Research Design and Methods Coursework Example | Topics and Well Written Essays - 1750 words

Research Design and Methods - Coursework Example Research according to Jupp (2006) entails exploration, analysis, interpretation and the creation of understanding of varied phenomena which are educational in nature, and pertains a formalized and gradual occurrence of social, cultural and psychological processes. This implies that it deals with educational concerns in which there are possibilities of carrying out satisfactory investigation. Similarly, â€Å"†¦the methods which enable such satisfactory investigations and the utility of the results emanating from the investigation are important.† (Dash 1993). The theoretical questions in education result from varied concepts and social understandings of the same. For this reasons, a number of varied paradigms have been brought forward to explain the criteria depending on the methodology selected and the definitions of the concerns for the inquiry. A paradigm, according to Kuhn (1962) â€Å"†¦an integrated cluster of substantive, concepts, variables and problems attached with corresponding methodological approach and tools† (p.52). Positivism paradigm- The paradigm explores social reality and is anchored on ideas of August Conte, a French philosopher. Conte postulates that the two key aspects of observation and reason inform the understanding of human behavior. He underscores the knowledge is based on sensual experience which is obtained through experimentation and observation. His scientific method is, therefore, used by positivistic thinkers to generate knowledge. There are a number of assumptions under the positivism, which are vital in helping to understand the paradigm. However, these assumptions at some point have been considered as separate paradigms of their own. They include; the assumption of ‘Parsimony’, the assumption of ‘Empiricism’ the assumption of ‘Generality’ and the assumption of ‘Determinism’ which form the framework within which the paradigm is

Discuss the impact on Psychology of Descartes' introduction of Essay

Discuss the impact on Psychology of Descartes' introduction of mind-body dualism - Essay Example He has been faced with grave critiques since he tried to describe the two substances separate as well as unified (Grant, pp. 486, 2000). Descartes, quite technically, defends his idea by saying that when a person performs certain action or behaves in a specific kind of way in the absence of his conscious mind, his body is a manifestation of a mechanical working. However, when human psychology or consciousness is in full swing and functions properly, that is the time the person’s rational soul unites with his other entity, which is called the mechanical human body (Grant, pp. 487, 2000). Thus, the separation of the two substances is to the extent when mental attention is not up to the mark; nevertheless, with the union of body and mind, the human psychology plays a vital role with its optimum concentration and inclination. To view the whole notion in psychological perspective, what Descartes points out is that the functions of thinking, reasoning, questioning, analyzing, and ra tionalizing are wholly and exclusively performed by the soul. Yet, this soul does not take any physical space. However, for this soul to think and rationalize, the manifestation occurs in the existence of the body that does not think but takes a physical space. Thus, the identity of a person is made so concerning its distinct soul that rationalizes and not with its distinct body which is visible. In this case, when the soul has the power to think and manipulate, it even has the power to exist without a physical substance vis-a-vis the body and this is how Descartes makes the distinction. To understand it more clearly, Descartes claimed that the two substances can live without each other but a living human being can be made with the union of the two, exclusively and exhaustively. Hence, the impact on human psychology is based on the soul and not the body, which is void of all moral values and behavioral distinctions. Moreover, the impact on the psychology that Descartes’ mind and body idea makes can also be understood with an example given by Descartes himself. Descartes uses the example of phantom limb pain and explains that when a person for whatever reasons gets any of his arms or legs amputated, he might still feel pain in the missing portion of his body even after sometime. Therefore, the body is not just a visible autonomous being but is greatly linked and intermingled with the mind or the soul. Moreover, this interaction is such that in the psychology of the person, that amputated part of the body still exists even if it is apparently not there and that is the cause of the pain (Grant, pp. 488, 2000). Hence, body and mind/soul make a unit, the two might be two distinct objects but there being together has a great impact on psychology as earlier discussed. Descartes’ concepts are more vividly explained in the aspect of pain that a human feels. He says that it is not merely the transmission of neurons to the brain to feel a certain kind of pa in in the body, it is more of a though process that occurs in the mind/soul to feel and encounter a pain. Thus, the feeling of pain as encountered by a human’s mind/soul has a thorough impact on the psychology of the person to feel or not to feel the pain and to what extent he does that (Grant, pp. 496-499, 2000). Thus, all kind of pain or sensation is psychological and not bodily, as a person’s mind has to perceive the pain first for the overall human to perceive it. It was for the first time that the animal life was referred as that of machines. Descartes was of the

