Touching Behaviour in Conversational Dyads - 2144 Words

Running head: TOUCHING BEHAVIOUR CONVERSATION Touching Behaviour in Conversational Dyads Mark-Odean Grant University of the West Indies, Mona December 8, 2006 Humans are social and diversely interactive beings. As a result, there is the frequent practice of touching during conversation. This touching may be the conscious decision of individuals, as well as simply a spontaneous form of expression or response. An operational definition of touching would involve the initiation of physical contact between two individuals; for example, shaking hands (Fowler and Fowler, 1969). A conversation involves communication between two individuals by word of mouth (Fowler and Fowler, 1969). Touching as a complement of conversation is very common, but†¦show more content†¦Apparatus/Instruments A three section Record Sheet (see Appendix) was designed for the purpose of the study. The sheet had spaces to record the number of hand and body touches of the three types of dyads (F-F, M-M, and M-F) as well as some demographics Ââ€" the location, date and time the observation was made. Also a timing device (e.g. watch or stopwatch) was used for the purpo se of the one minute period of observation. These devices however were selected based on what was available to individual researcher. Procedure Each student of the PS 11A class was given a Record Sheet (see Appendix) for the purpose of recording their observations. Using a haphazard sampling approach, the students unobtrusively observed the three sets of dyads (F-F, M-M and M-F) for one minute, while they were in conversation on the university campus. The number of hands and body touches were recorded for each set of dyads during the minute. Examples of hand touches include hand to hand, hand to face, hand to leg, hand to shoulder. Examples of body touches include body to body, kissing and hugging.) For the purpose of establishing inter-rater reliability, only new touches that took place in the minute were recorded. Accordingly, if the dyads were touching before the minute of observation started, this was not counted or recorded. Also, students, during tutorial sessions were guided as to how to count record touches. This was done through role play exercises where the students (observers)Show MoreRelatedStephen P. Robbins Ti mothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesRobins, â€Å"Emerging Insights into the Nature and Function of Pride,† Current Directions in Psychological Science 16, no. 3 (2007), pp. 147–150. 11. R. C. Solomon, â€Å"Back to Basics: On the Very Idea of ‘Basic Emotions,’† Journal for the Theory of Social Behaviour 32, no. 2 (June 2002), pp. 115–144. 12. R. Descartes, The Passions of the Soul (Indianapolis: Hackett, 1989). 13. P. Ekman, Emotions Revealed: Recognizing Faces and Feelings to Improve Communication and Emotional Life (New York: Times Books/Henry

