Wolfgang Amadeus Mozart Essay example Example For Students

Wolfgang Amadeus Mozart Essay example Wolfgang Amadeus Mozart was born in Salzburg in Austria, the son of Leopold, Kapellmeister to the Prince-Archbishop of Salzburg. By the age of three he could play the piano, and he was composing by the time he was five; minuets from this period show remarkable understanding of form. Mozarts elder sister Maria Anna (best known as Nannerl) was also a gifted keyboard player, and in 1762 their father took the two prodigies on a short performing tour, of the courts at Vienna and Munich. Encouraged by their reception, they embarked the next year on a longer tour, including two weeks at Versailles, where the children enchanted Louis XV. In 1764 they arrived in London. Here Mozart wrote his first three symphonies, under the influence of Johann Christian Bach, youngest son of Johann Sebastian, who lived in the city. After their return to Salzburg there followed three trips to Italy between 1769 and 1773. In Rome Mozart heard a performance of Allegris Misere; the score of this work was closely guarded, but Mozart managed to transcribe the music almost perfectly from memory. On Mozarts first visit to Milan, his opera Mitridate, rà © di Ponto was successfully produced, followed on a subsequent visit by Lucia Silla. The latter showed signs of the rich, full orchestration that characterizes his later operas. A trip to Vienna in 1773 failed to produce the court appointment that both Mozart and his father wished for him, but did introduce Mozart to the influence of Haydn, whose Sturm und Drang string quartets (Opus 20) had recently been published. The influence is clear in Mozarts six string quartets, K168-173, and in his Symphony in G minor, K183. Another trip in search of patronage ended less happily. Accompanied by his mother, Mozart left Salzburg in 1777, travelling through Mannheim to Paris. But in July 1778 his mother died. Nor was the trip a professional success: no longer able to pass for a prodigy, Mozarts reception there was muted and hopes of a job came nothing. Back in Salzburg Mozart worked for two years as a church organist for the new archbishop. His employer was less kindly disposed to the Mozart family than his predecessor had been, but the composer nonetheless produced some of his earliest masterpieces. The famous Sinfonia concertante for violin, violo and orchestra was written in 1780, and the following year Mozarts first great stage work, the opera Idomeneo, was produced in Munich, where Mozart also wrote his Serenade for 13 wind instruments, K361. On his return from Munich, however, the hostility brewing between him and the archbishop came to a head, and Mozart resigned. On delivering his resignation he was verbally abused and eventually, physically ejected from the archbishops residence. We will write a custom essay on Wolfgang Amadeus Mozart example specifically for you for only $16.38 $13.9/page Order now Without patronage, Mozart was forced to confront the perils of a freelance existence. Initially his efforts met with some success. He took up residence in Vienna and in 1782 his opera Die Entfà ¼hrung aus dem Serail (The abdication from the Seraglio) was produced in the city and rapturously received. The same year in Viennas St Stephens Cathedral Mozart married Constanze Weber. Soon afterwards he initiated a series of subscription concerts at which he performed his piano concertos and improvised at the keyboard. Most of Mozarts great piano concertos were written for these concerts, including those in C, K467, A, K488 and C minor, K491. In these concertos Mozart brought to the genre a unity and diversity it had not had before, combining bold symphonic richness with passages of subtle delicacy. In 1758 Mozart dedicated to Haydn the six string quartets that now bear Haydns name. Including in this group are the quartets known as the Hunt, which make use of hunting calls, and the Dissonance, which opens with an eerie succession of dissonant chords. Overwhelmed by their quality, Haydn confessed to Leopold Mozart, Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name. The pieces are matched in excellence in Mozarts chamber music output only by his String Quintets, outstanding among which are those in C, K515, G minor, K516 and D, K593. Also in 178 Mozart and Lorenzo da Ponte collaborated on the first of a series of operatic masterpieces. Le nozze di Figaro (The Marriage of Figaro) was begun that year and performed in 1786 to an enthusiastic audience in Vienna and even greater acclaim later in Prague. In 1787 Prague ´s National Theatre saw the premiere of Don Giovanni, a moralizing version of the Don Juan legend in which the licentious nobleman receives his comeuppance and descends into the fiery regions of hell. The third and last da Ponte opera was Cosà ­ fan tutte (Women are all the same), commissioned by Emperor Joseph II and produced at Viennas Burgtheater in 1790. Its cynical treatment of the theme of sexual infidelity may have been responsible for its relative lack of success with the Viennese, who responded with such enthusiasm to the comedy of Figaro. Mozart wrote two more operas: the opera seria La clemenza di Tito (The Mercy of Tito) and Die Zauberflà ¶te (The Magic Flute). The latter was commissioned by actor-manager Emanuel Schikaneder to his own libretto. Its plot, a fairy tale combined with strong Masonic elements (Mozart was a devoted Freemason), is bizarre, but drew from Mozart some of his greatest music. When produced in 1791, two months before Mozarts death, the opera survived an initially cool reception and gradually won audiences over. The year 1788 saw the composition of Mozarts two finest symphonies. Symphony No.40, in the tragic key of G minor, contrasts strikingly with the affirmatory Symphony No.41 Jupiter. Neither helped alleviate his financial plight, however, which after 1789 became critical. An extensive concert tour of Europe failed to earn significant sums. A new emperor came to the Austrian throne but Mozart was unsuccessful in his bid to become Kapellmeister. He was deeply in debt when in July 1791 he received an anonymous commission to write a Requiem. (The author of the commission was in fact Count Franz von Walsegg, who wished to pass off the work as his own.) Mozart did not live to finish the Requiem. He became ill in autumn 1791 and died on December 5; his burial the next day was attended only by a gravedigger. Rumours that Mozart had been poisoned abounded in Vienna after his death, many suggesting that rival composer Antonio Salieri was responsible. Many now believe a heart weakened by bouts of rheumatic fever caused his death. .u81c2c456de56be2461a662dadbd00899 , .u81c2c456de56be2461a662dadbd00899 .postImageUrl , .u81c2c456de56be2461a662dadbd00899 .centered-text-area { min-height: 80px; position: relative; } .u81c2c456de56be2461a662dadbd00899 , .u81c2c456de56be2461a662dadbd00899:hover , .u81c2c456de56be2461a662dadbd00899:visited , .u81c2c456de56be2461a662dadbd00899:active { border:0!important; } .u81c2c456de56be2461a662dadbd00899 .clearfix:after { content: ""; display: table; clear: both; } .u81c2c456de56be2461a662dadbd00899 