PHYLOSOPHY FINAL ESSAY Example | Topics and Well Written Essays - 1750 words

PHYLOSOPHY FINAL - Essay Example to as â€Å"zombies† will eventually crumble and fall, in addition to that never at one time shall an artificial creation equal or even outdo human thinking and cognitive ability. In addition, the essay will evaluate the two arguments and give a personal supported opinion that is against computationalism, the reason being the impossibility of scientists to create systems similar to humans’, thus the weakness of Dennett’s argument. Dennett (1994) argues that someday, robots will be made that will be able to function just like humans do. To him, human beings are â€Å"†¦a sort of robot ourselves†¦with extraordinarily complex self-controlling, self-sustaining physical mechanisms, designed by natural selection†¦Ã¢â‚¬  He admits that it is a wild ambition to imagine that a human replication can succeed in triumphing over nature by creating an artificial human, but it is not unachievable. The main point of his argument is based on his perspective that a consciousness machine is in no way different from a perpetual one in that both can be programmed to execute specific functions by use of physical processes. The only constriction that [his] project would encounter are the expensive costs of assembling billions of minute mechanisms to direct the robots’ actions. First of all, a robot is a material thing, whereas it is common sense that consciousness requires materialism to exist, a theory of dualism. What this means is that what a man can create will only utilize materials such as metals, plastic, wires, chips and so on, but these are never going to make anything with the ability to think on its own. The reason for that is because there is more to the human being than just the material part; the mind which is not physical, and that is what controls intelligence. Dennett counters this perspective as follows; he defines the notion of immaterial stuff as â€Å"mere superstition since all body processes are today defined and explained and understood through today’s

Linguistics worksheet Lab Report Example | Topics and Well Written Essays - 500 words

Linguistics worksheet - Lab Report Example Being brown eyed can be considered as a reason for believing in UFOs only if non brown eyed people are interviewed and none of them are found to believe in UFOs. b) This again does not prove the theory. It will just show that non brown-eyed people do not believe in UFOs. This does not define the reason of their disbelief nor does it show any connection between believing in UFOs and having brown eyes. a) We can take 10 people; 5 of whom drink coffee while studying and 5 who do not. An assignment will be given to all of them where they have to memorize words, facts or small poems over a period say 3 days. After three days, everyone is given an assignment which should contain few question to quote the learned things and few would be questions which to be answered, need the information they learnt in past 3 days. f) No, because individual memorizing capacity is inherent and can only sometimes depend on genetic conditions. Also, work environment does not change for people who take caffeine and who do not. It affects everyone similarly.

Interventions Case Study Essay Example for Free

Interventions Case Study Essay The case study chosen is about Sean which comes from chapter 7 in the Crisis Intervention Case Book. Sean is a 19 year old sophomore who is currently on disciplinary probation for getting in a fight during freshman year and breaking the other students jaw. Sean admits to drinking and also smoking marijuana since high school and occasionally on campus. Currently Sean was brought to the emergency room by a friend after passing out on the lawn at a beer party. His friend had seen that Sean vomited all over himself and would not wake up. His friend then called 911 and an ambulance came. At the emergency room Sean’s stomach was pumped and a blood test shown an extremely high level of alcohol along with marijuana and oxycontin. Sean’s case is considered a medical crisis because if his friend would of left him there Sean could have choked on vomit and died. Crisis components Sean’s case starts off as a medical crisis because of the circumstances Sean being unconscious and having an extremely high blood alcohol level. In this case if Sean’s friend would have left him on the lawn thinking he was going to let him just sleep the situation could have become critical. Many individuals can vomit or aspirate while intoxicated and could possibly die of asphyxiation especially when they become unconscious or unable to wake up. The individual should be brought to a hospital immediately where they can be observed and treated. Sean combined three different substances that night which included alcohol, marijuana (THC), and oxycontin. This is a lethal combination, which could