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Any pharmacist who wishes to improve his or her written communication skills can watch the video lessons in this chapter to learn about key written communication topics. Pharmacists can get overviews of concepts related to written communication and review ways in which they can implement these concepts in their jobs. These lessons go over topics such as:
- Types of written communication
- How to determine the purpose of a message
- Adapting a message based on the audience
- Tone and voice in a message
- Proofreading
- Using nondiscriminatory language
Every lesson contains a quiz that pharmacists can use to see how well they have understood the main points on each topic. Once pharmacists have completed the entire chapter, they can also take the chapter exam to assess themselves on the chapter's most significant points.
How It Helps
- Emphasizes purpose: By learning how to construct the purpose of their message, pharmacists can better improve their written communication skills.
- Analyzes audiences: Pharmacists can learn the best ways to analyze their audiences and adjust their message accordingly.
- Explains processes: These video lessons will help pharmacists understand and utilize the processes needed to communicate in writing effectively.
Skills Covered
After utilizing these lessons, pharmacists will be able to:
- Understand the definition and types of written communication
- Identify and clarify the purpose of their message
- Adapt their message based on their audience
- Use the correct tone and voice in their communications
- Ensure that their writing is accurate and free of spelling and grammatical errors
- Understand the importance of avoiding discriminatory language
1. What Is Written Communication in Business? - Definition, Types & Examples
In this lesson, we'll discuss what written communication is and some advantages and disadvantages of using it. We'll also discuss the skills you'll need to become an effective writer.
2. Determining the Purpose of Your Message: Inform, Persuade & Good Will
Determining the purpose of your message is the first step in deciding what you want to say and how you want to say it. It is essential to choose whether to inform, persuade or offer goodwill via a message in the workplace.
3. Analyzing Your Audience and Adapting Your Message: Purpose, Process & Strategy
In order for a message to be effective, it has to be impactful, clear and relatable to an audience. Learn about some key steps to analyzing an audience in order to identity the correct way to deliver and write a message.
4. Understanding the Tone and Voice of Your Message
Understanding the tone and voice of your message is critical to the overall presentation of your written communication. In business, the overall tone should be professional and courteous regardless of whether the message is positive or negative.
5. Proofreading Your Message for Spelling, Grammar, Accuracy & Clarity
One of the final stages of completing a business message is to proofread the communication for spelling, grammar, accuracy and clarity by completing different review options. Learn how to proofread in this lesson.
6. Practical Application: Proofreading Messages for Spelling, Grammar, Accuracy & Clarity
How skilled are you with writing? Do you want to test your abilities? Here you will be given a chance to practice your proofreading skills by correcting a given text.
7. Using Nondiscriminatory Language in Business Communication
In this lesson, you'll learn the importance of avoiding discriminatory language in business communication. We will look at why it is essential to use the correct word choices when discussing gender, age, disability, ethnicity and sexual orientation.
Earning College Credit
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To learn more, visit our Earning Credit Page
Transferring credit to the school of your choice
Not sure what college you want to attend yet? Study.com has thousands of articles about every imaginable degree, area of study and career path that can help you find the school that's right for you.
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https://study.com/academy/topic/written-communication-for-pharmacists.html
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A proofreader is employed in any organization that handles publishing or printing activities.
That includes publishing houses, websites, editing services, newspapers, and magazines.
A proofreader’s work goes beyond the traditional spelling correction activities.
Proofreaders need to be learned individuals who can tell when any part of the text that they are reading has misinformation in it.
They need to have the capability of researching information and associating it with the document that they are proofreading.
It is also the job of a proofreader to make sure that documents are formatted professionally and they need to be proficient in different styles of writing.
Proofreaders are usually provided with a checklist of issues that they need to look out for in the documents that they check.
They also need to employ their good sense when performing proofreading duties.
See also: Proofreader Cover Letter Sample
Here is a list of responsibilities for the position of proofreader.
Sample Job Description for Proofreader Resume
• Read and understand content such as books, journals, articles, blogs, and essays to determine the need for proofreading.
• Refer to provided checklists for information on essential things to look out for when checking documents.
• Proofread and edit documents by correcting spelling mistakes and grammatical errors.
• Make sure that tables of contents in books are in sync with the titles of the report.
Confer with document authors to obtain clarity of each written document.
• Make sure that accurate page numbers are assigned to each document.
• Ensure appropriate placement of diagrams, pictures, and illustrations.
• Prepare preliminary pages such as title pages, contents, and prefaces.
• Handle typesetting and layout design activities.
• Edit documents to ensure clarity, accuracy, and consistency of format and content.
• Make sure that referencing styles such as APA, Oxford and Chicago are used in academic documents.
• Make sure that document indentation is in place.
• Ensure appropriate positioning of diagrams and illustrations.
• Make sure that each document boasts a layout that is reader-friendly and attractive.
• Identify information errors and confer with authors to ensure they are addressed.
• Check documents for facts and statistics and make notes of proposed changes.
• Make styling suggestions and reword or rework sentences where necessary.
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https://coverlettersandresume.com/writer/proofreader-job-description-for-resume/
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Deadline: 16 July 2019
World Health Organization (WHO) is currently seeking applications from eligible applicants for the post of Executive Assistant in Washington, D.C., United States. The duration of this post is 2 years.
The primary role of WHO is to direct and coordinate international health within the United Nations system.
Key Jobs Responsibilities
The Executive Assistant will perform the following functions:
- Provide administrative and secretarial support to the Assistant Director (AD) and team; place and answer telephone calls, handle confidential and sensitive matters with great discretion; screen, with considerable tact, all requests to speak to or see the AD; establish the purpose/objectives of the request and prioritize his agenda.
- Bring confidential or important matters to the attention of the Assistant Director and team when needed; monitor issues to ensure deadlines for responses are met.
- Follow up with relevant entities, staff and other organizational components on the submission of reports and correspondence.
- Manage the e-mail inbox of the AD; prepare standard replies; bring important matters to the attention of the Assistant Director; refer routine matters to the appropriate staff.
- Maintain the confidential files of the AD; conduct research of files, reports, and other sources to obtain material requested by the AD and, when necessary, compile summaries.
- Serve as liaison for logistical and operational processes and activities between the AD and the Office of the Director.
- Follow up with the technical entities under the AD on the submission of reports, correspondence and requests in order to meet established deadlines; assist in the preparation of technical presentations and technical reports, reviewing, and/or correcting texts to improve clarity, conciseness and coherence; prepare tables, graphs, and charts as requested.
- Promote a cooperative work environment among the support staff under the responsibility of the Office of the AD to ensure accuracy quality and completeness of documents required by and/or submitted to the Office.
- Review, proofread and recommend revisions to correspondence and other material for the Assistant Director’s signature; ensure clarity, accuracy and adherence to the Organization’s writing standards and policies.
- Prepare confidential correspondence and documentation on administrative matters; ensure that information required by the Assistant Director for decision-making is reviewed in a timely fashion by the appropriate supporting team under the Office of the Assistant Director.
- Prepare correspondence on own initiative or from verbal/written instructions for signature of the AD; prepare draft translations of correspondence and other materials from English into Spanish and vice versa.
- Maintain all important documents in an electronic filing system of the Entity easily accessible to AD team members; confidential information should be properly stored and accessible only to designated staff.
- Provide back-up to the Administrative Assistant II as necessary, in his/her absence.
- Perform other related duties, as assigned.
Eligibility Criteria
Applicants must have:
- Certification of completion of high school.
- 6 years of general office or administrative work experience, including supervisory responsibilities.
- Thorough knowledge of protocol matters and ability to organize and monitor protocol arrangements in accordance with established standards.
- Thorough experience and skills for the provision of administrative support services and the effective functioning of the operations of the Office.
- Effective oral and written communication in a business environment; ability to independently compose correspondence, guidance materials, and other documents; ability to effectively handle multiple assignments, establish and maintain effective working relationships with internal and external partners.
- Ability to coordinate, monitor and control administrative services involving the allocation of work, developing/adjusting operational procedures, evaluating priorities, and coordinating and supporting internal day-to-day activities.
- Ability to supervise, including skills in planning, organizing, evaluating, problem-solving, decision-making on office management matters and coordination of assignment completion by Areas under AM’s responsibility.
- The nature of the Office of the Assistant Director requires sensitivity, confidentiality and respect for all contacts and information processed.
- Very good knowledge of English and Spanish.
- Nationality of United States.
How to Apply
Applicants must submit their applications through online process.
For more information, please visit WHO.
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https://jobs.fundsforngos.org/administration/executive-assistant-at-who-washington-d-c-united-states/
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Submit Your Proposal Before :
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To : Hayam Yassin – STO
- Background:
The Om Habibeh Foundation (OHF) is commencing a five-year skills development initiative in collaboration with Canadian and local partners in Aswan Governorate. The Aswan Skills Development Program (ASDP) will focus on strengthening the quality and range of vocational and technical training programs, as well as professional development programs available to young women and men in Aswan Governorate.
The ASDP aims to improve the knowledge and services available to young women and men as they transition from education or under/unemployment into training and from training to work or entrepreneurship. ASDP is building on the success of the Om Habibeh Foundation’s Continuing Education Centre (CEC), which since its inception in 2010 has become a leader in English language and IT training in Aswan, as well as Upper Egypt
- Objective:
ASDP seeks to procure the services of a freelancer translator who will work closely with the Quality and Accreditation team to translate the program’s reports and/or documents from Arabic to English, and vice versa. The consultant is to provide high-quality translations in Arabic and English that require limited proofreading and strictly adhere to set deadlines.
He / She is to liaise with Quality and Accreditation Unit to receive assignments for translation.
The consultant shall be contracted for 1 year (one year), on Part-time basis.
- Scope of work:
The contractor shall perform the following duties and responsibilities, and is expected to:
- Conduct written translations from Arabic to English, and vice versa, including texts contained in figures, boxes, captions, sources, and covers, and submit the translation in word-processed documents;
- Thoroughly proofread and edit the document;
- Share draft translation with Quality and Accreditation team, incorporating all suggested changes to the translation;
- Ensure high quality and accuracy throughout the entire document before submitting it to the project team for review;
- Ensure the accuracy of terms and terminology used in the documents;
- Ensure that the translation is written using correct style, grammar, and spelling; and
- Complete the work within the agreed upon timeline and submit the final translation in soft copy.
- Deliverables:
- Ensure that the translated text is technically, linguistically, and grammatically correct, and that it meets high-quality standards and does not require further editing upon completion of translation;
- Provide accurate and timely translation to the satisfaction of the OHF-ASDP Quality and Accreditation Unit standards;
- Review of translations prior to delivery should include checking of spelling and grammar, confirming technical accuracy, and verifying overall clarity and fluency in every applicable language.
- Quality and Accreditation unit will also conduct such verification checks and may request corrections accordingly.
- The percent of margin of error per page should not exceed 3 errors;
- The translated materials should be provided to Quality and Accreditation team after completion of the required services in soft copy;
- Translations should be done within stipulated deadlines.
- The documents translated remain the copyright of ASDP and shall not be shared to any third party.
- Translation of documents from/to Arabic and English Language. Each page will be calculated by 250 words (250 words per 1 page) – Translation of Power Point slides, per one Slide. Payments will be made against signed OHF-ASDP finance documents and upon actual service delivered.
- Fees will be paid upon actual services provided and after submission of invoice for the payment.
- Payments will be made via bank accounts.
- Reports and/or documents that are given in hard copies shall be submitted as hard copy, “the original copy” and soft copy (in word doc. /excel, etc.)
- Time Frame:
Duration of contract: Annual (renewable)
Type of employment: Part time
- Required qualifications:
The consultant should demonstrate the following qualifications:
- A minimum of three (3) years of experience in technical translation in multiple sectors and various clients, especially in the fields of community development, education and training.
- Expertise with the translation of learning materials, texts on development issues or related fields would be a definite asset.
- Client experience in translations for intergovernmental or governments would be an asset.
- Technical competencies and qualifications of proposed translators should be demonstrated, including CVs, membership with the national and/or international associations of Translators, or similar certifications.
- Proven ability and capacity to deliver translations to meet tight deadlines, such as the flexibility to respond to additional and short notice assignments and deliver on time. contractor should be familiar with the format and style used by ASDP.
- Proven familiarity or a track-record of working with other such organizations would be an asset.
- Ability to provide names and points of contact information for three (3) current references (include email address)
- To Apply
- Interested candidates should send their CV or Profile, including experience in handling similar assignments, to [email protected]
- This posting will close on August 17, 2019;
- Provide names and points of contact information for three (3) current references (include email address);
- Sample of translation (Arabic to English and English to Arabic);
- Portfolio of previous clients (with a certificate of completion)
- Rate per word/page translation;
- A translation assignment will be sent to the candidates;
- Only shortlisted applicants will be contacted. No phone calls, please.
- Contact Information:
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https://akfe.org/tr/
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For some years I have been proofreading board game rules, cards, box covers, other components and Kickstarter pages. I proofread files for designers prior to submission to publishers and I also proofread final proofs for publishers prior to the sign-off of the press files. I therefore have experience of games to be able to understand the structure of rules and the terminology used. I proofread for accuracy, sense and readability.
I keep the nature and content of all work confidential, but I am happy to sign non-disclosure agreements if required.
Checking for accuracy of spelling, grammar and punctuation.
Checking the consistent use of terms and headings; the page layout and design are consistent; the correct positioning and labelling of illustrations, diagrams and graphics.
Ensuring a consistent style for capitalisation, hyphenation, punctuation, abbreviations, spellings, numbers, titles, lists and figures.
Checking for consistency and clarity across the rules, cards, box covers and any other components.
Checking page numbers are correct and correspond with the contents page and any cross-references.
Amending incorrect word choices and bad word breaks.
Removing extra spaces between lines or words or after punctuation.
Following UK or US spelling, grammar and punctuation rules.
Checking that the text flows and is in correct English. Suggesting rewording if the meaning is unclear or confusing or to avoid repetition.
Annotating using Track Changes in Word, mark-up tools on PDFs in Adobe Acrobat, Suggesting mode in Google Docs or British Standard marks for proof correction on paper.
Basic Proofreading by Distance Learning course, which I passed with a high merit. The course was run by the Publishing Training Centre (PTC), which is well respected by the publishing industry in the UK and overseas.
Grammar at Work online course from the PTC.
Basic Proofreading: Digital Skills, an online learning resource from the PTC covering on-screen mark-up methods in Microsoft Word and Adobe Reader.
Editing with Word, an online course from the Society for Editors and Proofreaders (SfEP).
SfEP annual conference September 2018: Education, education, education. I attended workshops, sessions and lectures and I gave a lightning talk titled "Proofreading for the board game industry".
BA(Hons) degree in German and Spanish from the University of Southampton.
Intermediate member of the SfEP and I abide by their Code of Practice (CoP).
I have previously worked in financial administration, health insurance claims, childcare and education, all of which required a high level of accuracy in checking documents and record-keeping, an eye for detail and an adherence to confidentiality.
I will provide a quote within 24 hours of receiving a sample copy of the document to be proofread. For information about how to get a quote and details about my pricing, please go to my Quotes page.
If you would like to discuss a proofreading project, or if you need any further information about how I can help you, please get in touch.
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http://www.rachaelmortimerproofreading.co.uk/services1/proofreading-for-the-board-game-industry
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Have you ever distributed a document or message only to find later that you forgot to include a key point or correct an embarrassing spelling error? Taking the time to edit and proofread your writing will help you produce more focused, polished, and effective business documents. This course describes how to edit and proofread effectively, covering key areas such as tone, structure, clarity and accuracy, as well as common grammar, punctuation and spelling mistakes.
To register, you will be prompted to log in to your GCcampus account.
Learning resources to support public servants during the COVID‑19 pandemic.
This website is continually being updated in response to your feedback.
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https://www.csps-efpc.gc.ca/Catalogue/courses-eng.aspx?code=C050
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A. Proofreading just confirms the accuracy of material in an essay. Revising is concerned with aspects such as the structure and flow of an essay.... Proofreading itself does not revise or improve your work; it simply verifies that what you wrote is correct. The only way to confirm the accuracy of what you wrote is by reading what others write about the topic. During the revision stage, you should be focused exclusively on improving your work.
