Strategic Significance of HR

6 steps to set yourself up for career success

6 steps to set yourself up for career success Do you want to set yourself up for success? Of course, you do- we all want that- most of us strive for happy, successful lives. However, what success means to each of us is a unique and individual thing, based on our specific desires and goals. It also changes over time for each of us- your professional goals and metrics for success when you’re at the beginning of your career path will probably look different than when you’re older and further along in your journey. Forbes recently published an article that highlights some helpful actions that you can take to achieve career success. According to the article, â€Å"no matter what your professional goals and visions are, there are six core actions that will support you to achieve greater success and fulfillment over the long arch of your professional life.†Consider taking advantage of these strategies to set yourself up for a successful future.Make a solid plan.If you want to achieve some measure of career success in your life, you first have to have a clearly discernible and measurable goal to pursue. There’s nothing more dispiriting and unmotivating than a directionless future. Defining a clear goal for yourself- one that will potentially deliver happiness and fulfillment when reached- will help you gain a healthy measure of clarity and allow you to carve out the steps necessary to achieve it.Don’t be afraid to set a specific goal out of fear that you’ll be handcuffed to it forever. Remember, your goals will likely change over time and across the span of your career. Also, don’t be afraid to fail- a life well lived often contains a series of successes and failures. The goal is to learn from both and take these valuable lessons to help guide you towards future success.Transform your depression.Depression can stop all forward progress in your life dead in its tracks. The Forbes article discusses making the effort to turn your depression into inspiration in order to get yourself back on the path to success: â€Å"This is a vitally important endeavor- to move away from feeling desperate, victimized and out of control in the face of your professional challenges.  The key is to learn how to be more accountable, responsible and capable- viewing what’s happening as a way for you to learn and grow.†There is never a time when things will always go your way. You are going to face setbacks and failures throughout your life, and despite your best efforts they can drag you down into a funk. Fight against it the best you can. Assess why you’re down, what went wrong, and how to avoid the same situation in the future. Make a plan about how you’ll climb out of your sadness and self-doubt. Action gives you control, which can make the skies seem a little clearer.Enforce boundaries.Once you have set a clear path towards success for yourself, it’s up to you to set and enforce boundaries that will allow you to keep on track. K eep away habits, people, and behaviors that will only drag you down. Depending on your goals, these boundaries will comprise your personal â€Å"mission statement†- capturing the priorities and steps needed for you to learn, grow, and move forward toward career success. It will also clarify things to avoid along the way- those unhealthy and negative things that only serve to derail your progress. In all areas of life, boundaries help us stay on track and reach our desired destination- use them to your full advantage and don’t be shy about sticking up for yourself and what you need.Commit yourself fully.Achieving your professional goals can be a real challenge- in addition to intense competition and hard work, there are a variety of unforeseen setbacks and obstacles that can potentially throw you off track along the way. Even the luckiest and most successful among us face these challenges- the key difference between those who eventually achieve success and those who giv e up before they reach their goals is often commitment. Put in those extra hours. When you fail, try again. When you get rejected, apply somewhere else. Keep your plan and goal in mind and don’t stop when you veer off course- and you  will veer off course, so plan on it.Learn how to communicate with power.Your voice can be a powerful tool as you advocate for yourself in the professional world. Successful individuals in all walks of like make sure they are clearly and confidently articulating their ideas, thoughts, visions, and goals to the world around them, and are constantly their own best advocates, striving to create positive outcomes whenever possible. As you travel along your path to success, make sure you follow the same mindset.Maintain strong connections.Although we each strive to be the architect of our own successful future, we must admit that none of us operate in isolation- we are all part of a collective of individuals whom we support and draw support from, an d nurturing these relationships is often a crucial step towards achieving success. According to the Forbes article, â€Å"†¦highly successful professionals understand that they cannot achieve their visions alone or in a vacuum.  They invest time and energy in building mutually-beneficial relationships, and solid bonds and energizing partnerships that last over time.† On your journey to success, be sure to recognize, value, and take care of these important relationships- and build new ones along the way.If you’re relatively new to the world of work and are in the early stages of your career path, consider following these helpful guidelines to help you either define what a successful future looks like for you, or to help you achieve the goals you have set for yourself and find success. Good luck!