have ended in Sean being in a coma or possibly even death; because of this Sean could be considered suicidal. It was also mentioned that Sean had alcoholism in his family and it can be genetic. Sean admitted to not being able to control his drinking and not remembering what happened the night before. This is a dangerous aspect of  drinking. Intervention strategies When Sean’s medical crisis was stabilized, he was evaluated and began speaking with a counselor. When speaking to the counselor Sean admits that, he does not remember what happened last night or how he came to be at the hospital. He remembered being at the Sigma house and playing a drinking game around 10:00 pm and did not remember much after that. He even mentioned a story about drinking when he was in high school. Sean was very worried that his parents would find out and that they would make him come home. He seemed to be very nervous about not knowing whether his parents were called or not. Sean admitted to smoking marijuana before the party. He also stated that a friend gave him oxycontin. Sean mentioned that his father was an alcoholic and used to come home all the time drunk, which caused tension between his father and mother. His father would come home slurring his speech, coming home buzzed or sometimes not coming home at all. His father attended AA meeting and he no longer drinks. The counselor asked Sean if it would be okay to set an appointment for him at the outpatient center at the medical center, which Sean seemed willing to do anything to stay in school. The counselor also agreed to meet with Sean’s parents to discuss the plan they have made to make it easier for Sean to confront them. There are other intervention strategies that could have been provided such as a support group that Sean can be involved in with other students who are in the same situation as Sean or who have been there. When trying to stop drinking, peer support groups can be an invaluable source of guidance, assistance, and encouragement. Groups are very helpful, not only in maintaining sobriety, but also as a safe place to get support and discuss challenges. Connecting with others who know first-hand what you’re going through can help reduce feelings of isolation, fear, and hopelessness. Staying motivated and positive is much easier when you have others you can turn to and lean on to help you get through tough times. It would also benefit Sean to join a school club or sport. Sean would feel part of a team and can spend extra time practicing and keeping busy instead of drinking. If Sean’s drinking escalates then he may need to attend weekly AA meetings. Sean could also look into changing dorms to one that I think the last draw would be moving back home and getting away from the partying environment. His parents could  give him support and he would have a safe place to come home to after classes and on the weekends. Strategy to implement change There is not much that can be done to change someone who doesn’t believe they have a problem and who doesn’t want to change. However the university that Sean attends could set a new policy to make changes within the school and students. It seems to me that there are many parties which include drinking, and drugs on school property and any plans would have to include limiting drinking on campus and in the dormitories, a strong drug enforcement policy and disiplines when these policies are broken. A strategy could be for the school to ban excessive partying to the point where people are passing out and are in danger. It can be impossible to eliminate partying all together, but there can be rules such as partying must not proceed past 12:00 on school campus. On an extreme level the university could put a ban on all alcohol on campus and enforce it strictly. They can put students on an academic probation, or even expel them altogether if found with drugs, or alcohol. If authorities are involved which would include a student being brought to a hospital from drugs/drinking that person will be banned from living on university property if continued. This can eliminate the amount of partying and the level of partying going on. It can even come to a point where a student may be kicked out of the university because of multiple warnings. This can promote change to the campus and the students knowing that the university does not support drug abuse, or alcohol abuse. The university would have to take a strong stand and enforce these rules for them to be successful. In conclusion there are many aspects that would qualify Sean as an alcoholic. Sean cannot control his drinking and will not remember what happened the night before. Sean has had drinking altercations in the past. He also admits to using marijuana and other drugs such as oxytocin. Sean’s counselor set an appointment at an outpatient center and agreed to meet with his parents to discuss their plan. Further interventions such as support groups and AA meeting may be necessary if Sean’s drinking does not decrease. To implement change the university may need to add policy’s that relate to drinking on campus and partying. This will help students like Sean who may struggle with alcohol and other drugs. Reference: Cavaiola, A. A., Colford, J. E. (2011).Crisis intervention case book. Belmont, CA: Brooks/Cole Cengage Learning.