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u81c2c456de56be2461a662dadbd00899:active , .u81c2c456de56be2461a662dadbd00899:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u81c2c456de56be2461a662dadbd00899 .centered-text-area { width: 100%; position: relative ; } .u81c2c456de56be2461a662dadbd00899 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u81c2c456de56be2461a662dadbd00899 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u81c2c456de56be2461a662dadbd00899 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u81c2c456de56be2461a662dadbd00899:hover .ctaButton { background-color: #34495E!important; } .u81c2c456de56be2461a662dadbd00899 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u81c2c456de56be2461a662dadbd00899 .u81c2c456de56be2461a662dadbd00899-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u81c2c456de56be2461a662dadbd00899:after { content: ""; display: block; clear: both; } READ: No Longer an Indian EssayWolfgang Amadeus Mozart was born in Salzburg, Austria in January of 1756. By the age of four, he had exhibited such extraordinary powers of musical memory and ear-sophistication that his father, Leopold (a highly esteemed violinist and composer in his own right) decided to sign young Wolfgang up for harpsichord lessons. At five, he was composing music; at six, he was a keyboard virtuoso, so much so that Leopold took Wolfgang and his sister Maria Anna on a performance tour of Munich and Vienna. From that time on, young Mozart was constantly performing and writing music. Wherever he appeared, people gaped in awe at his divine gifts. By his early teens, he had mastered the piano,violin and harpsichord, and was writing keyboard pieces, oratorios, symphonies and operas. His first major opera, Mitridate, was performed in Milan in 1770 to such unqualified raves that critics compared him to Handel. At fifteen, Mozart was installed as the concertmaster in the orchestra of the Archbishop of Salzburg. Things did not go very well; Mozart didnt get along with the Archbishop, and relations deteriorated to the point where, in 1781, he quit this lofty position and headed for Vienna quite against his fathers wishes. It has been told that Mozart once said, Since I could not have one sister, I married the other. Whether or not this quote is true, the facts remain the same. Three and a half years after a young musician named Aloysia Weber refused Mozarts marriage proposal, he married her younger sister Constanze, on August 4, 1782. What sort of person was Constanze Weber? Mozart, who nicknamed his bride Stanzerl, described her this way, She is not ugly, but at the same time, far from beautiful. Her entire beauty consists of two little black eyes and a nice figure. She isnt witty, but has enough common sense to make her a good wife and mother . She understands housekeeping and has the kindest heart in the world. I love her and she loves me. . Constanze Mozarts life was far from easy. From June 1783 to July 1791, she bore six children. The Mozarts first child, Raimund Leopold, died at the age of two months of an intestinal cramp while his parents were away on a visit to Salzburg. Their third, Johann Thomas Leopold, lived less than a month, their fourth, Theresia, six months, and their fifth, Anna Maria, only one hour. The Mozarts were left with only two surviving children, whom Wolfgang barely had time to know. When he died, the eldest was seven years old, and the younger only six months. After Mozarts death, Constanze met and evetually married Nikolaus von Nissen, an official in the Danish Embassy, and it was he who raised Mozarts sons. von Nissen died in 1826, and Constanze in 1842. The two boys led fairly uneventful lives. The elder, Karl Thomas (b. 1784), ended up as a minor official on the staff of the viceroy of Naples in Milan. He died in 1858. The younger, Franz Xaver Wolfgang, inherited his fathers musical inclinations, if not all of his talent. He composed and conducted extensively throught Europe, but perhaps the last word on this Wolfgang Amadeus Mozart the Younger was best spoken by George Bernard Shaw in a letter he wrote in 1897. Do you remember the obscurity of Mozarts son? An amiable man, a clever musician, an excellent player, but hopelessly extinguished by his fathers reputation. How could any man do what was expected from Mozarts son? Not Mozart himself even. Wolfgang and his father, Leopold had never regained the closeness they had shared in earlier days, but they reached a peace with each other, and maintained a steady corresponence. Leopold died in Salzburg on May 28, 1787, at the age of 67. Wolfgang had news of his fathers illness in April, at which time Constanze was ailing as well. This turn of events left him greatly depressed, and his own health took a turn for the worse. His music from the preceding decade was only sporadically popular, and he eventually fell back on his teaching jobs and on the charity of friends to make ends meet. In 1788 he stopped performing in public, preferring to compose. .u7b25f59af4030b5e438e083e41beb229 , .u7b25f59af4030b5e438e083e41beb229 .postImageUrl , .u7b25f59af4030b5e438e083e41beb229 .centered-text-area { min-height: 80px; position: relative; } .u7b25f59af4030b5e438e083e41beb229 , .u7b25f59af4030b5e438e083e41beb229:hover , .u7b25f59af4030b5e438e083e41beb229:visited , .u7b25f59af4030b5e438e083e41beb229:active { border:0!important; } .u7b25f59af4030b5e438e083e41beb229 .clearfix:after { content: ""; display: table; clear: both; } .u7b25f59af4030b5e438e083e41beb229 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7b25f59af4030b5e438e083e41beb229:active , .u7b25f59af4030b5e438e083e41beb229:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7b25f59af4030b5e438e083e41beb229 .centered-text-area { width: 100%; position: relative ; } .u7b25f59af4030b5e438e083e41beb229 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7b25f59af4030b5e438e083e41beb229 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7b25f59af4030b5e438e083e41beb229 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7b25f59af4030b5e438e083e41beb229:hover .ctaButton { background-color: #34495E!important; } .u7b25f59af4030b5e438e083e41beb229 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7b25f59af4030b5e438e083e41beb229 .u7b25f59af4030b5e438e083e41beb229-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7b25f59af4030b5e438e083e41beb229:after { content: ""; display: block; clear: both; } READ: The Invisible Man Essay PaperMozart may have died of a number of illnesses. The official diagnosis was miliary fever, but the truth is that the physicians who attended him were never quite sure what Mozart died of. He suffered from rheumatic pain, headaches, toothaches, skin eruptions, and lethargy. A common theory today is that Mozart died of uremia following chronic kidney disease. Another possibility is rheumatic fever. Regardless of the cause, Mozart became bedridden for the last two weeks of his life. He died at shortly after midnight on December 5th, 1791, aged thirty-five years, eleven months, and nine days. Mozarts legacy is incestimalbe. A master of every form in which he worked, he set standards of excellence that have inspired generations of composers. Some of his representative works Symphonies Nos. 25, 29, 38, 39, 40 41 Jupiter Piano Concertos Nos. 19, 20 27 sinfonia concertante for violin and viola String Quartets: the Hunt, the Dissonance String Quintet No.4 in G minor, K516 Le Nozze di Figaro Bibliography: www.ida.his.se/ encarta 98 members.tripod.com/~wamozart/bio.html