B. Proofreading can be very time-consuming! While editing your work, keep in mind that you are still writing, and therefore your writing will not be perfect. As you edit your work, make sure that you catch all of its errors before you submit it. If you find a mistake when reading over your work, simply mark the page with something like "erratum" or "ed: corrected xyz" and move on. When you come back to your essay later, you will know exactly which parts need fixing and how to fix them.
C. Proofreading shows you where you went wrong in your essay. Was there information in your paper that you forgot to include? Did you use too many examples? These are some of the things that may have happened because you proofread first.
Proofreading is used to check for grammar errors and modifications, whilst editing is used to check for word use and how you ordered your essay. Proofreading is also used as a broader term that can include copy-editing, fact-checking, and formatting. Editing is used specifically for grammar and spelling issues.
The proofreader will look at the text carefully and make suggestions if necessary. They will also correct any mistakes that have been made during the writing process such as printing errors or typos. The editor will only look at the text in detail if asked to do so by its author, which usually happens when there's a concern that needs addressing before it can be submitted. For example, an editor might be asked to look at specific words or phrases that need changing or removing completely.
Editors work with authors to ensure that all their concerns are addressed properly and that the manuscript is ready to be published. This could include checking for factual errors, ensuring that information has been included regarding sources, and looking over paper length. Generally, editors will not change the structure of an essay or article, but they can suggest alternatives in case one of the ideas isn't working well enough alone. Editors may also ask authors to provide more information about certain topics within the text if relevant background material isn't already available.
Proofreading is the process of fixing surface faults like grammar, spelling, and punctuation. While it still necessitates a detailed command of the English language, it varies from editing, which tries to enhance overall writing quality by improving flow, readability, and structure. The term "editing" also includes rewriting material for clarity or style. Proofreaders usually but not always work from a copy of the published document while editors may have multiple sources for their information.
Proofreading was originally called "bibliomania", because it involved an obsessive interest in books. Today, this interest has been replaced with a more scientific attitude toward literature. Still, proofreading is very much a subjective activity; what seems clear to one person might not be evident to another. Therefore, proofreading is very much like editing in that both activities require judgment to determine what changes should be made before publishing a document.
Furthermore, both proofreading and editing involve comparing what you've written with what's expected. This comparison helps you identify errors that might otherwise go unnoticed.
Finally, proofreading and editing are related processes that can be performed separately or together. You may need to edit something first before you can proofread it. Conversely, you may need to proofread first before you can edit it.
In conclusion, proofreading is a subset of editing because it only looks at parts of the finished product.
The practice of checking the final draft of a piece of writing to verify consistency and accuracy in language, spelling, punctuation, and formatting is known as proofreading. Proofreaders correct errors in other people's work or documents.
Spelling checks are one part of proofreading. The spell-checker tool on most word processors will help with this task. However, you should also look at the used words list, the dictionary function, and ensure that any abbreviations or acronyms you use are correctly defined or explained elsewhere in the text. Also, avoid using colloquial English; if you do, your readers will not understand you. Finally, check all footnotes and endnotes; these areas of a document are often missed by editors and reviewers.
Proofreading is an important part of publishing a quality book. Even though editing is considered the more difficult task, proofreading can be quite enjoyable if you know what mistakes to look out for. For example, when reading through your manuscript make sure there are no sentences that are longer than needed or unnecessary sentence fragments. Look out for words that are misspelled or not defined properly. And finally, check all citations; incorrect or missing references can distract readers from the main idea of your article or book.
Publishing companies usually employ multiple people to complete their projects.
Proofreading is carefully studying your content to detect and rectify typographical flaws as well as faults in syntax, style, and spelling. These include errors made by the publisher as well as those introduced during the editing process.
Proofreading also includes checking references for accuracy and adding citations or bibliographies that are missing from the final manuscript.
Finally, proofreaders must ensure that the text conforms to any specified design requirements. For example, if the book has been printed in black & white, the text should be checked against the black-and-white version of the manuscript to make sure there are no mistakes in coloration.
The term "proofreader" comes from the fact that these individuals review documents "proof" (that is, with out errors) before they are published or distributed. Although they may take other roles as well, such as copy editor and indexer, their main focus is on making sure that a document is free of errors before it goes to press or into readers' hands.
Proofreading was originally an occupation done separately from writing but today many freelancers write articles and books together then pass them off to editors or others who will work solely with language to prepare them for publication.
Proofreading allows the writer to go over their work and check that it flows effectively, does not lead the reader to stumble (unless purposeful), and still expresses the intended message. Proofreading is necessary to guarantee that there are no: Errors in grammar, capitalization, and numbers, as well as spelling: Misplaced, omitted, or slanted words, phrases, or sentences; Incorrect usage of words such as your, you're, its, and whose; and Poorly constructed sentences. All of these errors can damage a piece of writing seriously if they are not corrected.
Some writers try to skip proofreading, thinking that it is only necessary when done by someone else. However, without proofreading, writing defects will be passed on to the reader. The finished product will likely contain many problems, thus preventing the reader's experience from being effective or enjoyable.
There are several ways for readers to discover errors in content. They may notice incorrect language or wording used throughout a document, such as using who instead of I, changing "their" to "they," or repeating a word or phrase within the text. Others may find mistakes after they have been published through a search engine, a blog, or another form of media. Even though these readers do not know how the mistake occurred, it is up to the writer to ensure that original content has no errors before it is published.
Proofreading also helps writers avoid common editing pitfalls.
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https://authorscast.com/why-is-it-best-to-avoid-proofreading-during-the-revision-process
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Responsibilities:
- Under direction of the Creative team, review pieces for content and accuracy; conjure and help evolve top-notch marketing copy that realizes campaign & project objectives in engaging and articulate language.
- Pay strong attention to proofing, content accuracy, and narrative consistency (in partnership with Editorial/Copy).
- Commit to polishing copy details while maintaining broad perspective on narrative flow and editorial voice.
Skills:
- Ability to recognize creative ideas and see them through to completion.
- Ability to proofread content for grammatical accuracy and maintain style consistency across pieces.
- Ability to meet deadlines for multiple projects simultaneously.
- Proficient in Adobe Acrobat and Microsoft Word.
Qualifications
- Bachelor’s degree.
- Willingness to learn; interest in gaining Copy experience.
- Strong English background with attention to detail.
Additional Information
All your information will be kept confidential according to EEO guidelines.
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https://jobs.smartrecruiters.com/PublicisGroupe/743999722841741-junior-copywriter?trid=dc465034-92ff-4865-8ca0-6f78ca9af1df
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Editing and Proofreading Services
Your opinions and insights need clear and well-structured expression in an essay free of distracting language errors. To ensure you attain your academic goals, we will proofread your essay to fix all language errors (in grammar, punctuation, spelling, and more). Your work will also be expertly edited to improve the style, clarity, sentence structure, and coherence, so that your ideas make a strong impact on the reader. To make sure your essay meets the requirements of your university, we will also work on the referencing and formatting.
Our academic editors understand your particular requirements as a student. Your document will be carefully proofread, and we will correct all errors in the grammar, spelling, punctuation, and typography, as well as the referencing. In addition, your work will be edited to improve the style, sentence structure, clarity, and coherence. Our editors will also give you detailed feedback to help further refine your academic work.
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https://academic-research-pro.com/editing-and-proofreading-services/
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Why Proofread?
Content is important. But like it or not, the accuracy of your document affects the way others judge and interpret your printed material… and your valuable message.
Most people devote only a few minutes to proofreading and a quick and cursory reading can overlook numerous errors.
It is strongly suggested to perform a thorough proofreading before submitting your document. And it’s additionally smart to have someone else, a “fresh set of eyes”, review and proofread your material.
Try to keep these points in mind.
- Don’t rely entirely on spelling checkers. These can be useful tools but they are far from foolproof.
- Grammar checkers can be even more problematic. These programs work with a limited number of rules, so they can’t identify every error and often make mistakes.
- Read slow, and read every word. Try reading aloud, concentrating on how the words sound together.
- Circle every punctuation mark. This forces you to review the accuracy of each mark.
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https://www.madison-creative.com/why-proofread-your-document/
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How to Proofread Ph.D. Dissertation
Once your Ph.D. dissertation is complete, remember to edit and proofread the content before submission. You can choose to do it yourself or have a qualified editor do it for you. For the former, you’ll need the right editing skills to know how to proofread a Ph.D. dissertation.
Proofreading involves checking for proper grammar, spelling, punctuation, and sentence structure. It also entails checking for accurate and consistent formatting (referencing) as well as clarity of ideas. Fluency of language is also very important and thus your content should portray eloquence in writing English. A Ph.D. dissertation written in English should therefore not contain different English usages (the UK and US English for instance.) In short, when editing and proofreading a Ph.D. dissertation, you must read through the paragraphs for clarity and logicality.
Editing however is much more intense than proofreading because it involves rewriting, altering, adding, and eliminating information. Proofreading on the other hand basically focuses on grammar and sentence construction.
Unlike editing, proofreading is much easier and can be done by a fellow student or by the use of proofreading software. Having a proofreader to check your Ph.D. dissertation therefore will not change the content, rather proofreading will only correct grammar. Editing however is much detailed; better left to professionals. If you don’t trust your English, hire an editor to look at it.
As part of editing and proofreading a Ph.D. dissertation, check that the document has a Tables content page, abstract, introduction page, literature review, methodology, results, discussion, conclusion, bibliography, and appendices.
Most universities provide students with tips, guidelines, and samples on how to proofread a Ph.D. dissertation. It is always advisable to consult with the University for proper guidelines-not that requirements differ from one university to another.
Editing and proofreading a Ph.D. dissertation help increase your chances of getting the best grades.
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https://www.customwritingservice.org/how-to-proofread-phd-dissertation/
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As a writer, you’ll inevitably be asked to write about topics you know nothing about. Whether you’re writing an article on a specific industry trend or creating content for a niche website, it’s essential to research and write effectively about a subject unfamiliar to you. Here are some tips for doing just that.
1. Do Your Research
The most important part of writing about something new is researching the topic thoroughly. This means looking up articles, books, and other sources to provide information on the topic. When researching online, use reliable sources such as scholarly journals and websites with .edu domains. It may be helpful to look at articles written by experts in the field you are writing about.
It’s also essential to read updated material on the topic. For example, if you are writing about wine, look at informative wine books published this year. That way, your content will be up-to-date and reflect the latest knowledge available. You will learn about the new trends and developments in the wine industry, which will make your writing much more valuable.
2. Talk to Real People
Talking to real people who know more about a subject can also help you write about it effectively. Look for people who are knowledgeable about the topic and willing to share their insights. If you don’t have contacts in the industry, try searching forums and other online communities related to the topic. You can also reach out to organizations, companies, and professionals in your niche who may be able to provide you with information about their field.
When talking to experts, take notes you can refer back to when creating content. This will provide invaluable insight into the topic and help you ensure your writing is accurate. You can even use quotes from the conversations in your content to add value and demonstrate your knowledge.
3. Develop an Outline
Once you have done all your research and gathered enough information, it’s time to start outlining what you want your article or piece of content to look like. An outline will help keep your thoughts organized and give you direction when it comes time to actually write the piece. Ensure that your outline includes critical points from your research and personal opinions or insights on the subject matter.
You can also use the outline to decide which elements of the article will be focused on. This way, you won’t write about something irrelevant to the topic or is not essential for readers to know. Always keep your audience in mind when creating an outline, and ensure that you provide valuable information.
4. Write & Revise
Now it’s time to start writing! Remember that when writing about a subject you don’t know much about, clarity is vital – make sure every sentence makes sense and conveys the point clearly so readers can understand what you are trying to say without getting confused or overwhelmed. If you don’t understand something yourself, don’t try to explain it – instead, refer readers to better sources for more in-depth information.
After you’ve finished your first draft, go back through it and revise any sentences or paragraphs that may need more explanation or clarification. Once all of this is done, read through the entire piece one more time before submitting – this will help ensure accuracy and catch any potential errors you may have missed in earlier drafts!
5. Proofread & Submit
Lastly, don’t forget to proofread your piece before you submit it. Take the time to double-check facts and figures and ensure that your sources are cited correctly. Proofreading is also a great way to catch any typos and grammar mistakes you overlooked during the revision process.
You can also ask someone else to read through the content and provide suggestions to ensure it is up to par. Once your piece is polished and error-free, you can submit it and be proud of the excellent content you have created! Always remember that even if you don’t know a lot about the subject, with enough research and dedication, you can create informative and engaging content.
Bonus Tip: Get Feedback
Getting feedback from peers and experts is a great way to further improve your writing. Ask industry professionals who have read your work for their opinions and advice. This will help you understand what works and what doesn’t, so you can make necessary changes before submitting the final piece.
Writing about subjects we don’t know much about can initially seem intimidating – but with enough research and preparation, it doesn’t have to be! By following these tips, writers of all levels can easily create informed pieces of content on new topics without prior knowledge. So don’t be afraid – take a deep breath, do some research, and get ready to write! Good luck!
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https://www.publishondemandglobal.com/tips-for-writing/
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We have an immediate opening for a Full-Time Executive Assistant in our dynamic, and fast paced professional office. This position offers a generous salary and benefits package.
- Primary duties include:
•Provide administrative and clerical support
•Proofread copy for spelling, grammar and layout, making appropriate changes
•Responsible for accuracy and clarity of final copy
• Prepare quality, error free correspondence, documents and responses to email within deadlines with or without supervision
• Assist with special projects and special events as directed
• Manage vendor relationships
• Monitor and maintain office supply inventory
• Receive, sort and disburse mail
• Provide prompt, personal service of the highest excellence, accuracy and professionalism
• Schedule and organize complex activities such as meetings, travel, conferences and department activities
• Answer phones, takes messages or fields/answers all routine and non-routine questions
• Retrieve messages from voice mail and process as appropriate
• Act as a liaison with other departments and outside agencies
• Completes hours and expense reports
• Approves and provides summary hours reporting to Manager
• Organize and manage conference room schedule
• Ensure office is prepared for visitors
• Handle confidential and non-routine information and explains policies when necessary.
• Work independently and within a team on special nonrecurring and ongoing projects
• Upon request, serves as project manager for special projects
• Organize and prioritize large volumes of information
- The successful candidate must demonstrate the following Core Competencies:
• Achievement and Results Orientation
• Adaptability and Flexibility
• Client Service and Focus
• Communication – Written, Oral, Public Speaking and Presenting
• Conflict Resolution
• Decision Making and Decisiveness
• Engagement
• Innovation and Initiative
• Learning Support and Continuous Learning
• Planning and Organizing
• Problem Solving
• Teamwork, Cooperation and Working with Others
- Minimum requirements for the position are:
• Associate of Arts or Sciences Degree from an Accredited College or University
• Certified Administrative Professional (CAP) Certification or equivalent experience
• Working knowledge of Microsoft Office (Word, Outlook, Excel, PowerPoint)
• Satisfactory background check
• Able to work a flexible schedule
• Able to lift and carry 20 pounds
• Able to sit for prolonged periods of time at a computer
Media Coordinator: Atlanta, GA
Watauga Group is looking to hire a Media Coordinator in our Atlanta office. The ideal candidate would have 1-2 years of relevant media coordinating experience.
We are a Senior Level team, so the candidate will have opportunity to work with experienced media vets with substantial room for growth. While we are growing and busy, we don’t have the typical burnout of larger shops. There are no caps at Watauga – you grow as you are ready. The client list is also wide, so the candidate will work on a variety of accounts across industries rather than working on one account and continuing to recreate the same plan year over year. This position will work with online & traditional media from research to implementation. Looking for a “thinker” not just a “doer”
Primary Duties:
The duties and responsibilities of this position include, but are not limited to those listed below. These duties and responsibilities may be modified at any time by Management. Modifications will be in writing and will be acknowledged by both parties.