Examining the difference between a material weakness and a significant deficiency

Examining the difference between a material weakness and a significant deficiency The purpose of this memo is to summarize selected paragraphs of AS5 to form an understanding of how the top down approach is applied to an audit of internal controls. It is also to explain the difference between a material weakness and a significant deficiency by providing a list of indicators of material weaknesses, as well as an explanation of how both a material weakness and a significant deficiency will be communicated to the audit committee and on the auditors report. Top Down Approach The purpose of using the top down approach for an audit of internal controls is to allow the auditor to take a systematic approach to identify risks and select which controls to test. The top down approach begins with the auditor forming a general understanding of the entity and the industry in which it operates. This is accomplished by looking at the companys financial statements, and acquiring general business knowledge. The auditor then looks at the entity-level controls of the company to ensure that sufficient policies and procedures are implemented to recognize misstatements, due to error or fraud, in a timely manner so that material misstatements do not affect the financial statements. The two most important types of entity-level controls are those related to the control environment, and those over the period-end financial reporting process. Controls over the control environment should assess how management promotes ethical values and integrity, as well as whether or not the Board of Directors or the audit committee has assumed the responsibility of the accuracy and completeness of the financial statements and internal controls. Controls over the period-end financial reporting process should assess the methods used to enter information to the general ledger, how much IT is used in the financial reporting process, types of adjusting and consolidation entries, and the involvement of management, Boa rd of Directors, and the audit committee in the period-ending financial reporting process. Other entity-level controls that must be taken into account include controls over management override, the companys risk assessment process, centralized processing controls, controls that monitor operations, and controls that monitor other controls. It is important to understand that entity-level controls vary both in nature and precision. Some entity-level controls only indirectly affect the likelihood of detecting or preventing material misstatements, whereas others are specifically designed to monitor the effectiveness of the other controls. The more precise the control, the less tests the auditor must perform on those controls. Next, the auditor identifies any significant accounts and disclosures, and their relevant assertions. Relevant assertions are basically risky financial statement assertions. Financial statement assertions show that a transaction has occurred, is complete, is valued correctly, has transferred ownership to the company, and is properly presented on the financial statements. A relevant assertion, therefore, would be any of these financial statement assertions that are exceptionally vulnerable to having a misstatement and could cause the financial statements to be materially misstated. Significant accounts and disclosures that require more attention are those that are larger in size, are more susceptible to misstatements, are very complex, contain a larger volume of transactions during the period, have realized losses during the period, involve a high likelihood of related party transactions within the account, or there has been a significant change in the accounting methods used from las t year. It is beneficial for the auditor to go through the financial statements, and for each account and disclosure brainstorm all the ways it could have been misstated to identify as many risky areas as possible. Risk factors, as well as significant accounts and disclosures, and their relevant assertions will be the same for both the audit of internal controls as well as the financial statement audit. When auditing an enterprise with multiple business entities, the auditor should use the consolidated financial statements to identify significant accounts and disclosures. The next step is for the auditor to understand likely sources of misstatement. In order to do this, the auditor should achieve a series of objectives. These objectives include the auditor being able to show where there are vulnerabilities in a companys internal controls that could result in material misstatements to the financial statements, and what controls management has implemented to reduce these risks. The best way for the auditor to achieve these objectives is by performing walkthroughs. A walkthrough is when the auditor follows a transaction from its origination until it reaches the financial records, and makes sure that all of the control procedures were conducted properly. It is important that the auditor conducts these types of procedures him or herself and takes careful notes about what type of information technology is used, as well as what personnel is involved in each processing procedure. The final step in the top down approach