Ten Tips for Reporters Who Are Covering Accidents and Natural Disasters

Ten Tips for Reporters Who Are Covering Accidents and Natural Disasters Accidents and disasters – everything from plane and train crashes to earthquakes, tornadoes and tsunamis – are some of the hardest stories to cover. Reporters at the scene must gather information under very difficult circumstances, and produce stories on very tight deadlines. Covering such an event requires all of a reporter’s training and experience. But if you keep in mind the lessons youve learned and the skills youve acquired, covering an accident or a disaster can be a chance to really test yourself as a reporter, and to do some of your best work. So here are 10 tips to keep in mind. 1. Keep Your Cool Disasters are stressful situations. After all, a disaster means something horrible has happened on a very large scale. Many of the people at the scene, especially victims, will be distraught. It’s the reporter’s job in such a situation to keep a cool, clear head. 2. Learn Fast Reporters covering disasters often have to take in a lot of new information very quickly. For instance, you may not know much about planes, but if you’re suddenly called upon to help cover a plane crash, you’re going to have to learn as much as you can – fast. 3. Take Detailed Notes Take detailed notes about everything you learn, including things that seem insignificant. You never know when small details might become critical to your story. 4. Get Plenty of Description Readers will want to know what the scene of the disaster looked like, sounded like, smelled like. Get the sights, sounds and smells in your notes. Think of yourself as a camera, recording every visual detail you can. 5. Find The Officials in Charge In the aftermath of a disaster there will usually be dozens of emergency responders on the scene – firefighters, police, EMTs, and so on. Find the person who’s in charge of the emergency response. That official will have the big-picture overview of what’s happening and will be a valuable source. 6. Get Eyewitness Accounts Information from emergency authorities is great, but you need to also get quotes from people who saw what happened. Eyewitness accounts are invaluable for a disaster story. 7. Interview Survivors – If Possible It’s not always possible to interview survivors of a disaster immediately after the event. Often they’re being treated by EMTs or being debriefed by investigators. But if survivors are available, try your best to interview them. But remember, disaster survivors have just survived a traumatic event. Be tactful and sensitive with your questions and general approach. And if they say they don’t want to talk, respect their wishes. 8. Find The Heroes In nearly every disaster there are heroes who emerge - people who bravely and selflessly jeopardize their own safety in order to help others. Interview them. 9. Get The Numbers Disaster stories are often about numbers - how many people were killed or injured, how much property was destroyed, how fast the plane was traveling, etc. Remember to gather these for your story, but only from reliable sources - the officials in charge at the scene. 10. Remember The Five W’s and the H As you do your reporting, remember what’s critical to any news story – the who, what, where, when, why and how. Keeping those elements in mind will help to ensure that you gather all the information you need for your story. Read about writing disaster stories here. Return to Covering Different Kinds of Live Events

Writing on skin Essay Example | Topics and Well Written Essays - 500 words

Writing on skin - Essay Example One could inscribe on the desks, on our arms the names of the people we admired and loved. We wrote using ink. These traces have seemed like something unending but time and soap rubbed all those memories and changed our obsessions. Our skin at those moments became a book where we can write our desires, a perishable and fragile diary (Olivares, para1). When one does plastic surgery on their face to appear more attractive, the effort is just to rub out time and get rid of physical memory without realizing that it is a diverse stage that also will leave him/her with trace in his/her skin, devoid of eliminating everything and any incident. Just like the way we cannot stop thinking about our loved ones (Olivares, para3). Tattoos have unlike significance and meanings, marks and painting which are accessible in images tell us many stories and many other way of approaching any article. In early days, photography in its most documentary work type took upon itself to record people with tattoos. Tattoos have adopted anthropological drawings, work if indigenous people, record of journey as a documentary paintings as an element in their works (Olivares, para8). On the other hand, cinema and photography, largely, have taken them on board because they have concerned themselves much more in depth and often criminal sectors in the secretive, the yakuza, prostitution, delinquency and what is marginalized and adventure world of crime. Good examples of witting in our skins are the tattoos. Traditionally tattoos marked the social hierarchies and defined warrior categories. Rites of passage and festivals were distinguished with paintings. Today, tattoos have diversified into different formulae and they usually define those who wear them like a neon billboard on their foreheads. Tattoos have stopped being marks of the less fortunate, women fallen on difficult times, sailors and convicts (Olivares, para5). Adolescents from wealthy settings wear seductive tattoos on their hip,

Marketing Essay Example | Topics and Well Written Essays - 750 words

Marketing - Essay Example Moreover, it has also established low ratings in aspects such as the satisfaction of customers, how loyal customers are and consumers behaviours through word-of-mouth. Significant, positive relationships have been found between customer satisfaction and each of the aspects of service quality that were discussed above; as well as between satisfaction with service and customer loyalty; and word-of-mouth consumer behaviours with customer loyalty. There was no significant correlation found between cultural values and service quality assessments. To measure the degree to which customers uses word of mouth in line with the services provided by the Saudi Telecom Company. To analyse and examine the relationship that is present between customer satisfaction and the quality of service in Saudi Telecom Company. To analyse the relationship between the satisfaction and the loyalty of customers in Saudi Telecom Company. To analyse the relationship that has developed between word-of-mouth and custo mer loyalty in Saudi Telecom Company. ... Is the loyalty of customers and their satisfaction related in Saudi Telecom Company? Are customer loyalty and word-of-mouth linked in Saudi Telecom Company? The model presented above serves as the present study’s theoretical framework. It has been influenced by the studies conducted by Parasuraman et al. (1988). Upon the formulation of the framework, the hypotheses would be tested for validity purposes (Parusaraman, Zeithamal, Berry, 1985; Newman & Benz, 1998). 