• Assist buying team manage ongoing buys for local stations and networks by managing makegoods, buy confirmations, invoice reconciliation and payment updates
• Confirm media run and review positioning reporting
• Support the planning team by using planning tools including, but not limited to, MRI, SQAD, Media Audit, and SRDS
• Implement approved plans by creating client approval documents, authorizations, issuing insertion orders to media vendors and working with CyBear team for digital execution
• Actualize flowcharts and invoice reconciliation for OOH and print vendors
• Implement plan changes developed by the Planner/Supervisor
• Work with Planner/Supervisor to develop and negotiate RFPs for 3rd party media vendors to include valuations of proposals according to approved guidelines
• Manage day to day tasks and workload to ensure client and partner agency deadlines are met
• Assist in the development and reporting of Key Plan Metrics
• Partner with implementation teams, including agency partners, for deliverables required to execute plans, including but not limited to, specs, buy recaps and added value summaries
• Campaign coordination for multiple plans
• Administrative duties as directed, including but not limited to, trafficking, tracking, reporting, maintaining flowcharts
• Assist with the analysis of media delivery, competitive advertising placement and costs
• Maintain status reports on accounts
• Attend meetings and training sessions as directed by Supervisor
Core Competencies:
• Analytical/Strategic Thinking
• Communication/Written/Oral/Public Speaking/Presenting
• Creative Thinking
• Customer Service/Focus
• Decision Making/Decisiveness
• Engagement
• Evaluation
• Learning Support/Continuous Learning
• Numeracy
• Planning/Organizing
• Problem Solving
• Teamwork/Cooperation/Working with Others
Requirements:
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http://wataugagroup.com/careers/
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Job Summary:
The Executive Assistant will provide administrative support to our CEO and leadership team. The role will include management of business-related tasks for the team such as creating reports, taking minutes, and other organizational tasks. To fulfill this role successfully, the Executive Assistant should have a detailed understanding of the full Microsoft Office suite, have strong communication skills and have experience as an executive or administrative assistant in the past.
Responsibilities and Duties:
- Answer telephones and provide general information, refer callers to other staff or take messages as necessary.
- Open, sort and distribute incoming mail, emails, faxes and other correspondence.
- Compose draft letters following established formats. Proofread all materials for accuracy prior to supervisory review and signature.
- Manage calendars, scheduling meetings and making logistical and travel arrangements necessary for internal and external meetings.
- Prepare materials for various meetings, including agendas and other documents for presentation.
- Accurately record and disseminate minutes from meetings.
- Maintain master schedule of Club activities and events, collecting and disseminating information to Club staff, volunteers, members and families as instructed.
- Support payroll, time sheets and other grant administration tasks as assigned.
- Conduct data collection and analysis for review and presentation to board of directors, committees, and executives.
- Monitor office supply inventory and order supplies as necessary.
- Manage office equipment and service contracts, as well as contacting service representatives as needed.
- Maintain electronic and hard copy filing systems, ensuring accuracy and easy retrieval of information.
- Maintain contact with Club staff, volunteers, community contacts and the general public to give and obtain information, either in response to inquiries, or as instructed by leadership team.
- Perform other related secretarial or administrative duties as requested.
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https://members.schaumburgbusiness.com/jobs/info/administrative-support-clerical-executive-assistant-1423
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The coefficient of static friction between A and C and between B and D is μs = 0.24, and between A and B is μs′ = 0.15. Neglect the weight of each wedge. (Figure 1)
Consider ND as the normal force by the wall D on block B, fD as the friction force due to surface B, fB as the friction force due to surface A, and NB as the normal force due to block A.
Draw the free body diagram of block B.
Calculate the friction force fD.
Equate the forces in ver...
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Friction in ambient air: the averaged friction coefficient measurement for each braking stop is presented in Fig.5, including test in ambient air and water spray environment. The variation of friction coefficient will be examined, along with the friction surface topography and microstructure.
As shown in fig.5, the measurement for both C/SiC composite brakes rose from a level of low to high by approximately following a parabolic shape, as braking stop number increased. This characteristic trend at bedding stage was demonstrated in a previous study.
For Brake-H, the friction coefficient measurement started with a level of ～0.3, followed by a steady ascending to a level around 0.47 after ～100 braking stops. Subsequently, further braking execution had little change of friction coefficient measurement, and a level of ～0.47 was maintained till after 180 executions. From the 181st to 200th, the measurement showed a further, but small rise to another fairly stable level of ～0.51. For Brake-L, a similar ascending trand was observed from the start to the 85th execution, and a stable friction coefficient of ～0.4 was since maintained till the end of test in ambient air.
Based on the observation above, we can phenomenologically describe the variation of averaged friction coefficient, μ versus the braking stop number, n, by using a standard parabolic equation:
μ=an2+bn+c (2)
Where a, b and c are parameters. To quantitatively compare the friction performance of the two composite brakes at the bedding stage, measurements at this stage are fitted to Eq.(2), and parameters a, b and c for each brake are summarised in Table 3. The coordinate of the vertex of a parabola is (167, 0.5) and (115, 0.42) for Brake-H and Brake-L, respectively. The following points can therefore be drawn:
- The μ at vertex represents the friction coefficient level at stable friction. Brake-H gave 19% higher friction coefficient than Brake-L. The predicted CoF ratio between Brake-H and Brake-L is 1.19, which is just inside the ratios of true asymptote shown in Fig.4: 1.18 and 1.28 for the first stable friction coefficient of 0.47 and the second one of 0.51, respectively, for Brake-H.
- Brake-H took 45% more braking stops than brake-L to achieve a stable friction.
It is interesting to see that, when tested against same organic pad materials under same braking conditions, the composite disc that consisted of more than 2 times higher SiC/Si took more braking executions to achieve a stable friction, and likewise provided slightly higher level of friction coefficient, and likewise provided slightly higher level of friction coefficient. Friction force for a friction couple should include the adhesion forces existing on all friction contact regions if the friction is dictated by an adhesion mechanism, and the ploughing resistance if a ploughing process is included. When the friction surfaces are flattened by polishing before test, it should be a reasonable assumption that friction of this friction couple is predominantly dictated by adhesion, and the CoF can therefore be expressed as following equation:
Where λ is adhesion force per area of each friction contact region, Si area of each contact region, S nominal area of friction contact interface, and f fraction of total contact regions out of the friction contact interface. Λ ought to be a constant for a given braking condition, f should be a function of braking stop number n at bedding stage, because the number of contact region, m, and the area of each contact region, Si, tend to increase as bedding proceeds. At bedded stage, the friction contact regions become stable, leading to a constant friction coefficient. According to this analysis and the observed ratio of friction coefficient between the two brakes, Brake-H ought to have higher fraction of friction contact region than Brake-L, and the results of friction surface examination are shown below.
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https://www.cfccarbon.com/news/friction-performance-of-c-sic-brakes-in-different-environment-5.html
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This standard is issued under the fixed designation D ; the number immediately 1 This test method is under the jurisdiction of ASTM Committee D20 on. ASTM D is a testing standard designed to measure the friction of plastic film and sheeting. The ASTM D standard test method is used to determine the kinetic (moving) and static (starting) resistance of one surface being dragged.
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The test is used to determine the kinetic moving and static starting resistance of wstm surface being dragged across another. Bluehill LE for Basic Testing.
Send us a request Wilton UK: Glossary of Materials Testing Terms. For a specific precautionary statement, see the end of 6.
The static coefficient of friction is equal to the initial force scale reading divided astmm the sled weight. The force to get the sled started static and to awtm motion kinetic is measured. Inspection Validating the specifications, value and safety of your raw materials, products and assets. The challenges of testing to this standard are: It is important to review ASTM D in order to fully understand the test setup, procedure, and results requirements.
Coefficient of Friction ASTM D
Both procedures yield atsm same coefficients of friction values for a given sample. Evaluating how your products and services meet and exceed quality, safety, sustainability and performance standards.
Standards can be obtained from appropriate standards authorities. Assurance Testing Inspection Certification.
Instron ASTM D Coefficient of Friction of Plastic Film – Instron
Users of previous versions of software such as Bluehill 2 and Bluehill 3 can easily upgrade to the newest version of Bluehill. Need help or have a question? Subscribe to Instron News!
For this reason, it is sometimes meaningless to compare slip and friction properties of films or sheets produced at different times, unless it is desired to study this effect. Bluehill Universal Brochure Bluehill Universal Software is built from the ground-up for touch interaction and an intuitive user experience. These additives have varying degrees of compatibility with the film matrix.
It is the responsibility of the user of this standard to establish appropriate safety and health practices and determine the applicability of regulatory limitations prior to use. The blooming action of many slip additives is time-dependent. All measurements are in grams. Some of them bloom, or wstm to the surface, lubricating it and making it more asgm. A specimen is attached to a sled of specified weight.
Link to Active This link will always route to the current Active version of the standard. Correlation of test results with actual performance can usually be established. Check this box to receive pertinent commercial email from Instron focusing on products, upcoming events, and more! Assurance Enabling you to identify and mitigate the intrinsic risk in your operations, supply chains and business processes.
ASTM D1894-14 Coefficient of Friction of Plastic Film
These methods yield empirical d184 for control purposes in film production. Due to copyright restrictions, we are not able to provide copies of standards. The film under test is secured on a flat surface and a sled of known weight is wrapped in the same material. Low force measurement Data rate used to capture peaks and troughs Reporting calculations in compliance with the standard Instron’s Solution: ASTM D is a test method to determine static and kinetic coefficients of friction of plastic film and sheeting.
The kinetic coefficient of friction is equal to the average force reading obtained during uniform sliding of the surfaces divided by the sled weight.
Onsite Training At Your Facility. Because this blooming action may not always be uniform on all areas of the film surface, values from these tests may be limited in reproducibility. Formally confirming that your products and services meet all trusted external and internal standards.
Therefore, it is advisable to refer to that material specification before using this test method. Testing Evaluating how your products and services meet and exceed quality, safety, sustainability and performance standards.
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https://beara3d.net/astm-d1894-79/
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For any sort of calculation, Wolfram|Alpha is very helpful. If you have a calculation-based question, or if you need facts about food, careers, stars, or any sort of numerical data, Wolfram|Alpha is likely your best first stop. Also, if you have a math or physics problem, it's a great place to try to find a solution.
You should supply more information.
9410 + 5490 = 14900
Alpha radiation can be stopped by pretty much anything: 5 cm of air, a piece of paper, skin, etc. Alpha particles are not dangerous unless inhaled, so skin is a safe solution.
Suppression of alpha rhythm that occurs if the eyes are opened or if the individual begins to concentrate on some mental problem or a visual stimulus
According to Wolfram Alpha, (1/2) (9 plus or minus i times the square root of 39) Since these numbers are complex, it means there is no solution with real numbers for this problem.
It's not. The coefficient of static friction is only equal to the tangent of the angle of incline at the maximum angle before the object begins to slide. At this point static friction equals the component of the weight along the incline (weight X sin alpha). Static friction is given by the coefficient of static friction times the normal force (weight X cos alpha) fs = us N = us mg cos(alpha) Wx =mg sin(alpha) fs = Wx us mg cos(alpha) = mg sin(alpha) us = [sin(alpha)] / [cos(alpha)] = tan(alpha) Similarly, the coefficient of kinetic friction equals the tangent of the angle of incline only if the object is sliding down the incline at constant velocity (net force equals zero). If the object is accelerating along the incline (make this the x axis): Fnet, x = Wx - f max = mg sin(alpha) - uk mg cos(alpha) uk = [g sin(alpha) - ax] / [g cos(alpha)]
No. But sin2a equals 1 minus cos2a ... and ... cos2a equals 1 minus sin2a
The answer i found out, is supposed to be because the Alpha PAL8045 is too heavy. But all answers i found online do not note this as a problem.
If you need to ask, you probably can't."Alpha hydroxy" is a marketing term that refers to a carboxylic acid which has a hydroxyl group on the carbon adjacent to the acidic carbon.If you can get your hands on some alpha hydroxy acids, you could dissolve them and make an "alpha-hydroxy" solution. But do you really want to put something you mixed up at home using a compound with the term "acid" in it on your face? There's a REASON the marketing term leaves out the "acid" part.Some fairly common and relatively innocuous alpha hydroxy acids are citric acid and lactic acid, if you're bound and determined to do this. In fact, lemon juice is ALREADY an alpha hydroxy solution; if you want something you can make at home.
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https://math.answers.com/Q/Need_help_with_working_this_Trig_problem_out._A_sin_alpha_plus_cos_alpha_equals_1_B_sin_alpha_-_cos_alpha_equals_1_Solution_is_AB_equals_1
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Due to the intermetallic composition of the compound layer, the friction and the tendency to weld with a metallic counter-partner are reduced. Excellent sliding and running properties, as well as greater wear-resistance, are the well-known advantages of MELONITE®-treated components. Wear tests and practical application repeatedly confirm the superior wear resistance of salt bath nitrocarburized parts over traditional or induction hardened or hard chrome plated surfaces. In very many cases, the wear resistance of the compound layer is improved still further by an oxidative post treatment. For example, components such as transmission shafts, plug gauges and hydraulic aggregates have a longer service life after MELONIZING® than after hard chrome plating.
The question is often raised as to the wear resistance of the diffusion layer. The data summarized in the graph above shows a comparison of the wear behaviour of rocker arms treated by two different heat treatment processes. It shows the wear on the running surface of the rocker arm which run against a salt bath nitrocarburized camshaft made from chilled cast iron. Although the surface hardness of the case hardened rocker arm was slightly reduced by nitrocarburizing, the much improved wear resistance due to the presence of the compound layer, to approximately 80 hours running time is clearly visible. After 70-80 hours, the wear profile then runs parallel to that of the case hardened only rocker arm, which is attributable to the protection given by the diffusion layer. A spontaneous increase in wear after the loss of the compound layer was not observed. This test again showed very impressively that a high surface hardness does not automatically mean that the protection against wear is also very high. It depends on the respective wear mechanism involved as to how a material or material partnering is to be assessed. Nitrocarburized running partners have proved themselves to be very good under adhesive wear conditions in particular. Their tendency to seize is much lower than that of other surface layers.
The graphs above show the results according to Nieman-Rettig of scuffing load limit tests on gears. These data were established by applying torque to the tooth flank and increasing it until seizure occurred. Nitrocarburizing by the MELONITE® process raised the scuffing load limit of the materials tested by 2-5 times. Another interesting factor in connection with the wear resistance and running properties is the friction coefficient of the outer surface layer. The interfacial reactions which occur during sliding are not so much determined by the absolute hardness of the running partner but by the material partnering, their microstructural composition, surface geometry and the lubricant used.To determine the coefficient of friction, tests were carried out in our laboratory on the Amsler machine. The tests were carried out with one disc running at 200 rpm against another disc which was fixed. Both parts were treated equally. To avoid adhesive wear, a load of 5-30 N was applied. Under greater loads the coefficient of friction increased with the load but in the range of 5-30 N it remained constant.
The data summarized in the graph above gives an overview of the friction coefficient of different pairings under dry running conditions, and after being lubricated with oil, type SAE 30. After hard chrome plating, case hardening, and nitrocarburizing followed by water cooling or oxidative cooling in the AB 1 cooling bath, the samples tested had a surface roughness of around 4 μm. Only the surfaces of the QPQ®-treated samples were reduced to a surface roughness of Rm = 1 μm by polishing.
Under dry running conditions, nitrocarburized samples have a much lower coefficient of friction than case hardened or hard chrome plated ones. Due to the oxidation of the compound layer, the coefficient of friction of the nitrocarburized samples increases. In the lubricated condition, the hydrodynamic load supporting film has to be taken into account. With the exception of the QPQ®-treated samples, there is more solid mass because of the surface roughness so that the results presumably lie within the mixed friction range. Under these test conditions, of all variants the QPQ®-nitrocarburized samples had the lowest friction coefficient. The MELONITE®-treatment increases the rotating bending fatigue strength and the rolling fatigue strength of components. These are mainly influenced by: the level of nitrogen in the compound and diffusion layer, the thickness of the diffusion layer and the state of solution of the nitrogen on unalloyed steels.
Furthermore, the state of the microstructure and the strength are to be taken into consideration. Whereas with unalloyed steels the increase in fatigue strength is determined by the rate of cooling, with alloyed materials, however, it has nomentionable effect. The increase in fatigue strength possible after 1-2 hours MELONIZING® is 100% on parts made from unalloyed and low alloyed steels. In this connection we would like to point out that hard chrome plating reduces the rotating bending fatigue strength of the base material. A similar situation prevails with electro galvanizing. Nitrocarburizing, however, always increases the fatigue strength.