is to select which controls to test. The auditor should test each control that is the most important in determining whether or not a particular risk has been sufficiently addressed. If two controls address the same risk, it may not be necessary to test both controls. Also, it may not be necessary to address two risks separately if one control sufficiently addresses both of them. Together, the tests of these internal controls will provide the auditor with a conclusion about the effectiveness of the internal controls over financial reporting. Material Weakness or Significant Deficiency The difference between a material weakness and a significant deficiency is simply that a significant deficiency is less severe. A significant deficiency is, however, still risky enough for the auditor to let management know so that they may have a chance to get rid of the problem. If management does not sufficiently address the problem within one year, the deficiency becomes a material weakness. All material weaknesses must be communicated to both management and the audit committee as well as mentioned in the auditors report on internal controls over financial reporting. A material weakness is a problem with the internal controls over financial reporting that will most likely result in an important error on the financial statements that would alter creditors and investors opinions about the company. Indicators of Material Weaknesses Auditing Standard five mentions four important indicators of material weaknesses to help the auditor determine what deficiencies are considered material weaknesses. The first indicator of material weakness is if there is any evidence that shows there may be fraud present. The second occurs when management alters the financial statements to fix a material misstatement that they found. The third is when the auditor finds a material misstatement and informs management about the problem. The fourth is an assessment of the audit committee. If the audit committee is doing a poor job acting as oversight over the financial reporting process of the company, there may be an increased likelihood of a material weakness. If any or all of these indicators are present for a given deficiency, the auditor should compare the facts with what a reasonable professional would consider to be in accordance with GAAP. If this is determined not to be true, the auditor must consider this deficiency a material weakness and disclose it on the auditors report of internal controls over financial reporting. Communicating to the Audit Committee and on the Auditors report The auditor is required to report any and all deficiencies found to management in writing and tell the audit committee about this communication. If the deficiency has already been revealed to management through different means, the auditor does not need to repeat this communication. If a material weakness is discovered, the auditor must communicate it to management and the audit committee first, and then disclose it in the auditors report. If a deficiency is determined to be significant, the audit committee, as well as management, must be informed in writing. The auditor is not responsible to report control deficiencies he or she is not aware of, nor is he or she responsible to provide assurance that all deficiencies have been discovered. The top down approach is a systematic method of assessing risk that an auditor uses to locate specific areas of risk in a companys internal controls over financial reporting, and select the best tests to make sure these risks are sufficiently addressed. The top down approach requires the auditors to start by understanding a company and its industry, then moving down to the companys entity-level controls, then to significant accounts and disclosures and their relevant assertions, then double check that the auditor has a complete understanding of the risks, and then finally select the controls that are necessary to test to make sure that all risks have been addressed. The main difference between a material weakness and a significant deficiency is that a significant deficiency is less severe. Also, although both must be communicated, in writing, to both management and the audit committee, only a material weakness must be disclosed in the auditors report.

String Quintet

String Quintet I. A Proposed Analysis of the String Quintet in F If the only thing Bruckner had ever written for string instruments had been the slow movement to his string quintet, his reputation would have been secured for all time. The entire work is so admirable that it is hard to believe that its creator had little familiarity with string chamber music. Though true, it is hard to credit that Bruckner did not know Beethovens late string quartets at the time he wrote this work. Its harmonies are quite unique and characteristic of Bruckners love of harmonic seconds and half tones. As a result, the intonation is at times quite difficult to get right but even amateurs need to overcome these so as to make the acquaintance of this magnificent work. The first movement, Gemà ¤ÃƒÅ¸ig, entirely avoids the usual Allegro mood one expects to find in a first movement. The plastic main theme is full of yearning and developed at great length until the entrance of the lyrical second theme, which conveys almost unimaginable bliss. The second movement, Scherzo, is highly syncopated though here, as opposed to its appearance in his symphonies, it is gentler and has a melancholy, contemplative mood to it. The trio section is closely related to the old-style minuet though it is full of feeling. The aforementioned slow movement, Adagio, takes one directly to heaven. This is music of affirmation and there is no sense of resignation to an inevitable and unwished for fate. The tonal color is quite unique, especially when the cello falls silent. The main theme of the finale, Lebhaft bewegt, has a staccato motif over an organ-like underpinning. The slower delightful second theme is a real piece of Austrian folk music and the variations on it are very pleasing.