Novel Essay Example | Topics and Well Written Essays - 1250 words

Novel - Essay Example Whether Ryan will be able to do the justice to the task assigned to him, while solving a mystery of his past simultaneously. There seems to be no clear link between the abduction of his friends and the murder of Katy, except that they both occurred at the same place with a gap of twenty years. It appears as if Ryan is so disturbed by his past that he cannot analyze the situation critically. Dealing professional consignments with personal motives may end up in a blunder, and this is very much the case with Ryan’s search for the truth. In the start of the novel, the narrator explains the relationship between truth and detectives as that of a most desirable woman and her jealous lovers. He also warns the readers in the start that he craves for truth yet he lies (French, p.5). This is the paradox of the story, because Ryan has not revealed his identity of Adam Ryan, who was found in the woods in the summers of 1984. Therefore, Ryan’s services towards truth have been based on a lie. At the end of the novel Ryan receives the punishment for his dishonesty towards his lover, when he is removed from the case as well as he is restricted to a desk job. Ryan was after all not a good detective, because he did not respect the demands of his profession. A detective must use his mind while investigating a crime; he needs to be clear of all the prejudicial biases. The reason why Ryan was taken of the case was the fact that he was involved in similar incidence in the earlier part of his life. If he had been true to his pro fession, he would have not been transferred to the desk job; rather, the maximum that could have happened to him would be cancellation of investigation in only one case. Ryan took the matter personally, his conduct was based on logical fallacies, and as result of which he had to suffer. One can feel apologetic towards Ryan, but on rational grounds it

Comparison between two Pieces of a Music Class that Occurred on Friday Essay - 1

Comparison between two Pieces of a Music Class that Occurred on Friday 11th April, 2014 - Essay Example The notes in both pieces are long, loud and they descend extremely fast. However, Moment Musical No.4 is particularly similar to Chopin’s Prelude in G major Op. 28, No. 4 because of the fast tempo, thick texture in the left hand and a melodic intensity. It sounds and feels like an improvement of Chopin’s Prelude in G Major Op. 28, No.4 The attendance was poor, and those who attended sat at the back and not the front. On the positive side, the program was well organized with little interruption. The music was also good, nice accompaniment in the first three pieces, and the tenor played his part very well. His rounded voice was well timed and his expressions, especially in the third piece (If you’ve only got a mustache), were comical which is what the piece demands. The first chorus a Capella had a slow rhythm and soothing melody that was relaxing. It began softly, the tempo did not change expect in the piano and it ended in the same rhythmic manner that it started. The second choral song was one that began with the same fashion as the first, soothing and reassuring. A slow tempo, with variations in high and low notes to keep the rhythm going. The third piece was a comical piece, with a dramatic melody that was repetitive in every verse of the song. Yuan Lu’s performance of the Moment Musical No. 4 was remarkable. It is a piece that is very difficult to master especially due to the taxing emphasis on the left-hand movements. Listening to his Moment Musical No.4, one relates to the fast tempo which can be compared to the fast challenges and changes in life that happen impromptu. The music gives one an adrenaline rush that encourages one to tackle the obstacles in life. In the end, the music becomes softer with more emphasis on the right hand, this gives one a sense of hope and release. Sergei Rachmaninoff composed the six Moment Musicals at a time when he was in financial ruin.  He composed the moments within three months to get money. At the same time, he expressed his emotions through the music. One can feel that through the fast-paced tempo, and through loud and long notes.

Capstone Paper Coursework Example | Topics and Well Written Essays - 5000 words

Capstone Paper - Coursework Example rimary objective of this business plan is to describe the company, present the market analysis, highlight the market strategy, and define the implementation strategy. The marketing plan will also present financial statements and projected financial report for the first year of operation. The mission of Cypress Workforce Training is to take a unique and innovative approach towards providing educational services that help employees and fresh graduates connect their classroom education to workplace requirements. 1. To provide high quality, experienced, and professional workers to business entities that currently rely only on the formal academics, and are spending excessive resources to train employees for short-term contracts. 1. Cypress Workforce Training intends to develop methods of approach that links workplace requirements and classroom teaching particularly in solving ethical dilemmas and dealing with cultural and behavioral diversities. This is critical to the success of the business because employees will develop self-adjustment mechanisms to enable them fit into the workplace regardless of widespread diversities. 2. The company will create effective marketing strategies that can reach as many people as possible. Reaching a variety of people will increase demand for the company’s services. Cypress Workforce Training will benefit from increased number of customers in terms of profitability and sustainability. 3. Listening to the requirements of the clients and striving to institute their needs and proposals into training programs will be vital for the success of the business. Success of the business is founded on principles of quality service provision. Quality implies tailoring the services to meet customer satisfaction. This implies that the institution will operate in accordance to the customer demands. Meeting customer needs and requirements will guarantee business growth and sustainability. Cypress Workforce Trainers will work under the industry of