Above is a summary of the results of a fatigue strength test conducted on notched samples made from material C45N. MELONITE®-treatment increased the fatigue strength by more than 50%. Hard chrome plating, however, reduced the fatigue strength by 20%.
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http://www.northeastcoating.com/products/salt-bath-nitriding/wear-resistance-running-properties
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A 16-kg sled is being pulled along the horizontal snow-covered ground by a horizontal force of 35 N. Starting from rest, the sled attains a speed of 2.1 m/s in 9.5 m. Find the coefficient of kinetic friction between the runners of the sled and the snow.
-
Jennifer
35 - ckf * 16 = m*a
where ckf is coefficient of kinetic friction. In your textbook ckf is probably represented as the greek letter mu, but it's really hard to write greek letters here. . .
m is the mass of the sled, and a is its acceleration.
x = 1/2 * a * t^2
v = a * t
where x is the distance traveled by the sled, t is time, and v is the speed
so
9.5 = 1/2 * a * t^2
2.1 = a * t
Using algebra:
t = 2.1/a
plugging into the equation for x:
9.5 = (1/2 * 2.1^2)/a
Use algebra to solve for the acceleration, then plug into
35 - ckf * 16 = 16*a
and solve for ckf
Respond to this Question
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https://www.jiskha.com/display.cgi?id=1349385536
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Mark-10 G1086 Coefficient of Friction Fixture - C.S.C. Force Measurement, Inc.
Have a question about the Mark-10 G1086 Coefficient of Friction Fixture?
The G1086 COF fixture is an integral part of a COF measurement system, typically including a motorized test stand and COF gauge. The G1086 can be used for a wide range of materials, ideal for conformance to ASTM D1894 and other relevant standards. Static and kinetic coefficients can be measured using the M5-2-COF gauge.
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https://cscforce.com/product/mark-10-g1086-coefficient-of-friction-fixture/
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What is Friction?
Friction is the resistance to motion of one object relative to another. It is not a fundamental force like gravity or the electromagnetic force, but rather occurs because all surfaces have roughness. Even surfaces that seem very smooth still have roughness, although you might have to view them at the molecular level to observe the roughness. Roughness occurs in various ways. For rougher surfaces, like two pieces of wood, the physical hills and valleys of the surface interlock to some extent and provide friction. For other surfaces that are smooth down to the molecular level friction occurs due to the electromagnetic attraction between charged particles in touching surfaces.
Liquids have friction as the moving layers of fluid move past each other. Thicker liquids have more friction than less thick. Think about molasses vs. water. Likewise gasses have friction. Think about a skydiver falling through air – what we call “air resistance” is friction
Two Types of Friction
There are two types of friction: static and kinetic. Static friction is between two objects that are not moving relative to each other and prevents objects from starting to move. Static friction is what keeps an object resting on an incline from moving. Kinetic friction refers to the friction that acts on object moving against each other. Static friction is generally higher than kinetic friction.
Coefficient of Friction
The main components of friction are the amount of perpendicular force applied between two objects and the coefficient of friction.
There is no formula for the coefficient of friction – rather it is determined through experiments. Here’s a chart of some friction coefficients:
Friction is Not Dependent on Surface Area
A fascinating property of friction is that it is not dependent on the surface area in contact between two objects. This seems counter-intuitive. Here’s why this is the case: “Although a larger area of contact between two surfaces would create a larger source of frictional forces, it also reduces the pressure between the two surfaces for a given force holding them together. Since pressure equals force divided by the area of contact, it works out that the increase in friction generating area is exactly offset by the reduction in pressure; the resulting frictional forces, then, are dependent only on the frictional coefficient of the materials and the FORCE holding them together.” Source.
That friction is not dependent on the surface area of objects was first observed by Leonardo da Vinci. He was a pretty smart dude. He never published his works on fiction (as was true for most of his discoveries) and had to be re-discovered by others later on.
Related IFOD (that has a surprisingly high number of views): Density!
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https://johnmjennings.com/friction-is-independent-of-surface-area/
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Figure 9-1. Measurement of coefficient of friction, u = F/W.
where u is the coefficient of friction, F the force parallel to the surface, and the force normal to the surface. Note that u is constant for homogenous surfaces; thus, for a given value of Wu F is independent of the area of contact.
To evaluate lubricants for torque reduction, Mondshine1 used the apparatus shown in Figure 9-2. The steel test block simulating the wall of the hole is pressed against the test ring by a torque arm.* F is measured by the amperes required to turn the ring at a given rpm when immersed in the test mud. To get repeatable results, a steel test block was used. Mondshine found that although the coefficients of friction measured with steel blocks differed from those measured with sandstone or limestone blocks, the relative results obtained with different muds were substantially the same.
Results obtained with this machine were not in accord with some previously held notions. For example, it was thought that bentonite reduced torque because of its slippery nature. Test results showed that it did so only at low loads (less than 100 psi), and sharply increased the coefficient of friction at high loads. Similarly, it was believed that oil emulsified into a mud with an oil-wetting surfactant reduced torque. Test results showed that oil lightly stirred into the mud reduced friction considerably, but had no effect when tightly emulsified.
Table 9-1 shows the effect various water additives have on the coefficient of friction of water and two fresh water muds. These results were obtained under the standard conditions of 60 rpm and 150 inch-pounds (720 psi) load, which were judged to be representative of field conditions. The table shows that many of the agents reduced the coefficient of friction with water; some did so to a lesser extent with a simple bentonite mud, but only a fatty acid, a sulfurized fatty acid, and a blend of triglycerides and alcohols reduced friction in all the muds. These additives also reduced friction in a sea water mud.
The triglyceride mixture is one of the commercial water-soluble lubricity agents now commonly used in water-base muds to reduce torque. Oil muds are
* A lubricity tester in which the shaft can, if desired, bear against a filter cake is shown in Figure 3-24.
excellent torque reducers, presumably because of their oil-wetting properties; however, cost and potential pollution prevent the use of oil muds where the only advantage is torque reduction.
The fatty acid compounds referred to above are extreme pressure (EP) lubricants which were originally introduced by Rosenberg and Tailleur2 to decrease the wear of bit bearings. The action of EP lubricants differs from that of ordinary lubricants. Under extreme pressure, ordinary lubricants are squeezed out from between the bearing surfaces, and the resulting metal to metal contact causes galling and tearing. According to Browning,3 the lubricating properties of EP lubricants are due to the lubricants reacting chemically with the metal surfaces at the high temperatures generated by metal-to-metal contact. The reaction product forms a film which is strongly bonded to the metal surface and acts as a lubricant.
Recently, glass beads have been shown to reduce torque and drag.3a For instance, in a field test, 4 Ib/bbl of 44-88 micron beads reduced drag from 37,000 lb to 25,000 lb. The action is not clearly understood. The beads may act as ball bearings, or they may become imbedded in the filter cake and provide a low friction bearing surface.
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https://www.civilengineeringhandbook.tk/drilling-fluids/f.html
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Enjoy the popular, magical, and imaginative journey into the world of Narnia. The performance of this C.S. Lewis classic encourages reading, imagination, critical thinking, and character development. Interactive preshow and talkback sessions with the audience emphasize the importance of honesty, integrity, and treating others as you, yourself, would like to be treated. A great family show!
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http://www.waterburyregionarts.com/event/the-lion-the-witch-and-the-wardrobe/
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Teachers may think that their students know what it means to act with academic integrity, but these digital natives—who grew up with internet access, file-sharing, and mashups—may not be seeing the whole picture. And in our fast-paced world, understanding academic integrity is more important than ever. Here is a list of three things that students may not know about academic integrity.
Acting with integrity doesn't suddenly become important in high school or college. Children starting in kindergarten can and should be educated on what integrity means and the role it plays in the classroom and beyond.
Kids must learn how to be honest and need role models to guide them in their acquisition of societal norms that align with their moral principles. By building a foundation of respect early in a child's academic career, educators can help students to develop positive habits and a long-lasting sense of self-confidence and self-awareness.
According to the International Center for Academic Integrity, academic integrity is "a commitment, even in the face of adversity, to six fundamental values: honesty, trust, fairness, respect, responsibility, and courage." At a young age, children have the ability to learn the importance of these six character traits and to practice them in and out of the classroom.
Starting in kindergarten, children learn the habits and routines that will influence their actions and decisions for the rest of their lives. Elementary, followed by middle and high school teachers, can create a culture of integrity in the classroom in order to emphasize the importance of trustworthiness and responsibility at a young age.
At every stage of an academic or professional career, an individual will encounter deadlines, stress, and pressure. Acting with integrity means planning ahead for these challenges and seeking resources to support responsible decision-making.
It is essential for educators to clarify the definition of authorship and explicitly define the parameters for a project. If students are aware of what is expected prior to beginning their work, they are often more capable of anticipating pressure and planning ahead. Turnitin offers several webcasts that address the importance of careful citation and understanding plagiarism, which help students to better understand authentic work.
Self-care is extremely important in anticipating pressure. This includes healthy eating, mental health awareness, and plenty of sleep, allowing students to be their best selves in and outside of the classroom. Academic pressure and stress can arise from a busy schedule that doesn't make room for healthy daily choices.
Roy T. Bennett once said: "Do what is right, not what is easy…" Students need to understand that acting with integrity will not simply affect their grades at the end of the semester, but will influence how they live their whole lives.
Everyone has the opportunity to make the right choice, even celebrities. The rise of the "celegrity" (celebrities with integrity) has combated the negative stereotypes of the rich and famous. Students who strive for integrity should look up to—and try to surround themselves with—people who live with honesty and kindness.
All decisions have a ripple effect. If in a moment of weakness, a student makes a decision that does not align with the high standards to which they normally adhere, the outcome of that choice will be felt in many other ways. If students adopt the perspective that "the end justifies the means," they may lose touch with the deep interconnectedness of decisions and their consequences.
Be a role model. Younger siblings, cousins, and peers look to their elder counterparts for guidance on what to do and how to act. By imagining who might be watching and learning from their actions, students themselves may strive to be better. Thought leader and award-winning author Frank Sonnenberg believes that to be a good role model, you must first live with honor and integrity.
When the pressure is on, help students to understand that there are ways they can prepare for and work under stress with integrity. When students are in a calm and reflective space, engage them in a dialogue that helps them to see how academic integrity moves with them, from kindergarten through college and beyond. No matter what, students will appreciate the chance to consider their own lives and how they, too, can live with integrity.
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https://www.turnitin.com/blog/three-things-your-students-don-t-know-about-academic-integrity
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The mission of Herkimer College is to provide dynamic educational programs and services in an inclusive, engaging community where all learners have the opportunity to grow and succeed. We emphasize the following core values as we strive to achieve this mission:
Community
To foster a collaborative campus environment that promotes civility, creativity, diversity, open communication, social responsibility, and mutual respect among students, faculty, staff, and the public.
Excellence
To encourage all constituencies of the College community to pursue the highest standards of performance in their academic and professional work.
Integrity
To embrace the values of honesty, respect, consistency, diversity and responsibility, in order to provide fair and equal treatment for all.
Opportunity
To provide access to quality, affordable lifelong learning opportunities and to maintain an environment that fosters individual growth and development for all.
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https://www.herkimer.edu/about/institutional-effectiveness/mission-and-core-values/
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IB programs involve 70,000 educators teaching more than one million students worldwide. The programs are academically rigorous and emphasize students’ personal development. Avondale proudly incorporates the principles and objectives of these programs into our curriculum.
The primary principles of IB education, infused into students’ daily interactions are:
- Inquirers. They develop their natural curiosity. They acquire the skills necessary to conduct inquiry and research and show independence in learning. They actively enjoy learning and this love of learning will be sustained throughout their lives. University faculties regularly note IB students’ passion for discovery.
- Knowledgeable. They explore concepts, ideas and issues that have local and global significance. In so doing, they acquire in-depth knowledge and develop understanding across a broad and balanced range of disciplines. IB students are extraordinarily well prepared for the academic requirements of university coursework.
- Thinkers. They exercise initiative in applying thinking skills critically and creatively to recognize and approach complex problems, and make reasoned, ethical decisions. IB students contribute to discussions in a meaningful way. They do not shy away from challenging questions and, once they know the answer, follow up by asking “why?”
- Communicators. They understand and express ideas and information confidently and creatively in more than one language and in a variety of modes of communication. They work effectively and willingly in collaboration with others. IB students regularly deliver stimulating presentations and drive excellence in group assignments.
- Principled. They act with integrity and honesty, with a strong sense of fairness, justice and respect for the dignity of the individual, groups and communities. They take responsibility for their own actions and the consequences that accompany them. IB students are infused with the academic integrity that is a fundamental value of universities and colleges.
- Open-minded. They understand and appreciate their own cultures and personal histories, and are open to the perspectives, values and traditions of other individuals and communities. They are accustomed to seeking and evaluating a range of points of view, and are willing to grow from the experience. IB students have a deep understanding of various cultures and views, bringing an appreciation of new views to both their academic study and their involvement in local and wider communities. Their international mindedness complements the missions of the best tertiary institutions.
- Caring. They show empathy, compassion and respect towards the needs and feelings of others. They have a personal commitment to service, and act to make a positive difference to the lives of others and to the environment. IB students tell us they bring this commitment to community and others to their activities and leadership roles at university and carry it throughout their lives.
- Risk-takers. They approach unfamiliar situations and uncertainty with courage and forethought, and have the independence of spirit to explore new roles, ideas and strategies. They are brave and articulate in defending their beliefs. IB students transition well to challenging university settings and show resilience and determination in their work. In academics, they have the confidence to approach new or unfamiliar subjects or material.
- Balanced. They understand the importance of intellectual, physical and emotional balance to achieve personal well-being for themselves and others. IB students are active participants in a wide range of aspects of campus life, as well as focusing on their academic development.
- Reflective. They give thoughtful consideration to their own learning and experience. They are able to assess and understand their strengths and limitations in order to support their learning and personal development. IB students have developed an ability to reflect on their learning and to articulate how they learned.
Learn more about International Baccalaureate® programmes here.
STEM: Science, Technology, Engineering, and Math
STEM education integrates Science, Technology, Engineering, and Math to meet the challenges of today’s leading-edge fields of study and career choices. STEM exploration leads students to explore topics that can lead to future academic success and fulfilling, lucrative careers.
At Avondale, Instructor Brenda Walker builds on existing technology and proven methods to challenge students in hands-on project-based STEM inquiry. AES is a Cognia-certified STEM school.
Avondale’s STEM garden is an oasis of learning in a beautiful setting, yielding a bounty of vegetables and flowers. STEM garden development is supplemented by the hard work of Master Gardener Ms. Langston, Mr. Jacobs, Ms. Siddiqui and community partners.
POSITIVE BEHAVIORAL INTERVENTIONS and SUPPORTS (PBIS)
Avondale students grow and thrive in this safe, consistent support program, which contributes to reduced disciplinary actions and enhances our IB interpersonal values.
Rewards include being allowed to choose prizes and gifts from Avondale’s PBIS Store.
TECHNOLOGY
Avondale’s Technology department offers a wealth of hardware, software and advanced equipment, and provides a work environment that prepares students for future study and careers in essential fields.
Avondale students compete in Technology Competitions, under the guidance of Technology Instructor Ms. Starr, and have won top prizes five years in a row.
Computer labs feature multiple PC and Mac computer stations, featuring coding, gaming and design applications. Additional devices include programmable robots and a 3D printer.
DISCOVERY
Discovery is a program designed to challenge students who demonstrate high levels of accomplishment when compared to others of the same age.
These gifted students show aptitude in general studies, technical subjects and visual and performing arts through elevated reasoning, intellectual curiosity, problem solving and rapid mastery of facts, concepts, and principles, as well as creative and imaginative expression.
Discovery delivers a program of rigorous instruction at levels that challenge these advanced learners. Students participate in project-based study that follows IB principles.
MUSIC
AES students explore choral, instrumental and innovative computer applications to discover the enriching impact of music in daily life.