[1] Above is a useful aesthetic and dimensional introduction to the String Quintet in F, as expressed by the prominent German musicologist Wilhelm Altmann, who lived between 1862 and 1951. A facsimile of the 1926 Universal Edition miniature score of the quintet is included as an appendix, and it is suggested that one experiences both the score and its realisation before engaging with the content of this thesis. It is not the purpose here to provide a rigorous analytical discussion, however, what follows is a proposed structural overview of the four movements of the work, which will be followed by a detailed examination of the Adagio. Moderato (F minor) 1 98 Exposition 1 72 Primary Subject Group 73 98 Primary Subject Group 99 170 Development 171 273 Recapitulation and Coda Scherzo (D minor) 1 62 Vivace 63 82 Pià ¹ lento 83 119 Vivace Trio Pià ¹ lento 120-159 Da Capo 1 119 Vivace- Pià ¹ lento -Vivace Adagio (G flat minor) 1 18 Primary Subject Group 18 34 Transition I 35 56 Secondary Subject Group 57 66 Transition II 67 82 Simultaneous Recapitulation/Elaboration of Primary Subject Group 83 138 Simultaneous Recapitulation/Elaboration of Secondary Subject Group 139 167 Simultaneous Recapitulation/Elaboration of Primary Subject Group 167 173 Coda: Tonic (G flat minor) consolidation by restatements and dominant implications Finale (D flat minor à   F major) 1 16 Primary ‘Quartet Theme (Vivace) 17 32 Contrapuntal Quintet Theme (Im Tempo etwas nachgebend) 33 70 Cantabile Theme (Langsamer) 71 108 Agitato imitative theme 109 114 Simultaneous Recapitulation/Elaboration of Cantabile Theme 115 158 Synthesis and Elaboration of all themes 159 195 Recapitulation of Primary ‘Quartet Theme and concluding fff cadential flourish ~ According to Leopold Nowak, the third movement of the String Quintet in F, the Adagio, was composed between 10 and 31 March 1879.[2] Initially, I will establish how the Adagio functions by means of interaction between the five solo instruments, through a detailed examination of Bruckners treatment of structure, thematic material and harmony throughout the movement, in addition to his exploitation of the quintet idiom. In the following chapter, ‘III. Historical Reception and Criticism, I will engage with a spectrum of critical assessments of this particular movement, considering value judgements based on symphonic or chamber expectations, or indeed both. Timothy L. Jackson has documented how throughout his career ‘Bruckner considered sonata form to comprise of essentially two (rather than three) large spatial units, whereby the exposition is one element and the development and recapitulation together form the other.[3] Bruckner, according to Jackson, referred to the development and recapitulation of the opening movement of Symphony No. 9 in D minor (1894) as ‘the second part, or ‘2. Abtheilung.[4] Table 1, overleaf, displays how the Adagio convincingly functions as a two-part movement. In harmonic terms, Bruckner creates a divide between the respective sections by travelling further from the tonic and its mediant, which form the basis of the first section, to keys such as D minor and E flat in the second section. The thematic treatment in the respective sections further supports the notion of two-part division in the Adagio, with thematic material being presented in an original context between bars 1 and 66,[5] but with the juxtaposition of recapitulation with regeneration, or development, throughout bars 67 to 173. Table 1 Analysis Diagram Bar Reference Structural Position Structural Function Tonal Function Thematic Function 1 18 Section 1 Primary Subject Group Tonic (G flat minor) established (bar 13) Exposition of themes A (violin I, bb. 1-9) + B (violin I, bb. 10-12) 18 34 Transition 1 G flat minor à   B flat minor Link subject groups + consolidate B 35 56 Secondary Subject Group B flat minor consolidated (bars 56-57) Exposition of themes C (viola I, bb. 37-41), D (cello, bb. 51-4) + E (cello, bb. 55-7) 57 66 Transition 2 Tonic preparation (implied V7c at bar 66) Links Sections 1 + 2 and consolidates A 67 82 Section 2 Recapitulation/Elaboration of primary subject group Tonic (G flat minor) à   G flat major) Recapitulation and imitative treatment of A 83 114 Elaboration of Secondary Subject Group and Climax 1 at bar 107. Durchfà ¼hrung style modulatory passage. Concluding with D minor preparation (bar 114) Elaboration of Secondary Subject Group themes 115 138 Recapitulation/Elaboration of Secondary Subject Group and Climax 2 at bar 135 D minor initially, before Durchfà ¼hrung style modulatory passage at bar 138: E flat minor cadence Recapitulation combination, and contrapuntal treatment of themes 139 167 Recapitulation/Elaboration of Primary Subject Group and Climax 3 at bar 141 Tonic (G flat minor) Contrapuntal and sequential treatment of A and B 167 173 Coda Tonic (G flat minor) consolidated by tonic re-statements and repeated dominant implications (second violin) Derived from theme and accompaniment C. Diminished seventh leap and accompaniment reinstatements decrease William Caplin has argued that composers typically condense and adopt a lesser degree of formal and motivic complexity within slow movements, in order to limit duration. Thus they are ‘inherently simpler than other string quintet movements.