The Primary Music Curriculum Education Essay

The Primary Music Curriculum Education Essay My research is based on the primary music curriculum and about the teaching between the music specialists and the classroom teachers. I collected many data from books, articles, from an observation in a school and from my experience as a student who I was. To start with in the late nineteenth century the educational forum, the National Education Association, included a music section which music was recognised to be in the primary education (Jones and Robson, 2008). When then the National curriculum was determined it was compulsory for all the children in primary schools to attend the music curriculum which was a supplemented part of the school curriculum. In the music curriculum the three main musical skills are performance, listening and composing. Through the performance the children will be able to practice their voices in singing parts and perform different songs in their instruments. Through the listening they will be able to develop their audibility by hearing different sounds and songs and experiment with these. Also through the composing they will be able to develop their creativity and make different music patterns using some musical ideas. The primary music curriculum represented in key stage 1 which is the years 1 and 2 and key stage 2 which is the years 3 to 6. In key stage 1 the children should be able to recognise and identify musical materials and use them to describe an atmosphere or a dramatic situation (Swanwick, 1992). In this age the children start study music with so simple and interesting methods. Moreover during key stage 1 the children listen carefully and respond physically to a wide range of music. Also they play different instruments and they sing songs from memory using their fantasy (The national curriculum for England, 1999, p. 16). They experiment with simple musical instruments like recorder and some percussion and learn the songs with a specific way in order to remember the lyrics and make some movements. The children also learn the difference between the melody and the rhythm and how to experiment with these in their own compositions. As Swanwick (1992, p. 16) states the children in key stage 2 should be able to distinguish melodic and rhythmic devices found in songs and instrumental pieces and try to use them. During key stage 2, the children sing songs and play instruments with increasing confidence, skill and awareness of their own contribution to a group or class performance. Also they can improvise their own musical compositions and explore their thoughts and feelings for music from different cultures (The national curriculum for England, 1999, p. 18). The aim of the music curriculum is to make the children acquire some useful knowledge and also to feel confident and independent. For example the children until the end of year 2 in key stage 1 will learn to sing with a sense of the shape of the melody and perform simple melodic or rhythmic patterns keeping to a steady pulse (Music Teachers guide, 2000). By the end of year 4 in key stage 2 the children are able to perform different rhythmic patterns again but now with some notes included and also to improve their own compositions. Moreover until the end of year 6 in key stage 2 again, the children will learn to recognise the relationship between the sounds and perform by ear and from simple notations. Also they will have the opportunity to describe or characterise different kinds of music that they listen to with music vocabulary (Music Teachers guide, 2000). The music specialist has of course more knowledge in music than the classroom teacher, because he studied it and he made music training for many years in order to be worthy to teach to the students anything about music. This is also supported by Steinel (1990), who notes that certified music specialists have spent a minimum four years plus several precollegiate years training in music (Byo, 1999, p. 113). According to Hoffer (1961, p. 46), music specialist must be the leader in the classroom due to his advantage that he completed high music training. In my view it is a bit unfair the music specialist to be in a lower stage than the classroom teacher, because they do not have the same level in music knowledge. The music specialist is better to design the structure of the music lesson according to his own knowledge as he knows to organise it better from his experiences. This is also supported by Hoffer (1961, p. 46) who states that without the structuring efforts of the specialist no r eal musical progress will take place throughout the school. Through this, he wants to tell us that music specialist is very important for the music in schools, because he is the most suitable to organise an effective music lesson with a good structure. Moreover the music specialist is more able to teach some instruments to the students due to the knowledge and his experience that he has from his music training. As Hope and Lehman (1995) note, music specialists receive comprehensive training in music performance and theory (Byo, 1999, p. 114). So through the performance aspect, the music specialists can experiment with different instruments and be familiar with them in order to be able to teach them to the students with a good teaching method. Also if there are music specialists at primary schools the lessons will operate with more confidence and the students will understand better the meaning of music and acquire abilities and knowledge in everything; playing instruments, singing, about the history and theory of music through teachers experience and abilities. As Hennessy (1998) also states, music teachers with many years training are very important in primary schools for their specialist skills and knowledge, because they give mor e emphasis to the curriculum and they follow it on the right way. It seems that music specialists can follow exactly the curriculum without change something and accomplish to deliver it effectively, because they are expert in it and they also know what teaching methods have to use and when each one. According to Picerno (1970) the classroom teachers feel they can teach to the students about the music literature, some songs and plan a program for the music lesson. Also the classroom teachers feel that they cannot teach about conducting, music theory and music history and it is better the music specialists to teach these skills. (Picerno, 1970). I agree with this statement, because the classroom teachers do not have so high standards as music specialists in order to be able to teach the music in depth. They can just teach simple elements in music such as different kinds of songs and activities which have also help from Music Express scheme. Music Express scheme is a guide for non-specialized teachers in order to have help on what they can teach and how. Through the observation, I noticed that the classroom teachers learn from different readings and guides and then teach just the basic from the music curriculum. Hoffer (1961) notes that some persons believe that classroom teachers are able to teach at least some important things about the music curriculum, but they need the help of the specialists with some workshops and advices. According to Gamble (1988, p. 26) the classroom teachers provide the fundamentals of learning that students use later throughout their lives. This is right but I think it is apply just if the classroom teachers have help and support from a music specialist to give them some important guidance. Also Hoffer (1961, p. 45) states that some experiences have shown that classroom teachers even with the workshops, they cannot teach single-handedly a completely satisfactory music lesson. In my view Hoffer is right and not the people, because it is logical that it is impossible for the classroom teachers to know everything about the music curriculum, because many years of experience are required and also further knowledge in music education especially practical in a universit y or a college. Nevertheless there are some classroom teachers that wish not to teach music which is natural and they do it just because it is in their obligation