Sheila Smith introduces students to a variety of instruments and software, and leads a talented group of singers. Many performances throughout the year showcase our Roadrunner performers’ talents.
ART
Avondale’s art department explores the world of visual representation using a wide range of media. Many projects align with International Baccalaureate themes that help students understand the principles driving AES’s values.
Under the instruction of Lisa Kemp, students create artworks and crafts that brighten our halls and enlighten our community with paintings, drawings and posters, making Avondale an enchanting environment for learning. Students’ pride in seeing their work displayed is an added benefit.
SPANISH
Avondale’s Spanish language program teaches students to communicate clearly, read and write proficiently, and engage effectively in our multicultural world.
Señora Leonor Cagle leads a project-based exploration of the application of Spanish. All grades take Spanish during the school year.
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https://www.avondaleelementary.org/academics-at-aes/
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What are benefits of integrity?
4 Benefits of Integrity
- What is integrity anyway? Integrity is when our behavior matches our beliefs.
- Integrity keeps you close to God. King David shared this belief in Psalm 24:3-4, “Who may climb the mountain of the Lord?
- Integrity guides your life.
- Integrity brings peace.
- Integrity earns us trust and influence.
- Take away.
How do you use integrity in everyday life?
Examples of Integrity
- Keep your promises even if it takes extra effort.
- Go back to a store and pay for something you forgot to pay for.
- Never betray a friend’s trust even if you get in trouble.
- Inform the cashier he gave you too much change back.
- Do not gossip or talking badly about someone.
- Remain true to your spouse or partner.
How do you handle integrity issues at work?
In this article Skip to section
- Show up on Time and Work Your Hours.
- Be Ready to Do Work.
- Do Not Make Promises You Cannot Keep (and Keep the Ones You Do)
- Be Honest About Your Shortcomings.
- Deal With Conflict Professionally.
- Take Responsibility for Your Actions.
- Uphold Confidentiality.
- Set a Good Example and Lead by Example.
Why is integrity important in schools?
Finally, having academic integrity is important because it can offer you peace of mind knowing that you believe in doing the right thing, and always try to act consistently with those beliefs. Acting with integrity can reduce a lot of unnecessary stress in your life, making you happier, healthier, and more productive.
How important is integrity in workplace?
Integrity is the foundation of trust and confidence. Integrity involves honesty and moral and ethical principles. Being honest and having integrity will help you in building a better relationship with your coworkers. It is very important that you follow ethical standards and moral values in your workplace.20
How does integrity lead to success?
Integrity is not a duty. It is a means to improve the probability of being successful and happy.” It’s only when one lives in integrity because it is congruent with their own values and how they wish to relate to the world that it can lead to happiness and personal fulfillment.20
What is integrity in leadership?
GREAT LEADERS HAVE INTEGRITY Integrity in leaders refers to being honest, trustworthy, and reliable. Leaders with integrity act in accordance with their words (i.e. they practice what they preach) and own up to their mistakes, as opposed to hiding them, blaming their team, or making excuses.
How do you uphold honesty in your daily life?
How to incorporate honesty and integrity into your business
- Keep your word. If you want to establish a solid reputation you must deliver on your promises.
- Keep your commitments.
- Pay attention to your environment.
- Stay focused.
- Surround yourself with honest people.
- Take responsibility.
- Respect your employees.
Why do teachers value academic integrity?
When a society’s educational institutions are infused with integrity, they help create stronger civic culture for society as a whole. Academic communities of integrity advance the quest for truth and knowledge through intellectual and personal honesty in learning, teaching, research, and service.
Is truth an important value in life?
The Importance of Truth. Truth matters, both to us as individuals and to society as a whole. As individuals, being truthful means that we can grow and mature, learning from our mistakes. For society, truthfulness makes social bonds, and lying and hypocrisy break them.
What is difference between honesty and integrity?
Integrity implies a consistent behavior, whether honest or not. Honesty implies being truthful (even if it is incorrect) about a subject at hand. Honesty, by definition, is to tell the truth and being true. Integrity is having strong moral principles based on honesty and to follow those principles religiously.14
What is the role of honesty and integrity in one’s day to day life?
Your truthful behavior for others, makes them feel positive. People love those who show integrity and honesty. Honesty is considered one of the most important interpersonal skills for bringing out the best in oneself. It is not easy to become honest and loyal in one day, but external help can make a great difference.10
How do you live with integrity as a leader?
Five Actions You Can Take to Develop Integrity as a Leader
- Be a model for your team.
- Be a model for ethical behavior.
- Don’t be a political animal.
- Be a risk taker and stand up for what you believe in.
- Be a role model for living your organization’s values.
How will you uphold academic excellence and academic integrity as a student?
For upholding the high standard of academic integrity, every individual of the academic community should : Be honest with each other in the pursuit of knowledge ; Be respectful to a wide range of opinions and ideas to extend the boundary of knowledge ; and.
What is the importance of integrity in leadership?
Leaders who demonstrate integrity garner trust among their colleagues. They aren’t afraid of the truth, and they stand up for what they believe in. This, in turn, leads to loyal customers, increased profits, and a better world for all. Why Is Leadership Important? »4
What Behaviours make a good leader?
Great Leadership Behaviors
- Being grounded in ethics and integrity.
- Building trust.
- Bringing others along.
- Inspiring those around you.
- Making decisions.
- Encouraging innovation.
- Reward achievement.
How do you maintain integrity in the workplace?
Here are some tips you can use to maintain your own professional integrity and encourage an entire culture of ethical behavior in the workplace.
- Treat everyone the same.
- Reward honesty.
- Admit your mistakes.
- Encourage teams to speak freely.
- Conduct self-assessments.
- Keep your commitments.
- Put in maximum effort.
Why is uphold academic honesty important?
Genuine and sometimes hard-won knowledge and respect comes from presenting one’s own work and acknowledging the work of others. Personal and academic honesty fosters trust. Mutual trust among all members of the VSU community is essential for a positive learning environment.
What is the value of integrity?
A person with integrity demonstrates sound moral and ethical principles and does the right thing, no matter who’s watching. Integrity is the foundation on which coworkers build relationships and trust, and it is one of the fundamental values that employers seek in the employees that they hire.
What is the importance of integrity in our life?
Having integrity means living your life according to your morals and values. You’re honest to everyone you meet about who you are and everything you stand for and even if their values are different from yours, you don’t compromise.
What are some examples of being honest?
The definition of honest is someone or something that is truthful, trustworthy or genuine. An example of honest is someone telling their friend that a meal they prepared had too much salt. An example of honest is a student admitting they cheated on a test.
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https://www.blfilm.com/2021/12/17/what-are-benefits-of-integrity/
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CHI embraces the Seven Principles of Public Life (selflessness, integrity, objectivity, accountability, openness, honesty, leadership) and incorporates these in the four key values which govern how it conducts its business.
- Respect: for the needs and wishes of, above all, children; and parents, local organisations, volunteers and donors.
- Focus on the future: developing and encouraging local potential.
- Effectiveness: sensible, good management and planning.
- Good governance: honesty, integrity, openness.
Respect: Value 1
Respect for the needs and wishes of, above all, children; and parents, local organisations, volunteers and donors.
The child
CHI’s overriding objective is to improve the health of children suffering from Cystic Fibrosis. Children, their needs, aspirations, wishes and well being are at the core of what CHI does and how it behaves. Wherever possible their involvement in and opinions about their own treatment should influence the design and delivery of that care.
The parent
Similarly, the involvement of parents is of critical importance and CHI will work to strengthen their voice and, in particular, the development of Parent Groups.
Local (health) services staff
CHI will work as a broker or facilitator in ways which encourage, empower and enable local groups and promote independence. CHI will recognise the cultural, political and practical realities in different environments and will work openly with local services to secure improvements.
Volunteers
CHI relies on volunteers – clinical specialists, project managers, trustees and helpers of many kinds. It values their contribution and will work to ensure their efforts are supported in practical ways including, as necessary, training and personal development, and are recognised by the wider community.
Partners
Any success CHI has is the result of collaboration with a range of individuals and organisations. In the UK, NHS Trusts and groups of clinicians are fundamental to the work on the ground enabling the key aspects of exchange and twinning to develop. CHI recognises the importance and nature of this contribution and the demands it entails.
Working in a true spirit of partnership with the local services and individuals in a particular country is equally important; and CHI is very receptive to the idea of collaborating with other charities and others who share the same vision.
CHI is keen to work with commercial organisations such as pharmaceutical companies to help fund and organise its endeavours but will only do so provided such collaboration does not compromise its independence of action, its own values and the principles of good governance.
Donors
Donors shall be kept informed about how their gifts have been used – sometimes by personal communication, supplemented by at least two CHI newsletters per year – and by up to date information, available on CHI’s website.
Focus on the Future: Value 2
Focusing on the future, developing and encouraging local potential.
CHI believes it should act to complement existing provision and not be involved where other agencies are or ought to be involved. CHI will work openly with and help develop the local healthcare infrastructure and so nurture local potential. Lasting improvement is key and relationships may be long term but will change in nature as local services develop and CHI steps back and ultimately withdraws. The process will ensure the transfer of best practice, skills and sustainable teaching.
CHI does not support the short-term provision of expensive medication, which, once ended, leads to rapid deterioration of the child’s health. However, if medical equipment becomes surplus to requirements in the UK and can be exported CHI would support such a move.
It strongly supports the notion of twinning between hospital specialists and centres in the UK and overseas and the utilisation of technology – video links, the internet etc. – to assist in the transfer of expertise and knowledge.
CHI also needs to be forward-looking in terms of it own development to ensure it keeps abreast of latest developments and, as an organisation, is fit for the purpose and challenge it has set itself.
Effectiveness: Value 3
Effectiveness – sensible, good management and planning.
It is essential for CHI to deploy its limited resources as effectively and intelligently as possible. It will prioritise requests for assistance using the principles in this document consistent with its established annual plans and ensure it matches the individuals and services at its disposal to the needs of those asking for help.
It will monitor programmes for each project against targets established at the outset and manage its own affairs in accordance with accepted best practice and its own operating principles (in preparation – see appendices).
CHI will have a strategy to raise sufficient funds to enable its work to continue and expand in keeping with agreed objectives so that, over the period, expenditure does not exceed income.
Good governance: Value 4
Good governance – honesty, integrity, openness.
All CHI funds, whether by fundraising or as a result of generous donations, will be invested in the most cost-effective manner to achieve significant enhancement of children’s health. Administrative overheads will be kept under strict control whilst ensuring compliance with the requirements of good governance.
CHI embraces the principles of good governance recommended by the Charity Commission and has incorporated those in its own code of governance. In particular, it undertakes to conduct its business in an honest, lawful way, open to scrutiny in every respect and ensuring its integrity of purpose through the observance of principles and targets set out in this document and elsewhere.
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http://childhealthinternational.org/chis-values/
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ZEMIR PHARMA bases its activity in six core principles: honor, professional ethics, honesty, courage, integrity and loyalty. These principles constitute a cohesive force of the company and are always part of the duties of ZEMIR PHARMA contracts signed with clients.
HONOR
Public recognizition that is obtained by the fulfillment of the duty and by the practice of good actions, resulting in individual and collective reputation and prestige. It is a fundamental value for ZEMIR PHARMA and for the human resources.
PROFESSIONAL ETHICS
ZEMIR PHARMA employees guide their behavior towards well-defined and clear professional ethics values, resulting from an excellence background In essence; professional ethics is based on respect for both the laws of the country and international laws, for the line of leadership, for the hierarchy, for the service to others.
HONESTY
It is the virtue that comes from honor and is reflected in the truth. ZEMIR PHARMA, considers honesty one of the foundations of the company for its importance in the workplace and in the character of its members.
COURAGE
Courage is the moral energy to take the right actions, even in adversity; to do what has to be done, recognize what is fair and sustain what is true.
INTEGRITY
It is the honesty and fairness demonstration in decisions, not violating norms and laws.This results in the respect and trust on others as well as in the strengthening of our own moral.
LOYALTY
It is the faithfullness to principles, the strict observance of the truth and the constancy and firmness in the commitment assumed. The loyalty is always present, both in the relationship between the collaborators and with the clients.
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https://en.zemirpharma.com/pages/13/values
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Honesty is the quality that we all should aim to have in life, because it helps us to stay in the right direction even during difficult and challenging times. The character of the honest person can’t be questioned and society gives the utmost respect to such people who are truthful, loyal and courageous. We have seen in the society that people often use lies in order to avoid a difficult situation or to gain the materialistic benefits but in the long run, they have to suffer because they lose trust and faith in other people.
Ten Lines on Honesty is the Best Policy in English
We have provided 10 lines, 5 lines, 20 lines, few lines and sentences on Honesty is the Best Policy in English for Class 1, 2, 3, 4, 5 and 6. You can add these lines in your essays and paragraph writing in your exam as well as in the school competition. These lines will be very helpful in writing Honesty is the Best Policy essay, article on Honesty is the Best Policy or delivering a speech on the topic.
10 Lines on Honesty is the Best Policy
1) It is always said that "Honesty is the best policy".
2) Honesty is to speak truth in life.
3) We feel good after we speak the truth.
4) It is always taught to us by our parents and teachers to be honest.
5) It is a bad habit to speak lies.
6) Nobody likes to be with dishonest people.
7) Honest people have good friends in their life.
8) People can easily trust honest people.
9) Honest people are not afraid of anything in life.
10) They live a happy and peaceful life.
10 Lines and Sentences on Honesty is the Best Policy
1) "Honesty is the best policy" is a valuable saying.
2) It was created by Edwin Sandys.
3) We all should learn to be truthful in life.
4) It requires courage to speak the truth in every situation of life.
5) The quality of speaking the truth makes us confident.
6) The people who speak lies are called dishonest.
7) Honesty develops punctuality and discipline in us.
8) Honest people have a good moral character.
9) They get loved and respected by everyone.
10) Honesty helps us in becoming successful in life.
5 Lines on Honesty is the Best Policy
1) Honesty means being truthful.
2) Honest people are loved by everyone.
3) Honesty helps to earn respect.
4) It helps to win the trust of others.
5) Being honest helps in success.
20 Lines on Honesty is the Best Policy
1) Honesty implies sincerity, maturity, and wisdom.
2) Honesty frees us from any bondage or baggage of guilt and mistakes.
3) Honesty approves the authenticity of a person; an honest person is always genuine.
4) Honesty is the very foundation of education amongst the children.
5) Honesty helps in improving people’s skills and making connections and relationships deeper.
6) Honesty brings humility and caring attitude as it reflects self - respect and respect for others as well.
7) Honesty becomes an unintentional habit and it attracts people of a similar mindset.
8) Honesty helps in owning the responsibility of work by bringing the straightforwardness and transparency in communication at the workplace.
9) An honest person lives a life free from complexities and discomfort however dishonest person is always in stress and dilemma.
10) Honesty helps the person in nurturing moral values like generosity, cooperation, respect, commitment.
11) ‘Honesty is the best policy’ is the famous proverb which reflects the importance of truthfulness, loyalty and integrity in the life of an individual.
12) The proverb ‘Honesty is the best policy’ means having positive social traits like truthfulness, loyalty, integrity in every situation of life, whether good or bad.
13) Benjamin Franklin was the first person who said that ‘Honesty is the best policy’ by demonstrating the traits and attributes of honesty and integrity throughout his life.
14) Honesty makes a person courageous, where a dishonest person is always fearful of his bad conduct.
15) Honesty helps in building strong relationship amongst the individuals and gives us the mental peace and happiness in the long run.
16) Honesty brings the trust and confidence in an individual whereas dishonesty creates lots of stress and fatigue.
17) Honesty gives us the courage and ability to do the right things even in difficult times of our life.
18) Honesty helps us to achieve simplicity in life whereas dishonesty creates a life of duality - the real-life and false life both opposite in nature.
19) Honesty is the most important characteristic of a great leader. An honest leader can create an environment of trust and confidence at the workplace.
20) Honesty brings transparency in communication and helps in maintaining close relationships in business transactions like customers and service providers.
We should always learn to live an honest life, take moral responsibility of whatever we do, whether right or wrong. Dishonesty may reward short term benefits in terms of wealth and power but can ruin the relationships in the longer run and can spoil the reputation too, hence we can conclude that ‘honesty is the best policy in life’.