[6] Although constructed in a binary fashion, Bruckners Adagio, in opposition to Caplins argument, includes the exposition (e.g. bars 1-18), elaboration (e.g. bars 83-114) and recapitulation (e.g. bars 139-167) of thematic material, revealing a full compliance with the fundamental procedures of sonata form as propounded by Arnold Schoenberg.[7] Thematic material from Bruckners exposition areas ( 1, bar 1, and 2,[8] bars 37-8) is presented in different tonal areas, in sequence ( 3,[9] bars 61-2), in inverted imitation ( 4, bars 99-101), and in progressive diminution ( 5, bars 169-73. Here the rising major sixth of 2 is progressively compressed in the second violin). Bruckners juxtaposition of thematic elaboration and recapitulation in the second section of the Adagio stands in parallel with the earlier quintets of Mozart, allegedly ‘the first to exploit fully the †¦ possibilities of the medium†¦ successfully and consistently.[10] For example, in the Adagio ma non troppo of the String Quintet in G minor, K. 516, Mozart excludes an independent developmental section, choosing instead to progress directly from the exposition (bars 1 37) to the recapitulation (bars 38 82). However, prefiguring the Brucknerian approach, Mozarts recapitulation features both the reinstatement and regeneration of material from both the primary and secondary subject groups, and thus manifests the integration of two elements of the sonata principle, elaboration and recapitulation. Hans Hubert Schà ¶nzeler has argued that Bruckner considered the traditional architecture and procedures of sonata form ‘a mere starting point, which he filled out, moulded and fashioned to suit his own particular requirements.[11] Schà ¶nzelers viewpoint can be confirmed by an examination of Bruckners formal construction in the Adagio. Table 1 refers to a sequence of three points of climax, at bars 107, 135 and 141 respectively. At bar 107 the inversion of a secondary theme (originally presented at bar 55) is presented strongly in the bass, whilst the remaining four voices have the same dynamic marking of fff. On the second quaver of the bar, when all five instruments are being played, the pitch range extends two octaves and a perfect fifth, which represents the greatest range thus far in the movement. At bar 135, whilst the pitch range (maximum of two octaves and a major third) and dynamic markings (ff) are less than before, the use of homophony to present the secondary theme maintains the climactic strength ( 6 bar 135, below). Finally, at bar 141 Bruckner recapitulates bars 14-34 climactically by means of an ff unison trill in the violins, whilst the lower strings play in dense homophony ( 7). The first beat of bar 141 contains the greatest pitch range in the entire movement, at two octaves and a major sixth. Bruckners use of a climactic sequence in the latter stages of the movement creates a sense of teleological progression. The thematic organicism central to sonata form is utilised to create a dramatic, linear gradient throughout the movement until the respective points of climax. In contrast to the resolution of tension associated with the traditional tonic recapitulation, Bruckners procedure creates an alternative region of arrival within the ‘Adagio. The reiteration (through a three-point succession) of climax, before the gradual dissipation of texture, dynamics and thematic significance throughout the final passage (bar 150 onwards), reflects Bruckners use of a climactic sequence in the latter stages of the movement to create a sense of apogee, as opposed to the traditional resolution. The adoption of teleological and motivically interactive compositional processes in the nineteenth century, with roots in works such as Beethovens fifth and ninth symphonies, was common. Ernest Newman has documented how the climactic region of the Prelude to Wagners Tristan und Isolde the two maximum points of dynamic, ff, which occur between bars 74 84 features motivic material directly derived from earlier in the movement.[12] In a similar fashion, Beethovens Allegretto ma non troppo from the Piano Sonata No. 28 in A major, Op. 101 reaches a teleological elaboration of the syncopated chord progression of the exposition codetta (see s 8 and 9).[13] By the time Bruckner was composing his string quintet, the positioning of musical climaxes became imperative to the progression of a movement. Notably, the climaxes of the Beethoven and Wagner examples above are positioned in close proximity at 83% and 76% through the Allegretto ma non troppo and the Prelude respectively.