8.2.1. Service Quality and Customer Satisfaction Mittal and Kamakura (2001) stated that an individual’s satisfaction is the general assessment of a performance of a particular item or service at present. The significance of the role of customers in business is emphasized by Kassim (2001) through stating that 75 percent of a firm’s budget allocated for marketing purposes should be allotted for strategies that would retain customers, as well as to build and reinforce relationships with profitable ones. Mitta l and Kamakura (2001) discussed that a customer’s satisfaction towards an item, service or the company, is in accordance with the degree of relationship that will be formed between the consumer and the company, as satisfaction is tantamount to one’s predilection to repurchase (Kassim, 2001; Mittal and Kamakura, 2001). The hypotheses for the research questions above are: H1aa: A positive relationship exists between the level of customer satisfaction and tangibles in relation to the services that are provided by the Saudi Telecom Company. H1a0: There is no relationship present between tangibles in the services that Saudi Telecom Company provides and the amount of customer satisfaction. H1ba: Customer

Accounting Ratio to Manipulate Accounting

Accounting Ratio to Manipulate Accounting Companies use accounting ratios to manipulate their accounts Table of Contents (Jump to) Abstract Chapter 1 Introduction 1.1 Introduction 1.1 Aims and objectives Hypothesis 1 1.2. Overview Chapter 2 Critical Literature Review 2.1 Introduction 2.2. International Financial Reporting Standards 2.2.1 Coverage and aims of the standards 2.2.2 Areas of concern 2.3. The art and purpose of Creative Accounting or financial statement Manipulation 2.5 The impact of Creative accounting on Financial Ratios 2.5.1 Definition and purpose of financial ratios 2.5.2 Manipulation of financial ratios Chapter 3 Research Methodology 3.1 Introduction 3.2 Issues considered 3.2 Options of research methods 3.2.1 Quantitative and qualitative 3.2.2 Deductive and inductive methods 3.3 Choice of research method 3.4 Performance of the research Chapter 4. Findings and evaluations 4.1. Introduction 4.2. Findings Abstract Financial ratios have become part of the process by which investors, financial observers and other stakeholders within the market make their decisions and about the activities, profitability and liquidity of a particular corporation. As such, it is therefore important that these reflect the same level of accuracy and compliance to the financial reporting standards as the financial statements. However, it has become increasingly apparent over recent years that the practice of manipulation has been extended in its use to influence these ratios. This dissertation set out with the aim of confirming whether this is the case. It was also intended to identify the particular areas of concern that this practice is generating. It is found that there is evidence of manipulation of financial ratios and that this is particularly relevant in relation to the manipulation of fair valuation and the treatment of off balance sheet items. Although the study has been limited in terms of sample size, the findings are that the practice is particularly apparent in the financial markets sector and this has contributed to the current financial and economic crises. There is a need for a clearer framework for the calculation of fair valuation and a more robust method of regulating the activities of corporate management in an effort to reduce the longer term detrimental impact of this practice. Chapter One: Introduction 1.1 Introduction Following collapses of major global corporations such as Enron, as well as increasing pressure from shareholders and other stakeholders for a more open and understandable system of financial reporting, governments worldwide as well as those involved in international corporate controls came together to bring about one of the biggest changes in controls and governance. Using the offices of the IASB[1] (2008), there followed the introduction of international standards to be used for both accounting procedures and the preparation and presentation of financial statements. The intention of these standards is to create a situation where financial statements have a level of â€Å"understandability, relevance, reliability and comparability† (Lindsall 2005, p.2) that meets the needs of those stakeholders who rely upon these statements. The ISAB confirmed this purpose in an early statement of mission which read that their aim was: â€Å"To develop, in the public interest, a single set of high-quality, understandable, and enforceable global accounting standards that require high-quality, transparent and comparable information in financial statements and other financial reporting to help participants in the various capital markets of the world and other users to make economic decisions† (Gregoriou and Gaber 2006, p.16). In other words, part of the aims of these standards was to endeavour to eliminate the practice of manipulating financial statements. Nevertheless, despite these good intentions subsequent events have shown that the aims and objectives of these standards are still a long way from being achieved, with concern regarding the understandability, relevance, reliability and comparability of financial statements increasing rather the opposite direction hoped for by the authorities. In fact, many believe that the standards themselves, due to ambiguities, have created a platform for the increase in what has increasingly become known as â€Å"Creative Accounting† (Griffiths 1988). This in reality is another term for the process by which management and/.or their financial advisers and auditors are able to manipulate the figures reported within the financial statements in a manner that can lead to these being misrepresented and, what’s more, it is legal. Opponents of the practice bel ieve it to be damaging to investor and other corporate stakeholders, including shareholders and creditors. Indeed some have even gone as far as suggesting that manipulation of financial statements is the root cause of the current â€Å"credit crunch† (Letters 2008). Since the time of Ian Griffiths (1988) book on the issue of creative accounting and manipulation of financial statements there has been a plethora of academic studies into this phenomenon, as will be shown within the literature review in chapter two of this dissertation, and a growing debate between those who applaud and oppose this situation. Understandably, most of this literature is concentrated upon the physical changes that take place within the financial statements themselves However, one area of manipulation in financial reporting that does not appear