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https://www.teachingbanyan.com/10-lines/10-lines-on-honesty-is-the-best-policy/
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As children come of age, it is the responsibility of the parents to prepare them with the essential things that they need to begin schooling. Parents want to ensure that their children know their basic skills like counting to ten or buttoning their clothes.
Though these are important, the values that the children are taught will shape their foundation as they go to school, communicate with others, and begin their life journey.
So, let’s look at some of these values that a mother can teach her growing child.
Accountability
A mother should teach her child the importance of accountability. Accountability determines how a child acts in their everyday life, and it can be seen in a child-parent relationship. But its result would begin to show when your child comes of school-age, since they would need to be owners of their actions without the guidance of their parents.
When you teach your children to take responsibility for their actions, they learn humility. However, if you don’t know how to educate your child, you can draw lessons from some amazing women in the bible and apply their teachings.
As a mother, if your child makes a mistake, you should help them to see their error. First, let it be a self-created experience that they learn from. Then, help them examine what should be done to ensure they don’t repeat the same mistake in the future.
Open Communication
Another core value that a mother should teach their children is open communication. With open communication, your child will be able to express their concerns and needs freely. Additionally, you would be able to build strong relationships with your child.
Even for your child, ensuring that they have open communication at home would ensure they can communicate efficiently at school and beyond.
Respect
A mother should always emphasize the importance of respect for their child. It would be best if you instilled this value in them before they are five to ensure they have a good foundation for future respectful behaviors.
Additionally, maybe more than other values, your child will learn more by your example. For example, do you exercise manners when you speak with your child? Do you speak with your spouse with respect?
Your first step is to teach your child about basic respect and courtesy. Then you move ahead with complex respect teachings like teaching how to respect a person’s different opinion.
Honesty
The importance of honesty as a value for every child is immense. Children learn from the actions they see and experience. So for your developing child, you should develop a truthful disposition. A mother shouldn’t be dishonest in her child’s presence. Instead, model yourself as an example of honesty.
Children are fast learners and can take up what they see. Therefore, you should desist from even telling ‘white lies’ in front of your child.
That’s A Wrap
As a mother, you should instill moral values in your child from a young age. You do not need to wait for them to grow up before you begin. Values play a significant role in building a child’s personality, and they can determine how your child shapes their life.
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https://lukeosaurusandme.co.uk/4-values-you-can-teach-your-growing-child-as-a-mother/
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What is honest in research?
Honesty: Honestly report data, results, methods and procedures, and publication status. Do not fabricate, falsify, or misrepresent data.
Why should research be honest?
People are more likely to fund a research project if they can trust the quality and integrity of research. Likewise, ethical standards promote values that are essential to collaborative work, which include trust, accountability, mutual respect, and fairness. We must, therefore, be honest in our researches.
How will you maintain honesty throughout your research?
Honesty in all aspects of research, including: reporting on research methods and procedures. gathering data. using and acknowledging the work of other researchers. conveying valid interpretations and making justifiable claims based on research findings.
How important is honesty and integrity in research?
The report argues that research integrity is vital because it creates trust, and trust is at the heart of the research process. Researchers must be able to trust each other’s work, and “they must also be trusted by society since they provide scientific expertise that may impact people’s lives”.
Why it is important to be honest?
Honesty leads to a fulfilling, free life. Honesty is not just about telling the truth. It’s about being real with yourself and others about who you are, what you want and what you need to live your most authentic life. Honesty sharpens our perception and allows us to observe everything around us with clarity.
What is honesty in simple words?
Honesty is a facet of moral character that connotes positive and virtuous attributes such as integrity, truthfulness, straightforwardness, including straightforwardness of conduct, along with the absence of lying, cheating, theft, etc. Honesty also involves being trustworthy, loyal, fair, and sincere.
How do you live a honest life?
Leading an Honest Life
- Begin by being completely honest with yourself. It is rather difficult to be honest with others if you are denying the truth to yourself.
- Consider the long-term consequences of your decisions and actions.
- Maintain your own personal integrity.
- Keep your word once given.
- Use honesty to encourage.
What are the qualities of a good researcher?
Ten Qualities of a Good Researcher
- Ten Qualities of a Good Researcher. Luis H.
- Editor-in-Chief. ABSTRACT.
- QUALITY #1: INTEREST.
- QUALITY #2: MOTIVATION.
- QUALITY #3: INQUISITIVENESS.
- QUALITY #4: COMMITMENT.
- QUALITY #5: SACRIFICE.
- QUALITY #6: EXCELLENCE.
What are some examples of being honest?
The definition of honest is someone or something that is truthful, trustworthy or genuine. An example of honest is someone telling their friend that a meal they prepared had too much salt. An example of honest is a student admitting they cheated on a test.
How can I be academically honest?
You are responsible for understanding and avoiding plagiarism. Be sure to learn academic citation rules before turning in any assignment, even if they are drafts, proposals, or ungraded assignments. Write academically honest papers using these tips: Learn about citation from the library’s Writing and Citing Guide.
How do you show research Integrity?
INTEGRITY OF THE INDIVIDUAL SCIENTIST
- Intellectual Honesty in Proposing, Performing, and Reporting Research.
- Accuracy in Representing Contributions to Research Proposals and Reports.
- Fairness in Peer Review.
- Collegiality in Scientific Interactions, Including Communications and Sharing of Resources.
What are the qualities of a honest person?
Why is it important to be honest with God?
Being honest means choosing not to lie, steal, cheat, or deceive in any way. When we are honest, we build strength of character that will allow us to be of great service to God and to others. We are blessed with peace of mind and self-respect and will be trusted by the Lord and others.
What are the qualities of an honest person?
5 Qualities of Honest Individuals. The truth can sting, but it’s bitter medicine that could save your life.
How do you describe an honest person?
If you describe someone as honest, you mean that they always tell the truth, and do not try to deceive people or break the law. If you are honest in a particular situation, you tell the complete truth or give your sincere opinion, even if this is not very pleasant. I was honest about what I was doing.
What makes a honest person?
Being a true honest person is being able to think, do, say and feel the same thing. If you think or feel something and you don’t act accordingly, you’re not being true to yourself and/or to others. Being honest doesn’t necessarily mean having to say everything we think and feel.
What it means to live an honest life?
It simply means that when you act, you act with integrity and truth. You have confidence in your good judgment about when to speak up and when to be silent. Because “like attracts like,” living an honest, integrous life means that others with similar integrous values and an honest nature will gravitate to you.
What are the 10 qualities of a good researcher?
Why should a researcher be honest?
What is honest conduct?
An honest person tells the truth, is sincere, doesn’t deceive, mislead, act devious or tricky, doesn’t betray a trust, doesn’t withhold important information in relationships of trust, doesn’t steal, and doesn’t cheat. …
Honesty is the foundation for trust in a relationship, and trust is necessary for a relationship to function and thrive. When you’re always honest with someone, it tells them that they can trust you and the things you say. It helps them know they can believe your promises and commitments.
Why do researchers use deception?
Subject deception is typically used to promote scientific validity, with subjects provided with false or incomplete information about the research in order to obtain unbiased data with respect to the subjects’ attitudes and behavior when complete or truthful disclosure is expected to produce biased results.
How do you know someone is honest?
- 5 Qualities of Honest Individuals. The truth can sting, but it’s bitter medicine that could save your life.
- They’re Not Concerned About Popularity Contests.
- They Stand Up for Their Beliefs.
- They Are Thick Skinned.
- They Have Close Friendships.
- They Are Trusted by Peers.
What are the qualities of honesty?
How do you show Research Integrity?
Why is honesty important in the research process?
Nonetheless, it is still important to highlight the importance of honesty in the research process. Researchers follow strict rules to ensure that their researches are correct, reliable, and valid. That is why problem statements must be adequately conceptualized and defined, the research methodology should be clearly defined.
What does it mean to have Research Integrity?
What is research integrity? Research Integrity means conducting research in such a way that allows others to have confidence and trust in the methods and the findings of the research. It relates both to the scientific integrity of conducted research and to the professional integrity of researchers.
What are the practices of Responsible Research conduct?
It involves above all a commitment to intellectual honesty and personal responsibility for ones actions and to a range of practices that characterize responsible research conduct.” These practices include: Adherence to the mutual responsibilities of mentors and trainees.”
What’s the best way to ethically conduct research?
Avoid careless errors and negligence; carefully and critically examine your own work and the work of your peers. Keep good records of research activities, such as data collection, research design, and correspondence with agencies or journals.
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https://greed-head.com/what-is-honest-in-research/
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The purpose of the Code of conduct is to stimulate and promote the ideals of honesty and integrity. If all students and faculty fulfill their respective responsibilities as described in the Code, the culture of honesty and integrity that is so important to the success of the pharmacy profession will be maintained.
For more than a decade, the BHOPAL INSTITUTE OF TECHNOLOGY & SCIENCE-PHARMACY has played a pivotal role in assuring that pharmacy students receive unsurpassed educational opportunities to prepare them for current and future practice environments. The College offers a rigorous and expansive professional curriculum preparing students to become progressive pharmacists. Opportunities for graduate studies are available at both the Bachelor's and Master's level while advanced industrial training is offered in reputed pharmaceutical industries.
Pharmacy practitioners enjoy a special trust and authority based on the profession's commitment to a code of ethical behavior in its management of client affairs. The inculcation of a sense of responsible professional behavior is a critical component of professional education, and high standards of ethical conduct are expected of pharmacy students. Students who violate University rules on scholastic dishonesty not only violate that special trust, but are also subject to disciplinary penalties, including failure of the course involved and dismissal from the college and/or the University. Since dishonesty harms the individual, fellow students, and the integrity of the University and the College, policies on scholastic dishonesty are strictly enforced.
It is in all students' interest not to commit acts of scholastic dishonesty and to discourage others from committing such acts. Each dishonest act can harm the quality and reputation of the College of Pharmacy and thereby lower the value of the honest work of all other students. In a culture of dishonesty, it is impossible to know whether achievements were honestly earned or accomplished through unethical means. In such a culture, grades are not a valid indicator of achievement, and the final degree is not a valid indicator of a minimum level of knowledge. Were the BITS - Pharmacy to acquire a reputation for tolerating dishonesty, it would devalue the degrees of all present and future alumni.
Maintaining the quality and integrity of the BITS- Pharmacy is not the only reason why it is important to emphasize ethical conduct. The pharmacy curriculum prepares students for a profession in which honesty and ethical behavior are essential characteristics. The value that pharmacists provide is directly related to the amount of trust the public confides in them. Thus, it is important for students to develop a strong sense of ethics while in college and to carry it with them into the workplace. Students who have completed their education in a culture of ethical behavior should easily make the transition to a culture of ethical behavior as employees.
It is impossible to create an environment that is completely free of opportunities and temptations to behave unethically. In order to maintain the reputation and quality of a degree from the College, it is the responsibility of each individual to understand the definition of unethical behavior and to resist all temptations to behave unethically. This is easier to do in an atmosphere of honesty, where each student is confident that all other students are also behaving ethically. If all students and faculty fulfill their respective responsibilities as described in this policy statement, the culture of honesty that is so important to the success of the Pharmacy profession will be maintained.
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http://globus.ac.in/colleges/bitsph/bitsph/code.php
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to work together to build a society rooted in the values we treasure.
But this society can only be built on a sure foundation of mutual
respect, openness and trust. This means finding ways to live our
lives of faith with integrity, and allowing others to do so too.
Our different religious traditions offer us many resources for
this and teach us the importance of good relationships characterised
by honesty, compassion and generosity of spirit. The Inter Faith
Network offers the following code of conduct for encouraging and
strengthening these relationships. As members of the human family,
we should show each other respect and courtesy. In our dealings
with people of other faiths and beliefs this means exercising
good will and:
All of us want others to understand and respect
our views. Some people will also want to persuade others to join
their faith. In a multi faith society where this is permitted,
the attempt should always be characterised by self-restraint and
a concern for the other's freedom and dignity. This means:
Living and working together is not always easy.
Religion harnesses deep emotions which can sometimes take destructive
forms. Where this happens, we must draw on our faith to bring
about reconciliation and understanding. The truest fruits of religion
are healing and positive. We have a great deal to learn from one
another which can enrich us without undermining our own identities.
Together, listening and responding with openness and respect,
we can move forward to work in ways that acknowledge genuine differences
but build on shared hopes and values.
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https://publications.parliament.uk/pa/ld200203/ldselect/ldrelof/95/95w58.htm
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PCCC offers high-quality, flexible, educational, and cultural programs that meet the needs of Passaic County residents. The College provides its students with a strong general education foundation for further study and opportunities for career preparation and lifelong learning. Impassioned by our commitment to student progress and program completion, the College strives to address a wide variety of student learning needs through excellence in teaching, innovative and effective use of technology, multiple instructional methods, and developmental and ELS programs that provide access to college-level programs. The College’s supportive learning environment fosters student success and faculty excellence. Through a culture of evidence and inquiry, the College is an effective steward of its physical, financial, and intellectual resources.
VISION STATEMENT
PCCC aspires to be a premier community college that leads, inspires, and supports individuals in reaching their educational and career goals in a timely manner.
PCCC VALUES
Academic Quality: We commit to educational excellence in teaching and learning.
Learning: We embrace a learner-centered philosophy, one that guides us in our efforts to improve student progress and program completion.
Diversity: We value our diversity because it enriches our learning environment and deepens our respect and appreciation for others.
Honesty and Integrity: We commit to an educational environment characterized by honesty, integrity, and mutual respect.
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https://catalog.pccc.edu/information/5/
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Within the context of this Jigsaw creation unit, letter writing is included as a function of the process. When a student has polished a Jigsaw and it is time to upload it to the classroom Blog he or she will (should) write to the author of the photograph even though Morguefile images are copyright free.
Why Should Students Always Acknowledge Copyright?
Writing to authors to ask permission to use an image, or to acknowledge the use of an image, should become a habit. If students develop this habit of honesty and gratitude they will benefits themselves. This is simply because they are cultivating the habit of honesty.
Student’s Expect The Copyright of Their Work To Be Respected
So what happens if a student is cruising the web and finds one of his or her artworks on a website with no acknowledgement? Students have a right to be respected in the same way that they respect others. Finding their work unacknowledged in this way presents another opportunity to write a polite letter. Asking Politely for Credit (Download Template and Print)
A habit of honesty will valance each student towards personal safety because
- If an photographer happens upon their image they will see the link to their name and not feel cheated. An atmosphere of cooperation and trust will emerge. “Do unto to others as you would have them do unto you,” is after all an old maxim.
- At any time the skill of attribution is needed, the student will already has this acquired habit as a trait and it will be an automatic part of any exercise.
- The web is a kind of ecology, and therefore the better we behave the better the no_osphere will be. This is one of the meanings of sustainability: to tend the system so that it will gain in strength and capacity. Any time we acknowledge and appreciate others, we are strengthening the system on which we depend.
- If students acknowledge original sources they will never be caught short accidentally plagiarising. People can be banned from any community for doing this. To over-compensate by always acknowledging is always better than being lazy. One day someone might just get “caught short.”
- If you have a Privacy Statement and a Fair Use Statement on work classroom Blog with a contact email so that people can ask questions a persona’s of honesty will be created. If at any time people feel cheated each student and the class group will have built up a kind of piggy bank of honesty. People will take the whole class record of honesty and weigh it against any little mistake that has accidentally occurred. In this way a feel of trust and support will act like an aura around the class.
- I recommend forwarding the statements to the Principle of the school as this will reassure the leader that you have thought through the implications of all aspects of Blogging in the Classroom.
This project has been designed for middle years schooling as a project based inquiry. It can be adapted and used as a project in any upper elementary, middle school, or high school class.
Together, teacher and students, will work together to hone their letter writing skills improving and strengthening thinking and communication skills.
As they work in this project based fashion students will be given opportunities to:
- Analyze, review, and practice letter writing
- Use technology to type, spell check, and prepare their letters in proper form
- Understand the difference between a range of letter writing styles and their function
- Relate what has been learned to its importance within the context of their daily lives
- Develop an awareness of authors, photographers, artists and learn to express appreciation for their talent
- As the student writes and sends letters they can upload them to a writing folio. They will then act as a resource and students can look back over the range of letters for new ideas or to refresh old ideas ensuring they know how to go about acknowledging the work of others on an ongoing basis.