[14] Newman argues that ‘Wagner unconsciously obeys that natural law of structure that brings in the climax at a point about two-thirds of the time-distance between the beginning and the end.[15] In the Adagio of the String Quintet in F Bruckner positions the three points of climax at 62%, 78% and 82%, respectively. Interestingly, the first point of climax (bar 107) occurs at the ‘Golden Section, the Greek numerical constant of 0.6180 (4 d. p.).[16] This proportion, which has been widely cultivated by architects, artists and musicians, is manifest in works such as the De Divina Proportione (1509) of Luca Pacioli and Leonardo da Vinci, or reflected in the structural proportions of Debussys La Mer (1905),[17] and is believed to produce ‘harmonious proportions and maximise aesthetic experience.[18] The composition of three individual points of climax results in the creation of an extended climactic region, lasting almost a quarter of the Adagio, revealing the presence of a Schubertian ‘heavenly length, a musical device which allegedly interested and influenced Bruckner.[19] Simultaneously, Bruckner cleverly initiates his climactic passage at the point governed by Newmans ‘natural law of structure, but incorporates teleological prolongation by the sustaining positioning of the remaining two climaxes. Harmonic Analysis Similarly to Bruckners manipulation of the traditional thematic functions of classical form, harmonic relationships are exploited in order to enhance the linear progression. A detailed harmonic analysis of the first section reveals how Bruckner exploits the availability of a wide range of keys, such as E flat minor and B flat major (transition 1). Harmonic freedom is also signified by the use of a fluctuating B flat centre during the secondary subject group, through the Schubertian procedures of modal switches and tertiary relationships, and the more adventurous use of harmonic colouring found in the work of Wagner. Theme C, introduced by the first viola at bar 37, is emphatically diatonic and outlines an essentially triadic progression, accentuating the tension between the flattened and raised third degree. A simple presentation of the key areas explored in the secondary subject group and the second transition displays the remote key relationships employed by Bruckner. The implicati on of chromatic or Neapolitan relationships (e.g. the chord of Db major originating as the Neapolitan chord of C major) results in an expanded palette of key relations: bar 34 Bmajor/minor bar 51 C major bar 53 D major bar 57 B major/minor bar 61 Transition, preparing G major By employing distant and frequently fluctuating key relationships during the Adagio, Bruckner produces tonal instability, a tension-building device used by predecessors such as Schubert, and also Beethoven, in the Bagatelle, WoO 60 (1818) and Symphony No. 5 in C minor (1808), with the ambiguous (C minor/E flat major) tonal identity of its opening motivic gesture. Freed from the conventional assembly of harmony and thematic material, Bruckners formal approach to the Adagio can be comprehended through Dahlhauss definition of a schematic form one ‘sustained exclusively by the quality of the initial idea, the individual character of which compensated for the conventionality of the overall outline.[20] In the case of the Adagio, the ‘initial idea is the gradual, yet continuous, gradient of tension leading to the climactic sequence. [1] Handbuch fà ¼r Streichquartettspieler (Berlin, 1931) [2] L. Nowak, op. cit. [3] P. Hawkshaw and T. L. Jackson, op. cit. [4] Ibid. [5] With the exception of the two transitional passages (bb. 18-34 and bb. 57-66), in which thematic material is recycled to link subject groups and reinforce the primary subject group. James Webster (‘Sonata form, in L. Macy [ed.] Grove Music Online [accessed 01-12-08]) documents the traditional reuse of central thematic material in both codas and transitions. [6] W. Caplin, Classical Form (1998), 209. [7] A. Schoenberg, Fundamentals of Musical Composition (1967). [8] The conventional clef distribution, as in 1, will be assumed unless otherwise stated. [9] The clef distribution for this example is violin 1 and violin 2 (treble) and viola 1 (alto). [10] Cliff Eisen, ‘String quintet, in L. Macy (ed.), Grove Music Online (Accessed 01-12-09) [11] H. H. Schà ¶nzeler, Bruckner (1970), 75. [12] E. Newman, ‘The Prelude, in R. Bailey (ed.), Prelude and Transfiguration from ‘Tristan und Isolde (1985), 153 161. [13] Both s 8 and 9 are presented as piano reductions, with the conventional treble (upper line) and bass (lower line) distribution. [14] Percentages have been calculated in relation to the total number of bars per movement. For example, the Allegretto ma non troppo contains 102 bars. The region of climax is initiated with the crescendo mid-way through bar 84. Bar ‘84.5 as a percentage approximates to 83%. [15] E. Newman, op. cit., 153 161. [16] R. Tatlow, ‘Golden number [golden section], in L. Macy (ed.), Grove Music Online (accessed 01-12-09). [17] R. Howat, Debussy in Proportion: A Musical Analysis (1983). [18] R. Tatlow, op. cit. [19] G. E. Arnold and E. Agate, ‘The Different Versions of the Bruckner Symphonies, The Musical Times, 78/11 (1937), 17 20. [20] C. Dahlhaus, ‘Issues in Composition, in C. Dahlhaus (ed.), Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall (Berkley and Los Angeles, 1980), 44.