to be able to teach all the subjects. In this case it seems that these teachers cannot teach music with success, because every teacher must like and find interesting the subject that he teaches in order to make the students also to be interested and concentrated on it. In contrast with music specialists who like to teach music and this is implicit and also this is the proof that they study it so many years and they teach it with so affection. This is also supported by Hoffer (1961, p. 45) who notes that some classroom teachers have extra music training and are proficient in teaching the subject but some others have no ability or interest in teaching music. This means that some classroom teachers may have the music knowledge that a music specialist has and some others may have anything, because they do not like to accomplish with this subje ct. Moreover Rainbow (1971, p. 1) states that the teacher who teaches music must be able to infect his students with his enthusiasm. So the teacher must like music in order to be able to teach it to the students effectively and also to take out his feelings about music and make the students to feel the same. Both Hoffer and Rainbow mention the same statement and it seems to agree with my own view; that if the students see their classroom teachers during the music lesson to express a bad feeling about music or that they do not want to teach it, then the students will ignore the lesson and will not be interested. But with music specialists this will not happen, because they all like music and teach it with very enthusiasm. Classroom teachers it seems that due to the non-training about music education who have, feel that they cannot teach music and they have lack of confidence. They do not know if they teach on the right way or not and if the students are able to understand what he teaches them. This is also supported by Jeanneret (1997, p. 37) who notes that from a research that she did in some countries like Australia, Great Britain and North America, the classroom teachers are responsible to teach music in their classrooms and they have a negative attitude towards music and lack of confidence to teach it. In my view a good point for the classroom teachers to teach music is that they know better the students; their character, their preferences because they are all the day together and they can teach them better regarding their interests. This is also supported by Mills (2005) who notes that the students can learn more things by a classroom teacher who knows them will rather than a teacher who is expert in music, but he does not know how the students work and their personalities. So this is a disadvantage for the music specialists who see the students just once a week and they cannot come close enough to them in order to know what they like to listen or how each student like to work. According to Hoffer (1961, p. 45) if the classroom teachers do not contribute in the music lesson, then the music program will become detached from the rest of the school curriculum. From that angle, he is right, because all the subjects are taught from classroom teachers and if the teachers leave out music is like ignoring music as a subject or considering music as a subject of less importance. According to Hennessy (1998), classroom teachers think that they cannot teach music, because they have no background in music education and they cannot read music. Hennessy (1998, p. 14) also mentions that these teachers usually have the abilities to play by ear, improvise and accomplish better with pop, folk or jazz styles. Personally I find my self disagree with this, because the classroom teachers are not in the position to teach music so well, if they do not have just a bit background of music education or if they do not attend a music workshop before. It seems these to be important, because they have to receive the main elements of music and some good teaching methods in order to be able to deliver the music curriculum to the students and have a successfully music lesson. According to an Ofsted report (Making more of music: Improving the quality of music teaching in primary schools, 2009, p. 3) the classroom teachers are able to provide a good music teaching when they are suppor ted effectively. It seems that the author wants to states that if the classroom teacher has help and useful guides from the music specialist, then he will be able to teach music well. This is a difference between a classroom teacher and a music specialist. The music specialist can teach music curriculum alone with his own mind, experiences and knowledge, but the classroom teacher needs a support to be able to starts and complete his teaching. Mills (2005, p. 28) notes that good teaching leads to students learning. By this, she wants to tell us that there is no importance if the teacher that teaches music has a music degree; if is the music specialist or the classroom teacher. The most important is that anybody from these teachers who teach music must do it very effective. According to Hennessy (1998) the classroom teachers are able to teach until year 4, because the music curriculum is easier to teach it at this stage, but in years 5-6 the music specialists are more able to teach it, because it is more complicated and more musical experience is required. The classroom teachers are able to teach during the beginning years, because except from a music guide to help them, they can also experiment easier and simple with the teaching and also using their fantasy. In later years this is difficult, because the standards go up and the music curriculum has more challenges towards the teacher. So a music specialist is more necessar y to teach it, because he can infect to the students his music knowledge through his experiences and his abilities to the music activities. To conclude, my own view is that music specialists can teach music more effectively than the classroom teachers at primary schools due to their experiences, their skills, their knowledge, their music training courses and the confidence they feel when they make in practice all of these. They know how to organise the music lesson better and how to teach each part of the lesson such as the performance, the listening and the composing in order to have a formative lesson and the students to be interested and familiar with music. Nevertheless I believe that the classroom teachers if they have a bit background about music and with the help of music guide, they will be able to teach music as well but until an extent. This is because they have the advantage that they know the students very well and they teach them based on the general progress of the students and they also help each student separately to improve his skills. Personally when I was a child in primary school my teacher was a music specialist and I gained a lot from her. That is why I believe that music specialists can teach music very effectively. She helped me to acquire the fundamental things which I had to know in music in that age and also to be interested in music. She taught me how to play some instruments, to sing, to learn some important elements of music such as the rhythm, notation, melody and different others. She did not know me and the other students very well, because she was seeing us just two days per week, but she was able to teach us music and also all the students were attend the lesson very carefully. Of course I am not sure if this happens with all the music specialists. As I mentioned above some authors state that this happen with the classroom teachers and that is an advantage for them to teach music better. So I think it is depends on the character of the teacher if he/she can teach music well and from his teaching m ethods except from his knowledge about music and not if he is a music specialist or not. The most important is the teacher; either the music specialist or the classroom teacher to transmit to the students his love and interest about music in order the students to be able to participate easier in the music lesson. All the weight and the organisation of the lesson is based on the teacher, because it depends on him if the lesson will be effective or not.