to have received nearly as much attention. This area is financial ratios! This assumption and discovery is supported by Stolowy and Breton (2000) (see appendix 2). Whilst it is accepted that, in a technical sense financial ratios are not considered a part of the financial statements that come within the context or control of the international standards, as they are using equated by those financial external to the company, they are nonetheless considered an important measurement of corporate performance (Bragg 2007). For example, expert financial observers often quote ratios when advising upon the investment value of a particular corporation and many busy investors will take notice and make financial decision based upon what these ratios reveal. Therefore, manipulation by corporations and their advisors might be considered equally as misleading as the practice being used in any other aspect of financial reporting. It is this perceived gap in literature relating to this issue, together with the desire to access how prolific manipulation of financial ratios might be that has generated the author’s interest in researching the subject. 1.1 Aims and objectives With the concentration of the majority of literature relating to creative accounting and manipulation focusing upon the actual results contained within the financial statement, it is the author’s intention to address its deeper impact. Financial ratios are used by many stakeholders as a quick guide to the appropriateness of a corporation as an investment vehicle. Manipulation of these ratios can therefore have an immediate impact upon decision making by stakeholders. To address this issue, the following hypothesis has been set for this dissertation: â€Å"That company management and their advisors are aware that manipulation of financial ratios can have as much, if not more of an impact upon investment decisions as manipulations in the financial statements.† Further, to test the accuracy of the comment made regarding manipulation and the credit crunch, a second hypothesis will be included: Hypothesis 2 â€Å"That manipulation of financial ratios within the banking sector contributed to the current global financial market crisis.† In order to ensure that the aims of this research, and resolution of the research hypothesis, is achieved in a robust manner and provide a valuable conclusion, a framework of objectives has been devised, based on the following: Financial reporting framework and standards The intention is to analyse and assess the component elements of the current regulatory standards, evaluate their stated intentions and the robustness with which these can be transitioned into the practical reporting environment and identify their current limitations. Creative accounting Based upon current literature the dissertation will provide an understanding of the term creative accounting, identify the areas of its potential use within financial reporting and identify the main purposes and beneficiaries of such actions. Financial ratios The objective with regard to financial ratios is to provide an understanding of their purpose and intentions, which includes identifying their strengths and weaknesses. In addition, using primary data, the dissertation will explain how these ratios can be manipulated as well as identifying the reasons for this conduct. Future improvements Resulting from the previous objectives, it is the author’s intention to provide recommendations that will be designed to reduce the current impact of the manipulation of financial ratios and/or methods by which these manipulations can be identified and revised to reflect actual movements. 1.2 Overview To provide the reader with a clear understanding of this research, it aims and the manner in which it has been performed, this dissertation has been presented in the following order. This introductory chapter has set the scene and provided the background to the issues that for the core focus of the research. Immediately following, in chapter two, there is a critical review of current and appropriate literature relative to these issues. This includes an evaluation of the published frameworks of financial reporting standards, the concept of creative accounting, importance and significance of financial ratios and the effects of manipulation. Chapter three outlines the research methodology choices that were available to the author, identifying the method chosen together with the reasons for this choice. The findings of the secondary and primary research are then presented, compared and discussed in further depth in chapter four before recommendations are outlined in chapter five. Finally , the dissertation is concluded in chapter six. Added to the main body of the dissertation had been attached a complete list of all the references used within the body of the text. Furthermore, to add clarity and further understanding for the reader, additional information in the form of appendices has also been attached. Chapter Two: Critical Literature Review 2.1 Introduction The critical review conducted within this chapter has been designed to concentrate upon the literature relating to the issues being studied within this dissertation that has been published in the main within the past two decades as these represent the standards and practices that are currently in use within financial statements. For ease of reference the chapter has been segmented and analysed into appropriate sections 2.2. International Financial Reporting Standards As Swanson and Miller’s (1989) research shows, the issue of interpreting financial statements had been a subject of debate for many decades prior to the interest in international standards developed. Understanding the different systems of measurement used by management and accountants in financial statements had long proved difficult for investors and other interest parties. It was these areas of concern fuelled the move towards the creation and adoption of an internationally agreed and legally binding framework of accounting and financial reporting standards (Choi et al 2005 and Jones 2006). Amongst these concerns was included the lack of comparability and understanding available to potential investors and other stakeholders when analysing financial statements that were prepared under differing national codes and regulations and the difficulty experienced even when trying to compare accounts of corporations within the same industry (Tarca 2002 and Nobes and Parker 2006). However, as many academic authors had suggested (Nobes 1998, Blake and Lunt 2000, Lee 2006 and Mizra et al 2006 included) another core issue was the growing unease about the practice of â€Å"Creative accounting† and the negative impact this was creating in terms of stakeholder trust and confidence in financial reporting (Lee 2006). Whilst in essence such practices were not illegal, they were becoming a contentious issue in many financial circles, a fact evidenced by the comments of Lord Dearing (1988, p.12) in his committees report on the need for international accounting standards, when he said: â€Å"There is little evidence that companies are engaging in flagrant breaches of accounting standards †¦ However †¦ there is strong pressure on auditors from time to time to accept interpretations of accounting standards which conform to the interests of the preparers rather than with the spirit of the standard.