry * vivo: lively * vivace: very lively, up-tempo * vivacissimo: very lively * vocal score or piano-vocal score: a music score of an opera, or a vocal or choral composition with orchestra (like oratorio or cantata) where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano * vivamente: quickly and lively * voce: voice * volante: flying * V. S. (volti subito): turn suddenly; i. e. , turn the page quickly.While this indication is sometimes added by printers, it is more commonly indicated by orchestral members in pencil as a reminder to quickly turn to the next page. W * wenig (Ger): a little, not much * wolno (Polish): loose, slowly; found as a directive in The Elephant from The Carnival of the Animals by Saint-Saens Z * Zahlzeit (Ger): beat * zart (Ger): tender * Zartheit (Ger): tenderness * zartlich (Ger): tenderly * Zeichen (Ger): sign * Zeitma? , also spelled Zeitma ss (Ger): time-measure, i. e. , tempo * zelo, zeloso, zelosamente: zeal, zealous, zealously * ziehen (Ger): to draw out * ziemlich (Ger): fairly, quite, pretty, or rather * zitternd (Ger): trembling; i. e. , tremolando * zogernd (Ger): doubtful, delaying; i. e. rallentando * zuruckhalten (Ger): hold back See also | Music portal| References 1. ^ a b c d e f Collins Music Encyclopedia, 1959. 2. ^ About the word deest 3. ^ musicdictionary; Merriam-Webster Online Dictionary; American Heritage Dictionary, 4th edition; Gardner Read, Music Notation, 2nd edition, p. 282. 4. ^ Dolmetsch Online, â€Å"Tempo†; Oxford American Dictionary; Collins English Dictionary. 5. ^ Carl Orff, Carmina Burana 6. ^ Definition of Siciliano at Dictionary. com 7. ^ Scivales, Riccardo (2005). Jazz Piano: The Left Hand. Ekay Music, Inc.. ISBN  1-929009-54-2. Retrieved 2011 April 16. 8. ^ â€Å"uptempo† at Oxford Dictionaries Online External links Interpretations of Jazz Band Literature, musical te rms used in jazz * Virginia Tech Multimedia Music Dictionary (contains audio samples) * Choral Conducting Terms * Classical musical terms * Musical Terms Dictionary Definitions [show] * v * t * eMusic| | Help improve this page What's this? ————————————————- Top of Form Did you find what you were looking for? 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