The Desert :: essays research papers

The human heart not only supplies life but it also represents feelings and emotions. In the Desert uses intense imagery to paint a vivid picture while also using point of view and symbolism to send a message about human emotion and feelings. Although this poem is brief it contains a very powerful point about the human heart and emotions. This poem appears to be written by a person that has just lost a loved one, although this poem does not seem to be about death. The poem opens with the image of a "naked" beast alone in a "desert". This paints an interesting image in the mind of the reader, but it also has a deeper meaning. This "beast" of a man was deserted and left alone by someone that he was obviously deeply in love with. He has lost all direction and purpose in his life. The author uses the point of view of the speaker to show just how pathetic this creature is. The speaker feels bad for the beast and attempts to speak to it, seemingly out of pity. He even calls the hopeless animal his "friend". This leads me to believe that maybe the creature is just an extension of the speaker, the part of him that cannot let go of an important love. In the Desert is a poem that is symbolic of the way people react when their "hearts are broken". The heart, in this instance, represents love and happiness. When the man loses this love he feels as though his heart has been wrenched from his chest and devoured by a monster (that represents his current emotional state). The man is broken, battered and left to fend for himself. He is also filled with resentment and anger as is made evident by his "bitter-bitter" heart. This whole scenario represents the dependence of man on the love of another and his state of total denial and sadness when it is taken from him. The only beam of hope that I could find in this poem is when the man says that he likes his heart despite its bitterness.

Musical Analysis; Comparing ‘Tonight’ with ‘Maria’; West Side Story.

Comparing Tonight with Maria (Both from ‘West side story’) (Tonight also known as balcony scene – Tony and Maria sing together. Maria – sang by Tony. ) The piece ‘Tonight’ begins in B maj; it opens with Tony stating â€Å"the most beautiful sound I ever heard† this is sang in a very recitative style; mainly monotone (D) – rubato. This makes his words seem the prominent element – stressing the drama. The gentile bassoon plays a descending line – while the horn plays a simplified version ~ this ‘decent’ becomes a theme in Tony and Maria’s relationship. It also plunges Toney into a dream world. This opening line leads swiftly on to the theme of ‘Maria’. Throughout the song there are many variations on ‘Maria’ – however the first time (bar 28) a perfect 4th is used between the ‘Ma + ‘ri’; the ‘a’ is a dissonant – yet is warmed by the sound of the horn (emphasising the ri-a). The instrumentation is thin here- mainly heterophonic , working with the triplets which diminish the rhythm and increase the tension. In bar 4; the ‘a’ of Maria is resolved on to a D (rather than an E) – this is a descending min 3rd, however the oboe doesn’t resolve- this creates anticipation and leads the music on demonstrating that the song is to grow- reflecting Tony’s feelings for Maria- yet clashing slightly and creating an element of pain- foreshadowing the ‘later’ tragedy. From bar 8, on to bar 9; After the sequential transformation ‘up a tone’ in bar 8 the music changes again as if onto an ‘Aria’ section. It does so on the ‘Ma’ to the ‘ri’ – The ‘ri’ is sang on an A natural (appoggatura) –making a dim 5th. The instrumentation thickens here, timps and double bass are also added , the bass plays pizz, and its rhythm goes slightly Latin – similar to much of the dance music throughout the musical – and all this creates a colourful image in the listeners head – reflecting the image of Maria in Tony’s head. Bar 15; Instrumentation thickens here as the clarinets, Horns, and trumpets are added, as the music progresses, bar 17; the oboes are added. In bars 18 and 19 there are two descending lines linking and building up to the 6th variation of ‘Maria’; the flute is added in bar 19, and the trombones are added in bar 20. Full orchestration on the 6th variation of Maria; this variation of Maria is a descending phrase, as it moves down a tone each time: Also rhythmically augmented. Middle syllable is an appoggiatura. {draw:frame} The phrase continues to descend with â€Å"say it loud and there’s music playing†. There is also a diminuendo in bar 23 and the violins take on a more prominent role – this makes the music seem more romantic and soft, Bernstein has used word painting here as Tony describes Maria’s name as soft â€Å"almost like praying†, plus on the word ‘praying’ there’s a per5th. In bar 28, the 6th in-between the ‘ri +a’ _(like the 1st version of Maria, but last note turned upside down)_ becomes a countermelody, the theme is played in the contrabass; this constant repeat of ‘Maria’ demonstrates Tony’s worship for her. In bar 48, the theme is demonstrated in thicker texture again – it leads to an operatic recitative style line from Tony ppp (while the accompaniment is simply semibreves) far from the ‘Latin style dance atmosphere’ demonstrated previously. {draw:frame} Finally in Bar 51 there is one more variation of ‘Maria’ – reminiscent of the first version – but with a per5th (ma-ri), the ‘a’(G) is held for about the last two bars; underneath this, an Eb is held making the ‘a’ sound like a discord. This creates a certain pain about the last note – foreshadowing future events, suggesting that its all going to end with pain. The balcony scene also begins in Bmaj – and opens with a descending line, reminiscent of ‘Maria’ – linking the two songs and making the ‘descending line’ a theme in their relationship. In bar 3 the theme from Maria is echoed in the violins. This opening piece of music (1-29) is very important; it acts as an underscore – reminiscing previous songs, as it gently continues and goes through many temporary modulations. In Bar 30 the vocals begin; (Only Maria sings) the instrumentation is thin – with violins holding sustained notes creating a tense, hesitant yet romantic atmosphere. The descending line theme ‘augmented’ in the bass. The tempo is marked as andantino, little faster – as the tension increases. All this forces the vocal melody to be exposed, (making the soloistmore important) demonstrating their vulnerability and innocence. At bar 32 a contrabass is added, marked pizz, – this adds an amazing gently pulsating, heartbeat rhythmical effect – creating much excitement; reflecting their emoticons. draw:frame} The vocal melody is still very exposed and prominent as it rises above the accompaniment in broken chords. In bar 37 Tony sings alone, as he says â€Å"Maria† there is a perfect5th between the ‘Ma-ri’ like the actual song, ‘Maria’ – again linking the two songs. Maria then sings solo, for one bar only, she re peats his name twice – echoing his actions, this makes the duet seem more conversational – enhancing the drama. Bar 42; Allegretto – always a little faster, the heart beat rhythm is still present – retaining the excited and heightened emoticons.