Family and Marriage in Shakespeares Comedy of Errors :: Shakespeare Comedy of Errors Essays

Comedy of Errors - Family and Marriage Shakespeare's Comedy of Errors is a madcap romp of mistakes and misadventures, wrapping together two Plautine comedies sauced with Scripture and Renaissance poetry. Yet the tangled web of estranged family that Shakespeare weaves holds significant differences from any of his originals, pointing to ideas about family and marriage that Shakespeare no doubt held, and was to develop further in later works. Plautus' Menaechmi yields a basic framework for Shakespeare's plot: two long-separated brothers mistaken for one another. Yet Plautus' two brothers differ markedly in attitude: one is "gay, generous, and fun-loving," the other "shrewd, calculating, and cynical" (Kinko, p. 10). Shakespeare's Antipholi seem as confused as their Menaechmi relations, but more interchangeable in general temperament. Plautus' Amphitryon provides the idea of doubling servants as well as masters, but these are duplicates by divine action: one set are disguised gods fully aware of the situation, the other confused mortals. So why the device of like-behaving mortal twins? Perhaps it is in the family members Shakespeare adds -- Egeon, Aemilia, Luciana -- that we discover the motives for his adaptations. One of the main themes of Shakespearean comedy is that of the new community: thus the stereotypical round of marriages that is a given for almost any comic Act V. Here we have only one new marriage, between (Syracusan) Antipholus Erotes and Luciana, the restoration of happiness to (Ephesian) Antipholus Sereptus and formerly shrewish Adriana, and the renewal of Egeon and Aemilia's long-sundered wedding bonds (taken and developed from Gower's Confessio Amantis). But the characters begin the play almost wholly sundered from community: Egeon has long lost both wife and half his progeny, and abandoned his known son for a seven years' search; Antipholus Erotes seems blithely unaware of his father's presence in town, so complete is their separation; even Antipholus Sereptus is estranged from his wife Adriana, not enjoying the fruitful state of marriage that must be the lot of comic characters. They are all awash in a capitalist society of business and bonds, with little room for generosity but much for the Officer, debtors' prison, and harsh laws against Syracusan foreigners that even the Duke cannot overturn. Here St. Paul enters the fray, with the prescriptions of his Epistle to the Ephesians (!): "Wives, submit yourselves unto your own husbands, as unto the Lord.