† During the course of the decade following this report government representatives, accounting bodies and other interest financial parties spent a considerable amount of time discussing and agreeing standards that would help to address these anomalies, inconsistencies and concerns, which culminated in the creation of an international accounting and financial framework of standards (IASB[2] 2001 and PWC 2008). These standards were to be designed and operated by the IASB (Feature 2003). However, it still took a number of years to encourage individual national governments to adopt these measures. However the UK government decided that, â€Å"from 2005 UK listed companies must use IFRS for their consolidated statements† (Nobes and Parker, 2006, p.103). Furthermore, the financial reports have to include a statement by directors and auditors, which confirms †applicable accounting standards† were used or giving reasons for this not being the case (Nobes and Parker, 2006, p. 287). 2.2.1 Coverage and aims of the standards As can be seen from the list contained within appendix 1, the scope of the standards was quite extensive. Eight of these standards covered the area of financial statement reporting and presentation (IFRS), which included such issues as business combinations (Group of companies), segmentation and disclosures (Deloitte 2005). A further forty plus standards have been created, which define the accounting methods to be used within the preparation of financial statements (IAS). These laid down the audit principles to be followed Gray and Manson 2004) and covered such issues as the treatment of tangible and intangible assets (Gelb 2002 and FRC 2008). The aim of these standards was, in effect, to create a level playing field for those parties who relied upon corporate financial statements for decision making purposes, be that for investment, lending, extension of credit facilities or simply observance purposes (Chofafas 2004 and Antill and Lee 2005). In other words, the intention is that these statements should comply with four basic principles (IASB 2008), these being: Understandability The objective of this principle was to ensure that the financial statements would be presented in such a manner that they could be relatively easily understood by external stakeholders irrespective of the level of their financial and accounting knowledge, for example the private small investor (Healy et al 1997). Relevance In terms of relevance it was considered important that the information contained within the statements were relevant to the current situation (Saudagaran 2003). In other words it was important that the financial statements reflected current values, prices and other data. Reliability Despite the auditor’s opinion that the financial statements are prepared solely for reporting to the members of the corporation (ICAEW 2008), it has long been accepted that many other stakeholders, including prospective shareholders and creditor rely upon such information. Recognising the importance of this aspect, the IASB extended the principle of reliability to include these other stakeholders (Gregoriou and Gaber 2006). Comparability The need to be able to compare the accounts of individual corporations, even where these are within the same industry sector, whether that is within the national or international marketplace, is a part of the investment decision-making process. Prior to the introduction of the standards this was considered a problem, one which this principle was intended to address (Lindsall 2005, p.2). It should also be noted at this stage that, whilst these standards and principles applied to all corporations, irrespective of their industry sector, certain industry sector have to comply with additional standards. The most noticeable of these is the banking industry, which is further governed by the requirements of the Basel Accords (FSA 2007) and regulated in the UK by the FSA[3]. The focus of these particular industry specific regulations is to ensure that financial institutions retain an appropriate capital adequacy ratio within their balance sheets. However, despite the intentions of all of these standards and regulations, as the plethora of subsequent studies and literature contained within the following section confirm, they have, if anything, added to the areas of concerns that they were meant to address. 2.2.2 Areas of concern As the studies of Tweedie and Wittington (1990), Barth (2006) and Benston (2008) have revealed, a number of serious concerns have been voiced about the international standards, which they and others believe are detracting from the objective of reform and, in some cases, leading to increase volatility being seen in financial statements. In essence, these can be identified within three main areas of financial statement preparation and reporting. Fair Value and choice of valuation measurement Recognition and inclusion of revenue and profits Off balance sheet items Although initially there was no identification of the meaning of the term â€Å"fair value† in the international standards, following representations from accounting bodies, corporate associations and other stakeholders, the IASB introduced a definition, which described it as being: â€Å"the price at which the property could be exchanged between knowledgeable, willing parties in an arm’s length transaction† (IAS 16). However, this description soon came under attack by a number of academics, including Langendijk et al (2003), Bank of England researchers (Staff team 2004), Lindsell 2005)Antill and Lee (2006), Mard and Hitchner (2007) and many others. The criticism of this measurement, rightly identified by these authors, was that it raise questions about the subjectivity and reliability of such valuations. For example, what is considered to be a fair value to one person would not be to another and, furthermore, there might be differing reasons for one party being prepared to pay a greater value for an asset than others consider fair. Evidence of this can be seen in the manner in which companies are valued in times of acquisitions (Antill and Lee 200, King 2006 and Siegal and Borgia 2007). Furthermore, as in most cases the fixed and intangible assets are not intended to be sold at the time of their inclusion within the financial statements, valuation must of necessity be based upon reasonable and expert estimates (Lindsell 2005). The problem to be encountered here is that such expert valuers differ in their opinions of measurement, with some being more optimistic than others (Barth 2006), which can lead to discrepancies. The choice of expert can thus be seen to potentially obscure concrete evidence† of the assets real value (Swanson and Miller 1989, p.1). Furthermore, the standards also allow corporations to make a choice of asset measurement between the historical cost convention and current fair value, which is decided based upon their own judgement (ICAEW 2006 and Mizra et al 2006). Despite many attempts and suggestions aimed at addressing this problem (Benston 2008) to date it has still not been resolved. Recognition of revenue and treatment of profits is another area where differing opinions and purposes of measurement and treatment have been questioned (Bullen and Crook 2005). For example, when engaged upon a project that spans a number of financial years how does the business measure the true value of the revenue and profits to be recorded in each year statements (Mizra et al 2006 and Lee 2006). Some might argue that profit, and thus that element of the revenue, cannot be taken until project completion, whilst others will advocate allocating profit to the completion of project milestones. It is apparent that, given a project of x value spread across say five years, the differences of interpretation outlined above would impact upon the revenues contained within financial statements. The ability for corporations to exclude items from their balance sheets is another issue for many investors and observers (Amat et al 1999). For example, by leasing rather purchasing a piece of equipment this can alter the debt structure of the business, as parts of the leasing contract do not have to be included within the corporate balance sheet. Similarly action can be taken with other assets such as pension schemes (Pitzer 2002). Although there are other issues with the international accounting standards, it is these three areas that appear to raise the most concerns, in particular because they provide the opportunity for firms and their auditors to engage in the practice of manipulation or creative accounting. 2.3. The art and purpose of Creative Accounting or financial statement Manipulation As indicated within the introduction to this dissertation, creative accounting or the ability to manipulate financial statements was an adopted practice before the international reporting standards became a legal requirement for all corporations. However, the increase in concerns since this event makes a study of this issue even more relevant today. Creative accounting is considered by many to be a euphemism for the practice of manipulating the information that is contained within financial statements. In terms of definition for this practice there have been many over the years. In the title of his book about creative accounting, first published in 1988, Ian Griffiths (2005) defined it as â€Å"how to make your profits what you want them to be,† a view supported by Dean and Clarke (2007). Although other academics would refrain from using such a term, as will be seen within this and following sections and chapters of this dissertation, there is more than a grain of truth in this simple description. However, the more considered definition for the type of manipulation that is that it is† a practice that results in a distortion of the figures contained within financial statements.† However, at the same time this manipulation remains strictly within the boundaries of the legal accounting principles, rules and stand ards (Shah 1998 and Balaciu and Cosmina 2008). A simple example of the meaning of these definitions can be seen in the following diagram (figure 1). In this example manipulation is defined as the greying areas between the intentions of the standards and the areas within which the interpretation of these standards can be manipulated, always stopping short of the ultimate boundaries of the legal framework, beyond which such manipulation would be considered as fraud. As can be seen from this diagram manipulation can have two intentions, this being either to produce a negative or positive impact upon the profits and value of the business (Mulford and Comiskev 2002 and Balaciu and Cosmina 2008). It is generally accepted that manipulation is driven by the needs and demands of management (Pierce-Brown and Steele 1999 and Griffiths 2005). For example, if management believes that the business is likely to have a bad year, which will adversely affect their bonus and benefits they might either exacerbate the losses to increase their benefits in a following year or reduce them to protect these benefits. The same methods would be used if the management wishes to influence the corporation’s level of growth (Pierce-Brown and Steele 2006). This practice is known as the â€Å"Big Bath† method (Investopedia 2008). To achieve the required objective the management might use a combination of the flexibility contained within the concepts of fair value, revenue and profit recognition and off-balance sheet items as discussed in section 2.2.2 of this chapter. For example, an employed expert valuer who takes a pessimistic approach would have the effect of reducing the value of asse ts, thus having an adverse effect upon profits. Delaying recognition of revenue or profits would have the same effect (Mulford and Comiskev 2002). Some academic authors have posed the question as to whether such manipulation is ethical (Amat and Dowds 1999 and Blake and Growthorpe 1998). However, whilst the question of ethics might be of concern to those who rely upon the financial statements presented by corporations (Saudagaran 2003), under the present standards, regulations and their measurements it remains legal (Griffiths 2005). 2.4 The impact of Creative accounting on Financial Ratios As Bragg (2007) indicates within the introduction to his study of business ratios and formulas, these can be applied to virtually every aspect of the business and its operations. However for the purpose of this dissertation, the focus regarding ratios will be restricted to those that relate specifically to the information contained within a corporation’s financial statements. 2.4.1 Definition and purpose of financial ratios The term ratio can broadly be defined as a measurement by which the performance of a corporation, in terms of its operations and activities, can be judged and assessed (Bragg 2007, p.1). In terms of the financial statements produced by corporations this judgement is aimed at measuring a number of performance factors (Stolowy and Breton 2000). As can be seen from the descriptions contained within the following example (figure 2) in this respect the intention of these ratios is to provide an assessment of the profitability of the business and its return on investment (Income statement) and its liquidity position (Balance Sheet) (Bragg 2007). Figure 2 Popular financial ratios Financial Ratios 1) Gross Margin Operating earnings (before exceptional and tax) as a percentage of net sales 2) Operating Margin Operating Income (net profit before tax) as a percentage of net sales 3) Profit Margin Net Income (profit after tax) as a percentage of net sales 4) Return on Equity Net Profit after Taxes as a percentage of equity 5) Return on Investment Net Profit after Taxes as a percentage of total assets 6) Return on Capital Employed Net Profit after Taxes as a percentage of average shareholder equity 7) Current ratio Ratio of current assets to current liabilities 8) Quick ratio Ratio of current assets (less inventory) to current liabilities ( less overdraft and other borrowings) 9) Gearing (debt to equity) ratio Ratio of liabilities to equity 10) Earnings per share (EPS) Net profit divided by number of shares issued 11) P/E ratio

