Power and Influence

My total self-reported score on the "Gaining power and influence" quiz was 154, indicating that I am in the top quintile of respondents. My highest scores were in gaining information and my ability to use my influence. I believe my score was high because I genuinely always try to do my best and to be 'the best I can be' in any organizational situation. This also suggests that I am able to use power in a positive fashion, according to the Raven and French model of using power.

Another extraordinary person described by Joanne Lipman in “And the Orchestra Played On” is a music teacher, Mr. K. or Jerry Kupchynsky. Lipman never directly says that Mr. K. was a great teacher, but her essay shows it very clearly. At first Mr. K. gives the impression of a tough, rude man, but it changes gradually throughout the story. Strict and demanding, Mr. K. loved discipline and cooperation. He wasn’t mean, but his life was mean to him. He endured fascist camps, the death of his wife from a long suffering disease, immigration, and the murder of his daughter. In my opinion, he was very lonely and had the right to hate life. However, he was the type that believes “what does not kill us makes us stronger”. He did not give up, found his strength and love in music, and taught

Some theorists believe that ‘power is everywhere: not because it embraces everything, but because it comes from everywhere… power is not an institution, nor a structure, nor possession. It is the name we give to a complex strategic situation in a particular society. (Foucault, 1990: 93) This is because power is present in each individual and in every relationship. It is defined as the ability of a group to get another group to take some form of desired action, usually by consensual power and sometimes by force. (Holmes, Hughes &Julian, 2007) There have been a number of differing views on ‘power over’ the many years in which it has been studied. Theorist such as Anthony Gidden in his works on structuration theory attempts to integrate basic

Through weekly private lessons, chamber, wind, and orchestra ensemble playing, and assiduous independent practice, I have improved immensely as a trombonist and musician. My work paid off when I was accepted into Boston University’s Tanglewood Institute. At this nationally competitive program, I spent six weeks with talented, dedicated students while rubbing shoulders with the Boston Symphony Orchestra (BSO). I had never heard elite musicians live before the BSO. Their concerts brought tears to my eyes and my drive to make music at the highest level grew. After receiving instruction from these musicians and hearing their own performances, I refined my technique and made more tasteful musical decisions.

It is my firm belief that if Mrs. Hess-Bolte didn't love what she did then she wouldn't be doing it. She spends hours hours working with students and even more try to improve herself for the good of the choir. She gives up her free time to help with the musical and, as of the writing of this paper, has just spent five days on a bus touring with students. If she doesn't love what she does then she wouldn't do all the things she does and it is for that reason that she deserves the best teacher

In the article “America's Orchestras are in Crisis”, Kennicot underlines the fact that the American orchestras have been undergoing a rough patch in the recent times. He uses the example of the Schermerhorn Symphony Center, which in spite of the massive investment that was made its creation, it has been accumulating debts and having a bleak future. This is also the case for Nashville Symphony, which has been accumulating deficits to the tune of $10 to $20 million per year. This shows an extremely bleak picture as far as the future of symphony orchestra is concerned. Indeed, similar sentiments are expressed by Jennie Dorris in “The Audition”, where she gives the story of Tetreault, a Colorado-based percussionist who has put in 100-hour weeks

On September 27, 2013, this article was published by the Wall Street Journal. Written by Joanne Lipman, inspired by Mr. Kupchynsky about how tough teachers get good results. The article starts off with a memory of the author's childhood in New Jersey. About how Mr. Kupchynsky, a strict music teacher, was not afraid to call someone out or poke them with a pencil to correct them. However, when Mr. Kupchynsky died, former students and colleagues from all around came together to perform a concert in his memory. Even though Mr. Kupchynsky was a tough teacher his former students came together to form an "orchestra the size of the New York Philharmonic"(Lipman 1). In addition to this the author points out how successful Mr. Kupchynsky former students

As a member of the orchestra, Stephen distinguished himself by his solid musicianship, dependability, and leadership. Always on time for rehearsals with his music well prepared, Stephen’s supportive attitude and musical skill inspired his fellow performers. Greatly respected by members of the orchestra, he was appointed concertmaster in his freshman year, a rare accomplishment. In 2005 he won the orchestra concerto competion, and soloed with the orchestra, performing Pablo de Sarasate’s Zigeunerweisen. I have engaged him to solo again with

The concert I will be reviewing was performed by Gregory Sauer (cello) and Eric Jenkins (piano) as part of the UTRGV Patron of the Arts Guest Artist Series, which began at 7:30 PM on Monday, October 3, 2016 in the TSC Arts Center Performance Hall. This well-rounded program included modern works from the 20th Century as well as works of the Late-Romantic and Baroque eras. Sauer 's style and expression varied according to the piece he was performing; however, the principle elements of his virtuosity remained unaltered throughout Monday night 's performance. These foundational practices are what made each articulation and individual piece not only well-understood, but (and more importantly) consistent.

Leonard Slatkin, born September 1, 1944, is an accomplished conductor who has stood behind the podium of many orchestra’s.1 Slatkin’s parents Felix Slatkin, violinist-conductor, and cellist Eleanor Aller were both prominent musicians who took pride in their talents.2 Also, his maternal great uncle was Modest Altschuler, cellist and conductor for the Russian Symphony Orchestra in the early 1900’s.3 Due to his musically inclined family, Slatkin began his musical training at an early age; his initial instrument was violin, until his father taught him the basics of conducting.4 Slatkin went on to Aspen and Julliard to pursue a career in conducting. Later, in the year 2000, Slatkin became the eleventh Chief Conductor of the BBC Symphony Orchestra.5

Never could I have thought that my first concert experience was going to be in a college class, performed by various composers of classical music. During the concert, I got to listen to four performances. First, the Oxycotton was played by Tim Sanchez. Second, Samantha Post played Acht Stucke on flute, followed by Nicholas Gledhill, playing Blues and Variations for Monk on horn. Finally, the CSU Graduate Brass Quintet performed a piece named Misty. In this essay, I will share my personal experience of the concert and discuss the different elements of music seen in the different performances.

Settling for mediocrity is one of Mr. Reichert’s pet peeves, as demonstrated in his diligent efforts to improve the music program beyond its past level of performance. He takes pride in teaching music, and often reminds his students that’s he’s fortunate enough to love his job. The diversity of South City’s students impresses him, and he enjoys getting to work with students who he thinks are great.

I have never had any sort of chance to see an orchestra or symphony play until Saturday February 6th, 2016 when I went to the Indianapolis Symphony Orchestra, and I have to say it was quite the experience. During this event, Krzysztof Urbanski conducted Music from 2001: A Space Odyssey which was a 1968 film which was popularly known for its use of classical music.

I interviewed Forest City High School’s band director Mr. Cory Schmitt. He argued that Ludwig Van Beethoven was the best composer. He and I discussed Beethoven’s music, style, technique, and contribution to music.

“I had been conducting for nearly twenty years when it suddenly dawned on me that the conductor of an orchestra does not make a sound… his true power derives from his ability to make other people powerful.”