Security Risk Management Plan Essay - 2013 Words

SECURITY RISK MANAGEMENT PLAN Prepared by Jeremy Davis Version control Project title | Security Risk Management Plan Draft | Author | Jeremy Davis | VC | 1.0 | Date | 25/10/10 | Contents Executive summary 4 Project purpose 5 Scope of Risk management 5 Context and background 5 Assumptions 5 Constraints 5 Legislation/Standards/Policies 6 Risk management 6 Identification of risk 7 Analysis of risk 8 Risk Category 9 Review of Matrix 9 Action plan 9 Testing Procedures 11 Maintenance 11 Scheduling 11 Implementation 12 Training 12 Milestones 12 Monitoring and review 13 Definition 13 Authorisation 14 Reference 15 Executive summary A Security Risk Management Plan (SRMP) helps CBS†¦show more content†¦This is achieved through the assessment of the business, operations, staff, assets, risks, legislations, standards and policies. Context and background Definition of Risk management The analysing of risks and implementation of risk controls to minimise and prevent risks from occurring to the business. Assumptions Assumptions must be identified that the business may be working to understand and gather more information. Assumptions are what the project team have expected to have or be made available throughout the program. * SMRP approved * SMRP implemented strategies are tested and is successful * SMRP meets requirements Constraints Constraints are usually a list in which provides the limitations and restrictions that the project team may encounter. * Budget issues * Must check if plan meets legislations, standards and policies * Approval of Security risk management plan may delay * Implementation of strategies Legislation/Standards/Policies When considering risk management, you must state legal and regulatory framework. 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