Resources:
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https://globalcitizensart.com/2013/07/05/students-copy-right-and-writing-cover-letters/
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1.1.1 Each Member school shall have a formally adopted statement of institutional purpose. The statement of institutional purpose should articulate the mission to which the school believes it is called and define its particular identity and values. When confessional commitments are central to the identity of a school, they shall be clearly articulated in the statement of purpose. The initiation, development, authorization, and regular review of this statement is the responsibility of the appropriate governing body, and the development should involve all appropriate constituencies (e.g., trustees, faculty, administration, staff, students, and ecclesiastical bodies).
1.1.2 Theological schools that are related to colleges or universities should support the purpose of the overall institution and develop their purpose statements in relationship to the institutions of which they are a part.
1.1.3 Purpose statements should be enabling and defining documents and should be realistic and accurate. The adequacy of the purpose statement and the institution’s ability to fulfill its mission are critical elements to the institution’s integrity
Institutional Integrity
Institutional integrity is demonstrated by the consistency of a theological school’s actions with commitments it has expressed in its formally adopted statement of purpose, with agreements it assumes with accrediting and governmental agencies, with covenants it establishes with ecclesiastical bodies, and with ethical guidelines for dealing with students, employees, and constituencies.
2.1 Schools accredited by the Board of Commissioners (“Board”) shall carry out their educational programs and institutional activities according to the Standards of Accreditation and Policies and Procedures (“Standards and Procedures”) established by the Commission and its Board of Commissioners, communicate honestly and forthrightly with the Board, comply with requests for information, and cooperate with the Board in preparation for and conduct of visits.
2.2 With regard to state, provincial, and federal authorities, schools shall conduct their operations in compliance with all applicable laws and regulations.
2.3 The school shall ensure that all published materials, electronic and print, including catalogs, academic calendars, and promotional literature, accurately represent the institution to its various constituencies and publics, including students and prospective students. All charges and fees, including refund policies, should be fully disclosed. Schools should exercise care in advertising to portray the institution fairly and honestly to the public. Wherever appropriate, published institutional documents shall employ gender-inclusive language with reference to persons.
2.4 The institution shall seek to treat students, faculty, administrators, employees, and the publics to which it relates in ethical ways. Such treatment includes, among other concerns, an equitable policy of student tuition refunds; nondiscriminatory practices in employment, insofar as such practices do not conflict with doctrine or ecclesiastical polity; clearly defined processes for addressing faculty, employee, and student grievances; and integrity in financial management.
Goals of the theological curriculum
3.1.1 In a theological school, the overarching goal is the development of theological understanding, that is, aptitude for theological reflection and wisdom pertaining to a responsible life in faith. Comprehended in this overarching goal are others such as deepening spiritual awareness, growing in moral sensibility and character, gaining an intellectual grasp of the tradition of a faith community, and acquiring the abilities requisite to the exercise of ministry in that community. These goals, and the processes and practices leading to their attainment, are normally intimately interwoven and should not be separated from one another.
GENERAL INSTITUTIONAL STANDARDS
3 .2 .1 Learning
3.2.1.1 Learning in a theological school should reflect the goals of the total curriculum and be appropriate to post baccalaureate education.
3.2.1.2 Learning should cultivate scholarly discourse and result in the ability to think critically and constructively, conduct research, use library resources, and engage in the practice of ministry.
3.2.1.3 Learning should foster, in addition to the acquisition of knowledge, the capacity to understand and assess one’s tradition and identity and to integrate materials from various theological disciplines and modes of instructional engagement in ways that enhance ministry and cultivate emotional and spiritual maturity.
3.2.1.4 An institution shall demonstrate its ongoing efforts to ensure the quality of learning within the context of its purpose and as understood by the relevant scholarly and ecclesial communities. 3 .2 .2 Teaching
3.2.2.1 Teaching should involve faculty, librarians, and students working together in an environment of mutual learning, respect, and engagement.
3.2.2.2 Instructional methods should use the diversity of life experiences represented by the students, by faith communities, and by the larger cultural context. Instructional methods and the use of technology should be sensitive to the diversity of student populations, different learning styles of students, the importance of communities of learning, and the instructional goals. The integration of technology as a teaching tool and resource for learning shall include careful planning by faculty and administration to ensure adequate infrastructure, resources, training, and support.
3.2.2.3 Courses are a central place of interaction between teachers and learners. The way the instructor arranges the work and structures the class should encourage theological conversation. Courses and programs of study should reflect an awareness of the diversity of worldwide and local settings. In the development of new courses and the review of syllabi, faculty should interact with one another, with librarians, with their students, with the church, and with the developing fields of knowledge. Faculty should be appropriately involved in the consideration of ways in which technology might enhance or strengthen student learning. Course development and review best occur in the context of the goals of the entire curriculum.
Faculty qualifications, responsibilities, development, and employment
5.1.1 Schools should demonstrate that their faculty members have the necessary competencies for their responsibilities. Faculty members shall possess the appropriate credentials for graduate theological education, normally demonstrated by the attainment of a research doctorate or, in certain cases, another earned doctoral degree. In addition to academic preparation, ministerial and ecclesial experience is an important qualification in the composition of the faculty. Also, qualified teachers without a research doctorate may have special expertise in skill areas such as administration, music, or media as well as cross-cultural contextualization for teaching, learning, and research.
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https://www.cfi-accreditation.com/standards
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Professional & Academic Integrity & Conduct
DMRT students are expected to maintain professional conduct on the University of Maryland campus and in clinical settings at all times.
RIGHTS & RESPONSIBILITIES FOR ACADEMIC INTEGRITY
The academic setting is characterized by reasoned discussion between student and teacher, a mutual respect for the learning and teaching process, and intellectual honesty in the pursuit of knowledge.
Standards of Academic Honesty & Ethical Conduct
Academic honesty and integrity guide the learning process and are fundamental values in a community of professionals. The Honor Code of the University of Maryland School of Medicine places the responsibility of ethical behavior squarely on each individual and requires formal review of questionable behavior. Each student as a member of this academic community is given notice that joining this institution voluntarily commits the individual to understand, accept and practice the general principles of ethical behavior promoted in the Honor Code.
Academic honesty and ethical conduct are expected from all students enrolled in courses and programs offered by the Department of Medical and Research Technology. Violations of the policies on academic honesty and ethical conduct will not be tolerated and will be formally addressed through Departmental and/or campus systems. Sanctions may include no credit on the assignment in question, course failure, and/or formal charges of student misconduct. Formal charges can result in academic probation or dismissal.
Violations of academic honesty and ethical conduct include, but are not limited to, plagiarism, cheating, falsification of data/results, obtaining unauthorized assistance from and/or giving unauthorized assistance to another individual during an examination or completion of an assignment, collaboration with other students on projects or assignments without the instructor’s knowledge, as well as misuse of UM documents, identification cards and computers.
Failure to comply with the policies on academic honesty erodes one’s own personal integrity and character and devalues grades, degrees and the institution. For more detailed information, please refer to http://medschool.umaryland.edu/osa/handbook/judicial_review.asp
Honor Pledge
As members of this academic community, students in the Department of Medical and Research Technology make a commitment to uphold the values and principles of this Institution. The following Honor Pledge will be distributed with examinations, laboratory practicals, written papers and other designated assignments for student signature.
Please note that ALL DMRT students are required to uphold the Standards of Academic Honesty whether or not they choose to sign the Honor Pledge.
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https://www.medschool.umaryland.edu/dmrt/Admissions/Professional--Academic-Integrity--Conduct/
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Every individual has a set of his or her own personal values that dictates how he or she reacts to situations in life and these values also define who he or she is. Values are significant and lasting viewpoints and principles shared by most people in society in regard to what is morally right or wrong. Some examples of values are integrity, loyalty, honesty, virtue, love, selflessness, and zeal. Values can sometimes sway an individual’s actions and can act as general rules for every circumstance. Individuals in society will often have his or her own set of values that serve as an individual blueprint that defines who he or she is and is the influencing factor in how he or she lives, behaves, speaks, and believes. My core values are honesty, love, trust, spirituality, family, accomplishment, respect, perseverance, and hygiene. My most important value is family, no matter where an individual is or what an individual goes through in life I believe that family should always be first. Every family has ups and downs and I firmly believe that a family should always help each other and should not become enablers. The second most important value to me is love; a person must first love his or herself before others can love him or her.
I love myself first and my love for others is very true and does not falter if someone does me wrong. I truly believe an individual can still love a person if the person hurts him or her in any kind of way, but the individual can love that person from a distance. My faith is very strong in my life because without God I would not be here and I know that his love will take me further than what man can. I also believe in honesty because if I am honest with people they will trust me. One cannot have honesty without trust. I set out to accomplish every goal I set and I know that my perseverance will help me to achieve those goals. I respect myself and therefore others respect me. Also I respect the beliefs and personal space of others and I expect them to do the same. Last, I believe in hygiene, I keep myself and my surroundings clean and I expect that of others too. Individuals are not born with values imprinted in them and values often develop as an individual grows throughout life. Sociologist Morris Massey states individuals develop values during three different periods of their lives.
The three development periods are the imprint period, the modeling period, and the socialization period. During the imprint period young children from birth to about age seven often soak up and learn things from witnessing the behaviors of his or her parents (2002-2012). Some of the things learned at a young age will often influence a child throughout adolescence on through adulthood, especially if it is physically or emotionally damaging. An individual should learn at this age what behaviors are right and wrong (2002-2012). During the modeling period individuals from the age of eight to 13 learn how to emulate the actions and behaviors of his or her parents and others (2002-2012). Individuals during this period may have his or her own values but are not quite comfortable with them and try to figure out how these values will work for him or her. Morris Massey suggests that during this period individuals will often adapt his or her values from religious beliefs or academic educators (2002-2012). Last the socialization period is from the ages of 13 – 21 where individuals receive the most influence of his or her life from peers (2002-2012).
During this period individuals often try to distance his or herself from the values learned early in life and seek out others who share the same values as he or she does. Also during the socialization period the media is a key factor in what values an individual adopts (2002-2012). Values in life help to determine and shape who an individual is as a person. Values establish what behaviors a person will exhibit in life in making a determination of what actions are right and wrong. Sometimes in life there are individuals and situations that influence an individual’s behaviors and those behaviors are not always in line with what the individual knows is right or wrong. Sometimes negative influences from peers can facilitate changes in people’s values. For example, a peer can believe stealing is the only way to make a living, but the individual knows that stealing is against the law and working on a job is the right thing to do. Strong moral values will often prevent an individual from committing wrongful acts that he or she knows goes against the rules of society. The nature and importance of human values in the workplace is crucial for the success of any organization. For any company to be a success there must be a cohesive relationship between management and the employees.
Values and ethics are crucial in any work environment to promote order, to guarantee the company runs efficiently, and to ensure the company continues to bring in revenue (Amico, 2012). Every company has a set of its own values and ethics that it makes known to individuals either before or after the hiring process (Amico, 2012). Sometimes an employer can terminate an employee who continually excels in job performance because the employee is not following workplace values and ethics. Some workplace values are dedication, integrity, accountability, and conduct. An employee when accepting employment with any company is agreeing to show dedication by performing his or her job to the best of his or her ability. Integrity is a very importance factor in employment because an employer must be able to trust the person he or she has hired. For example if an officer seizes a large amount of drugs and money during a drug bust the officer’s superiors expect for the officer to turn in and report the correct amount of drugs and money.
Accountability is another important factor in the workplace because an employee should report to work on time and should not misuse breaks or lunchtime (Amico, 2012). Employees should also take responsibility when things go wrong and should find a way to rectify the situation in any way possible. An employee should always exhibit exceptional conduct in any workplace environment. Employees must act in a manner befitting with company standards and policies, and he or she must also respect and treat other employees with respect. Every company has its own set of rules regarding employee conduct that an individual can find in the employee handbook and training apparatus (Amico, 2012).
Often in life individuals will encounter situations in which his or her values will determine the outcome of the situation whether it is a personal or workplace conflict. If the person has a sense of what values are good and bad he or she definitely will choose a favorable outcome pleasing to everyone involved. As stated earlier individuals learn values early in life and those values develop over time in three different stages. By the time an individual reaches adulthood, he or she has an established set of beliefs and values that influences how he or she lives, behaves, speaks, and believes. These values will also help to determine the type of employee the individual will become to the company he or she seeks employment with.
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https://blablawriting.net/values-reflection-paper-essay
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‘Integrity is a concept of consistency of actions, values, methods, measures, principles, expectations, and outcomes. In ethics, integrity is regarded as the honesty and truthfulness or accuracy of one’s actions.
Integrity can be regarded as the opposite of hypocrisy, in that it regards internal consistency as a virtue, and suggests that parties holding apparently conflicting values should account for the discrepancy or alter their beliefs.
The word “integrity” stems from the Latin adjective integer (whole, complete). In this context, integrity is the inner sense of “wholeness” deriving from qualities such as honesty and consistency of character. As such, one may judge that others “have integrity” to the extent that they act according to the values, beliefs and principles they claim to hold.’ (Wikipedia)
‘Whoever walks in integrity walks securely, but whoever takes crooked paths will be found out.’ (Proverbs 10:9)
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Integrity has been defined as the quality of being honest and displaying moral principles. Some of the common synonyms are honesty, uprightness, honor, virtuous and decency. The Bible has much to say about honesty, spiritual integrity, and living a blameless life.
Integrity should be practiced in every area of life. Obviously in our relationship with others, honesty is the best approach. This holds true in personal interaction and in business dealings. An entrepreneur who practices a high level on integrity is respected by his customers and peers as well. A person who is deceitful in word or deed is not living up to the honest principles promoted in Scriptures.
The Scriptures discuss the importance of demonstrating integrity, equating it to righteousness. The Bible also describes how to develop integrity of character. Some of the traits associated with integrity include being trustworthy, blameless, pure, honest, honorable. Those believes who have a strong moral sense don’t have the desire to run off and do evil acts. This statement means that the strong moral sense begins in the minds. It is not a set of rules, but a gift from accepting the principles stated in the Bible verses on the subject.
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https://howtopraythescriptures.com/thanking-god/thank-you-god-for-your-anointing/
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What type of meter is 3 2?
3/2 and 3/8 are also simple triple. 4/4 time is classified as simple quadruple due to its four beats which can be divided into two notes. 4/2 and 4/8 are also simple quadruple. Notice that a time signature in simple meter will always have a 2, 3, or 4 for the top number.
How does 3 2 mean in music?
3/2 is a “simple triple time signature”simple means every beat is made up of 2 beats or each of these beats can be broken into two beats and triple because of containing 3 half notes in a measure, meaning there are 3 half or minim notes in a measure.
What note is 3 beats?
half note
What does common time mean in music?
four beats per measure
What does cut time mean in music?
Cut time is the time signature that uses 2/2 as the time signature. You may also see it represented like this: Cut time means you can have two half notes per measures or what is equal to two half notes in each measure.
How many beats are there per measure?
FOUR BEATS
What note gets half a beat?
quarter note
How many beats are in an 8th note?
A whole note has four beats. A half note has two beats. A quarter note has one beat. An eighth note has one half of one beat.
What is a 3/4 beat?
We know that a 3/4 time signature means there are three beats in a measure, and one quarter note equals one beat. Notice in the second measure that each of those beats can be divided in two.
What is the full meaning of 4 2 in music?
4/2 time signature is classified as simple quadruple meter: There are 4 beats per measure and each beat is divided by 2. The value of one beat is . You will notice the use of the note value called double-whole note (breve. ) in the last measure of this musical sample.
What note has the longest duration?
semibreve
Which is the longest duration in the second staff?
Explanation: double whole note (American), breve (British), or double note is a note lasting two times as long as a whole note (or semibreve). It is the second – longest note valuestill in use modern music notation.
Which note has the shortest duration in the second staff?
Explanation:
- animatuon.
- animation.
- ano ba totoo.
- half note kase yon.
- half note has the shortest duration of the pamulinawen, it can be much faster than eight note.