Intelligence: A Product of Social Construction Essay example -- essays

Intelligence: A Product of Social Construction   Ã‚  Ã‚  Ã‚  Ã‚  Since the development of the intelligence quotient, schools in every part of the world have been using the IQ test to categorize millions of students into three groups. These three groups, which are the gifted, the average, and the retarded, are falsifications that perpetuate in our world culture and cause many gifted students to be deemed retarded and vice a versa. Why then is the IQ test so heavily relied on in our school systems? For schools the answer is simple, an I.Q. test is a reliable predictor of a students later performance in academics. This answer is relatively true, but where the I.Q. test falls extremely short is with testing the multiple intelligences of the human brain. The intelligence quotient test, developed by Alfred Binet, was created to evaluate ones intelligence with a test that would yield a numerical value that could be compared with a collective average to determine ones level of intelligence. However, the questions of an I.Q. test, or ev en the SAT’s for that matter, are testing only the verbal-mathematical forms of intelligence. The human brain is extremely complicated and advanced, and to assume that the indicators of intelligence are only found in logical and linguistic intelligences is a poor assumption at best. A more comprehensive test, which can test all seven types of intelligence, should be implemented into the educational system to ensure every student an education tailored to their strongest abilities.   Ã‚  Ã‚  Ã‚  Ã‚  In every elementary school in America third graders are forced to take a test that will greatly impact their academic careers. The G.A.T.E. program, which stands for gifted and talented education, is designed to separate the gifted children from the average and below average kids. However, the G.A.T.E. test is comprised of questions the children do not have the answers for. In other words, the kids are being tested on their innate knowledge of the world and their ability to creatively solve problems they have never encountered. Some might believe there is no flaw in testing a child’s natural intelligence. The test is given to each student and each student is given the same amount of time to complete a test of identical questions. But what educators fail to account for is the social bias of the test and the socio-eco... ...or each of the seven intelligences and students will be placed in the category of classes that he or she is best suited for. With this educational system career training can start a much younger age, students will develop in one direction rather than being spread thin over many useless topics, and the professionals of the future will be identified before they ever enter the work force. In the current world, I.Q. tests are the gates that limit ones ability to gain a fair and equal education. The tests given now will continue to reward those lucky enough to live in the upper-middle class and will continue to hold a lid on the potential of the millions of people suppressed into the ghettos of America. New testing and rewriting of tests should be the first step in making American public education fair to all Americans. Eventually the socially constructed idea of â€Å"intelligence† will change, but not fade, and it is up to the people of this generation to redefine what makes a person intelligent. Works Cited Jacobus A., Lee & Howard Gardner. â€Å"A World of Ideas.† A Rounded Version: The Theory of Multiple Intelligences. Bedford/St. Martin’s. 6th Ed. Boston, Ma. 2002. 373 – 391

Networking in professional life Essay

Networking in professional life Introduction   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In computing terms, a network is a system of interconnected computers that share a characteristic of being autonomous and have the ability to share information through the interconnection peripherals. Moreover, it is a system of connected computer hardware that are linked by communication channels and protocols that provide a rapid method of sharing information (Tanenbaum, 2011). On the other hand, Network Interface controller (NIC) is a computer system that creates computer connections to a particular network. It is also known as Network Interface Card or network adapter. On the same perspective, a bandwidth refers to the ability of a computer network to send and receive information (data) and is expressed in bits per second (bps). Network Media Types   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In broad spectrum, network media refer to the actual path through which an electronic signal in a system of a computer or computers travels as it moves from one component in the system to another. There are several types of Network media such as; twisted pair cables, coaxial cable, fiber optic cable as well as wireless media (Ciccarelli, & Faulkner, 2006). A situation of network connection problem   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As I mostly use network connection in most of my computerization endeavors, it comes a time when network connection becomes a major problem. For instance, this problems include; difficulties in connection to home networks, problems in accessing information from other interconnected networks as well as slow network connectivity among many other problems (Chen-guang, 2008). However, through the application of my computer skills, I normally manage to deal with such problems through the employment of troubleshooting mechanisms. However the most common problem that had severe impacts on my working is the issue of slow network connection but at the end, I was able to solve it by following several steps as follows; I first identified the active applications, the available users as well as the available conversations to determine where the congestion came from. This was followed by the generation of a purpose built report to determine the applicat ions in use, in order to determine the amount of bandwidth they were consuming. Finally, I was able to set a limit for the applications that were not significant in my place of operation. This eliminated the problem of slow network connection and after all my operations worked to perfection. How will networking Influence my professional life   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In my future career, networking will be of great importance, as I will use all the learned skills to ensure that information flow is efficient by ensuring the use of the best network type considering speed, reliability, efficiency and cost too. It will be my area of strength. References Tanenbaum, A. S. (2011). Computer networks. Boston: Pearson Education. Ciccarelli, P., & Faulkner, C. (2006). Networking Foundations: Technology Fundamentals for IT Success. Hoboken: John Wiley & Sons. Chen-guang, L. I. (2008). Implementation of netwok management model based on Linux System J]. Railway Computer Application, 6, 012. Source document