A comparison of Haydn and Beethoven free essay sample

Comparison of Haydn and Beethoven Franz Josef Haydn and Ludwig van Beethoven are two of the greatest classical composers in the history of music, rivaled only by the masterful Wolfgang Amadeus Mozart. Beethoven, who was much younger than Haydn, moved to Vienna when he was young to study under Haydn. However, due to Heydays Increasing age, and Beethovens Increasing temper, the lessons only lasted for a little over a year. The lessons, if only for a short period, clearly left a mark on Beethoven, as can be seen in his compositions. Make no mistake, however, Haydn and Beethoven were not carbon copies of one another.When comparing compositions of the two composers, namely Heydays symphony No. 95 In C minor and Beethovens symphony No. 5, the two composers differ in various areas, including form, theme, tonality, orchestral structure, and the overall effect their work had on the audience. The only way to truly understand the similarities of these two legendary composers is to delve into their music, comparing them movement-by-movement of the two aforementioned pieces. Only then will we truly understand what makes Haydn and Beethoven so similar, yet so different.The first movement of both pieces start out in their own special way. Heydays piece starts out loudly with a quick timpani strike accompanied by the strings, followed by an almost somber sounding melody In C-melon. The second theme of Heydays first movement is much more cheerful sounding as it is in C-major. After the exposition is finished, Haydn goes through an eventful developmental period followed by recapitulation. Beethovens first movement starts out with the infamous short-short- short-long. Which Is then repeated. This becomes the motive of Beethovens piece. Which can found intertwined throughout the entire piece. The intertwining of this ingle motive creates a consistency throughout the entire symphony; making all four movements feel as one. Although Beethoven may have not Intentionally tried to do this, as It was never really done before, It really gives the symphony a special sound as a whole, something that Heydays symphony no. 95 lacked. Beethovens first movement is sonata form, something that he inherited from Haydn, and starts out in C-minor, Justas symphony no. 95 does. The first theme of Symphony no. Is made up of Imitations and sequences of those first 4 bars, which give off a tense, conflicted feel. The second theme of Beethovens first movement is much more lyrical than the first theme. Here Beethoven completely changes keys to E-flat, rather than simply switching to a major tonality like Haydn does. In the second movement, however, Haydn starts out In E-flat major. The second movement, as per usual, Is a much slower piece to contrast the strong, fast, first piece. Haydn uses a series of variations in this movement to keep the audience attentive, switching between major and minor tonalities from time to time.The amount of variation In this second movement Is extensive, and really adds a lot to the movement. Beethovens second movement Is In A-flat major and opens with two themes being presented, which are then varied in alternations. The second theme of this movement incorporates a harmony that features the clarinets, which are present thieving uses that Haydn does not in these symphonies are the piccolo, contrabass, and trumpets. By expanding his orchestra, Beethoven is able to create a larger, more diverse sound than Haydn is able to do.Beethovens second movement includes a 3rd theme that has thirty-second notes played by the strings Ninth a counter phrase being played in the winds simultaneously, and the movement ends loudly in fortissimo, with many crescendos. Although these two composers first movements were somewhat similar in form and style, it is clear in the second movement that were starting to see the similarities morph into differences between the two composers, which continues into the third movement. Heydays third movement follows the prototypical minuet, trio, minuet form.However, this is a stylized dance piece, rather than an actual dance piece due to Haydn throwing in little twists that would th row off any attempted ballroom dance. Ere minuet returns to the original tonality of C-minor, while the trio switches to C- ajar. The trio form consists completely of even eighth notes played by a solo cello, Inch Haydn included to satisfy his audience in London. Beethoven does something ere different in his third movement, as he forgoes the typical minuet-trio-minuet form for the scherzo-trio-scherzo form.Scherzo, which translates to Joke in Italian, is derived from the minuet. The main difference is that scherzo form is played much more playfully and somewhat humorously, like a Joke. Beethoven, like Haydn, returns to the starting tonality of C-minor for this movement. At the end, the short-short- worth-long motive from the beginning of the symphony returns, and begins to take over the piece as it moves directly into the fourth movement without any hesitation.The fourth movements of these two symphonies also differ in form, as Haydn chooses to go with a rondo form while Beethoven chooses a variation of the sonata form. Heydays rondo form allows the music to transition beautifully into the finale. Heydays finale consists of loud, furious music including brass fanfares that is starkly different than a normal classical finale. Beethovens fourth movement is a fast, unusual sonata that begins immediately following the third movement. His finale is played in C-major, and consists of 29 bars of chords played in fortissimo.These Chords allow Beethoven to conclude the symphony by ending the tension that has been furiously building throughout the entire piece. Beethovens incredible finale, as Ninth Heydays, are perfect endings to these two monumental symphonies that surely leave a lasting effect on their respective audiences. As can be seen throughout Heydays symphony no. 95 and Beethovens symphony no. 5, the two composers were very similar, yet very different from one another. Beethoven uses a lot of what he learned from his time with Haydn, but is able to expand on those ideals and create something of his own being.His ideals, however, are soundly built off of the foundations that Haydn paved for him, which is a benefit from being the student rather than the teacher. Even through all of the differences in the two symphonies, such as Beethovens expansion of his orchestra or Heydays refusal to stray form minuet form in the third movement, these two composers share one main thing in common, and that is their ability to create beautiful pieces of art that wont be soon forgotten in the minds, and the hearts, of their listeners.