What are the different kinds of notes found on the first staff?
The notes in the first staff are:
- dotted eighth note.
- sixteenth note.
- dotted quarter note.
- eighth note.
- half note.
How many sixteenth notes are in a whole note?
Two sixteenth notes
What are the different kinds of notes rests found in the musical score?
The Different Types Of Rests In Music
- Semibreve Rest (Whole Note Rest)
- Minim Rest (Half Note Rest)
- Crotchet Rest (Quarter Note Rest)
- Quaver Rest (Eighth Note Rest)
- Semiquaver Rest (Sixteenth Note Rest)
What are the different kinds of note?
Types Of Musical Notes You Need To Know
- Semibreve (Whole Note)
- Minim (Half Note)
- Crotchet (Quarter Note)
- Quaver (Eighth Note)
- Semiquaver (16th Note)
- Demisemiquaver (32nd Note)
- Other Notes.
What kind of note is found on the first measure?
Answer. Explanation: an eight notr or a quaver is musical tone played fot one eight the doration of a whole note hence the name.
How many measures does a song have?
A measure is the section of a musical staff that comes between two barlines. Each measure satisfies the specified time signature of the staff. For example, a song written in 4/4 time will hold four quarter note beats per measure. A song written in 3/4 time will hold three quarter note beats in each measure.
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https://mv-organizing.com/what-type-of-meter-is-3-2/
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Welcome to the second installment of our series on music theory basics, Ingredients of Music.
In the first post, we talked about why the study of music theory is important and how it can turn us into better musicians.
Today, we’re diving in to the first music theory lesson.
Today will be pretty simple. We’re covering (drum roll please)…notes and rests!
Wait…what?
I know at first glance that might seem like a pretty boring topic. We all know what notes and rests are, don’t we?
Yes, we all do (I assume), but this series isn’t just about the whats of music, it’s about the whys.
And the whys behind notes and rests are actually pretty interesting.
Don’t believe me?
Then keep reading and we’ll see what you think by the end of the post!
The Whats
Durational Symbols
Modern western music notation could be summed up in just two words: durational symbols.
There are two basic types of durational symbols.
Notes
The first type of durational symbol is called a note. Notes are signs that tell the musician to play something.
Important Note: This post will use the American system of note-naming. See this post from MusicNotes for a side-by-side comparison of American and British note-naming terminology.
Notes are assigned a specific rhythmic value.
There are ten basic types of note values: quarter notes, half notes, whole notes, double whole notes, eighth notes, sixteenth notes, thirty-second notes, sixty-fourth notes, hundred twenty-eighth notes, and two-hundred fifty-sixth notes.
Any of these notes can be dotted; that is, a small dot can be added at the end of the note to add another one-half of the value to the note (for example, a dot turns a two-beat half note into three beats).
Notes names correspond to one of twelve different pitches (or sounds): C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, and B.
The following image shows those twelve pitches notated on both the treble and bass staves:
Rests
The second type of durational symbol is the rest. Rests tell the musicians when not to play. They are signs of quiet.
Like notes, rests are assigned a certain rhythmic value.
There are ten basic types of rest values: quarter rests, half rests, whole rests, breve rests, eighth rests, sixteenth rests, thirty-second rests, sixty-fourth rests, hundred twenty-eighth rests, and two-hundred fifty-sixth rests.
Rests, like notes, can be dotted.
The Whys
Durational Symbols
The why behind the existence of durational symbols is simple: without a written form of music notation, most of the best-loved music in Western history could not have been written!
Pretty important stuff!
Notes
Okay, so this one is pretty self-explanatory.
Without notes, there would be no music because musicians would never have anything to play.
So basic, and yet so important…just imagine a world without notes where no music is possible! No thanks!
Rests
Now, this is where the whys of music theory start begin to get interesting.
If you think about it, why do we even need rests?
They are not used in every piece of music.
In fact, a beginner might go through half of their first lesson book (or more!) before they even learn how to read them.
Why isn’t music just constant playing of notes? Why do we need the quiet signs in between?
The simplest answer is that rests can be used to breath life into the music. They are invaluable tools for musical phrasing and artistic expression.
Or, as Wolfgang Amadeus Mozart put it, “The music is not in the notes, but in the silence between.”
Think about The Hallelujah Chorus from Handel’s Messiah for a second.
At the very end of this masterpiece, right before the final “Hallelujah!” comes two full beats of silence, like a deep breath before one last joyful expression of praise.
The effect is breathtaking, and how does Handel accomplish this brilliant finale?
By using our second type of durational symbol: rests!
Just listen to the effect that Handel achieves here:
Pretty cool, huh?
And that concludes the notes and rests portion of this series. What do you think? Did you learn anything new?
Now that we have a solid understanding of durational symbols, we’re moving on to rhythm and meter in the next post!
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https://scalesandarpeggios.com/ingredients-of-music-notes-and-rests/
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This lesson was made to offer you a quick overview of how to read drum notation symbols.
You can consider this page as a drum-key or legend for all the various drum set voices that you play within beats, fills, and solo patterns.
You can refer back to this page if you are ever unsure about what is to be played within certain sheet music exercises.
Having the ability to read drum sheet music has actually been among the greatest properties in my drumming profession so far!
Seriously, it does not matter whether I walked into the rehearsal space of a new band or joined an orchestra. Once they saw that I could sit down in front of a paper (and a drum set obviously) and just begin playing with them—they were amazed.
I really want to encourage you to learn to read drum sheet music. There are so many drummers who don't know how to read and are missing out on a whole wealth of information they could be learning or reading.
Once you can read music, this will make it a lot easier for you to learn about drums, memorize rhythms, be picked by a band, etc.
Many individuals who want to learn to read drum notation get discouraged by the way that drum notation looks. It may look complicated initially but once you break it apart it is quite simple.
In the very first measure (the part that is divided by a line) there are 4 notes.
At the beginning of the measure, there are two numbers on top of each other. This is called a time signature.
In a time signature, the top number informs us that there are 4 beats in a bar.
The bottom number tells us that the beats are quarter note beats.
So if a whole measure can hold 4 notes that means that each of those 4 notes must be called a quarter note. That is what these 4 black notes are in the first measure.
They are equally spaced and should sound even. Take a listen to how they sound below at 80 bpm.
Half notes have more space in them so only two of them can fit in a measure. Since drummers can't hold a note, we simply play them by hitting the drum.
If we want we can also write a quarter note with a rest in between. A rest signifies that we would stop playing but since drummers don't hold notes, it is the same phrase. Here is how it sounds.
Notice in the sheet above how many measures have the 'rest' symbol in them. For drummers, it is very common to see quarter note rests (and eighth note rests which look a bit different).
Now logically a whole note is a note that occupies the whole measure. In drumming language, it means we just hit once on the first note of the measure—and that's it.
When we are reading drum notation we don't often find half notes and whole notes. Sometimes we do, but most of our exercises will be a combination of quarter notes, eighth notes and sixteenth notes (and triplets but we will get there).
Eighth notes and sixteenth notes are self-explanatory at this point—either 8 of them or 16 of them can fit in one single measure.
This means that so far the sixteenth note is the fastest sounding note we have come across so far.
Here are eighth notes at 80 bpm.
And here are sixteenth notes at 80 bpm.
We can set a metronome that will dictate how fast we play the above page.
The metronome will reveal to you how quick the pulse is, whilst the time signature will show you the grouping of the beat.
So far we have been listening to the examples at 80 bpm, so let's put a metronome on there (go to Google and type in 'Free Metronome' in order to get something quick).
Now take a look at which line/space the note is on—this will inform you which drum to play. As we've said before we will play all the notes on the snare drum.
Then take a look at the note lengths before you begin to play. We always want to read ahead, and know what is coming to us. Before I play a piece of music I always skim it over and take a look at what is coming in front of me.
There are no accents, which means that all the notes should be at the same velocity.
Here are the first 8 bars of the musical page from above that are played out loud. Check yourself to make sure you are playing it correctly.
As you can see it is not terribly hard to start reading music!
Once you play this exercise a couple of times from start to finish you will become very accustomed to reading whole notes, half notes, quarter notes, eighth notes, and sixteenth notes.
This is the basis for a strong musical understanding of rhythm.
Ben Heckler is a multi-instrumentalist and musician from Portland, Oregon. Currently Ben lives in Barcelona where he teaches drum lessons, writes and records original music for his band Sea Fuzz as well as playing drums for one of the biggest Beatles tribute bands in Europe, The Flaming Shakers.
Ben is constantly creating and composing various types of music, video, and artwork for a multitude of projects that come his way. He hopes to use his platforms to share, help and inspire others to create in their own ways.
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https://jamaddict.com/beginner-drum-note-reading-exercises-and-explanation/
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What is a quaver in music? Learn about quavers and discover other music note names below
If you study music in the United States, then you know that we call this an “eighth note”, and as a Hoffman Academy student, you know that it makes the sound “ti”.
If you’re a student somewhere else, you might think that this music note makes a different sound than “ti”, but did you know that in some places the eighth note has a different name too? If you’re from the United Kingdom, you probably call this music note a “quaver!” Different countries have different musical terminology, which makes sense when different languages are spoken, but why are there TWO systems for English-speaking countries?
Beyond the Quaver: Where (and When) Music Terms Came From
Music terminology from the United Kingdom, such as breve, crotchet, quaver, minim, has its roots in Latin. This makes sense considering that in the early days of modern musical notation (around 1000-1200 AD/CE), music was very important to religion. Most of Europe at the time was Roman Catholic, and the Roman Catholic Church used Latin. Some of the earliest Western Classical composers were monks and nuns (shout out to Hildegard von Bingen!). Masses and prayers were largely sung in Latin, and even if someone couldn’t speak Latin themselves, they could learn to sing along.
Around 1250, a German music theorist named Franco of Cologne created a new system of notation that used squares and diamonds to indicate note durations. Some of the different notes that existed first were the maxima (large or octuple whole note), the longa (long or quadruple whole note), and the breve (brief or double whole note). These notes have all fallen out of use in most modern music. Eventually shorter notes emerged in the 1300s, like the semibreve (whole note) and then the minim (half note), which was considered to be the shortest music note at the time! We know now that the notes can get much shorter. Look at the list below to see how short!
Then the Protestant Reformation happened. After this Latin fell out of style in newly Protestant countries like Germany. These Protestant countries pushed for their own languages to have more importance in religion and government. They standardized new terminology for their cultures, including music and its naming systems – many of these new naming systems were based on fractions. Eventually, this also influenced the American system. Below, you can see how the American fraction-based system works and compare the music note names to the British Latin-based names!
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Music Note Names Comparison
- A whole note (semibreve) lasts 4 beats, or a whole measure of 4/4 time (the most commonly used time signature).
- A half note (minim) is 2 beats or half of a measure.
- A quarter note (crochet) is 1 beat or a quarter of a measure, meaning that four quarter notes are needed to complete a full 4/4 measure!
- An eighth note (quaver) is 1/2 of a beat. It takes eight of them to complete a measure.
- A sixteenth note (semiquaver) is ¼ of a beat. It takes sixteen of them to complete a measure!
- A thirty-second note (demisemiquaver) is ⅛ of a beat. It takes thirty-two of them to complete a measure!
- A sixty-fourth note (hemidemisemiquaver) is 1/16 of a beat, taking sixty-four of them to complete an entire 4/4 measure! That is a lot of notes in one measure!
- And it doesn’t stop there! There is also a hundred-twenty-eighth note (semihemidemisemiquaver or quasihemidemisemiquaver)! If you want to see some of these in action, listen to the beginning of Beethoven’s Pathetique Sonata!
- In the American system, we also have eighth rests and dotted eighth notes, which are known as quaver rests and dotted quavers respectively in the British system!
See? Same notation, different names! Since we are located in the United States, Hoffman Academy uses the fraction-based U.S. system.
Bonus: Music Terms Around the World
- British music note names are mainly used by countries associated with the British Crown, like the United Kingdom, Ireland, Canada, and Australia. It’s also used by the Associated Board of the Royal Music Schools (ABRSM), an organization that conducts musical examinations and assessments all over the world.
- Other languages, of course, have their own music note names; many Romantic Languages (ie: Spanish, French, and Italian) call whole notes “round notes”, quarter notes “black notes”, and half notes “white notes”, for example!
- Any knitting/crocheting fans out there? You might recognize the British term for a quarter note, “crotchet!” It’s from a French word crochet meaning “little hook,” inspired by its shape.
Did you find this article on the quaver note helpful? Want to go beyond the quaver and learn more about how musical notation came to be? Check out this excellent article from Classic FM: How Did Music Notation Actually Begin?
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https://hoffmanacademy.com/blog/whats-a-quaver-note-names
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This article was co-authored by Michael Noble, PhD. Michael Noble is a professional concert pianist who received his PhD in Piano Performance from the Yale School of Music in 2018. He is a previous contemporary music fellow of the Belgian American Educational Foundation and has performed at Carnegie Hall and at other venues across the United States, Europe, and Asia.
wikiHow marks an article as reader-approved once it receives enough positive feedback. This article has 15 testimonials from our readers, earning it our reader-approved status.
This article has been viewed 481,189 times.
In order to strengthen your skills as a musician, advance in your craft, and become employable, you must know how to sight read music. Sight reading is an important part of most auditions, and a very necessary part of being able to keep up in an orchestra, choir, or band setting. If you learned to play your instrument or sing by ear, learning to sight read music will help make you a more confident and effective musician and performer.
Steps
Part 1 of 3:
Brushing Up on Music Theory
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1Understand the different types of notes. When sight reading music, you will see whole notes, half notes, quarter notes, eighth notes, and sixteenth notes. These notes are characterized by differing duration, or the length of time the note is played. The whole note is the longest, and they get shorter respectively. For example, a sixteenth note is 1/16 of a whole note. X Research source
- While you might think music and math have nothing in common, understanding the different types of music notes is as simple as understanding basic fractions. For example, a quarter note is 1/4 of a whole note. In other words, you can play 4 quarter notes in the time you would play 1 whole note (just as you can play 2 half notes in the time you would play 1 whole note).
- Each note has a different symbol. The parts of the symbols are the head, the round part of the note, the stem, the line that extends from the head, and the flag, the curved line coming off the stem, like a flag.
- A whole note is denoted by just an open note head, without any stem or flag. A half note has an open note head and a stem. A quarter note has a closed (filled in) head and a stem. An eighth note has a closed head, a stem, and one flag, whereas 2 together have a single bar joining them. A sixteenth note has a closed head, a stem, and 2 flags or 2 bars joining as many as 4 sixteenth notes. X Research source
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2Familiarize yourself with time signatures. Time signatures appear on all pieces of sheet music, and they tell you the amount and type of notes in each measure. To put it simply, time signatures tell you the beats of each bar of the song you will be playing.
- When it comes to sight reading, this is the very first thing you will note about a piece, so it's extremely important that you understand time signatures thoroughly. Practice different rhythm exercises to make yourself feel more comfortable working within different time signatures. X Research source
- If the time signature is 4/4, that means that each measure contains four quarter notes. The top number refers to the number of beats per measure, and the bottom refers to the type of note being used to measure the beats (in this case, quarter notes).
- A time signature of 3/4 means there are 3 quarter notes, 6/8 means 6 eighth notes, 3/2 means 3 half notes, and so on.
- Use a metronome to help keep track of tempo. A number of pieces will have an M.M. with a number and a note showing; this is the intended approximate tempo after it's fully practiced. Practice at a slower tempo at first, then gradually increase the tempo on the metronome as you get more comfortable with the piece.
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3Memorize key signatures. The key signature is a grouping of signatures that instructs you to play a certain note a half-step higher or lower than you typically would. Basically, the key signature tells you how many sharps or flats may be in the piece, which in turn tells you the key the piece is in, and therefore it's a crucial component of sight reading. X Research source The key signature can be found right next to the staff, generally at the beginning of a line of musical notation.
- To read sharp (major) key signatures, look at the last sharp on the key signature and move a half-step above that. So, if the last sharp is a C, the key would be in D major.
- To read flat (minor) key signatures, look at the second to last flat (read the flats left to right). If the second to last flat is E, the song is in E-flat major.
- F major (or D minor) is the exception to this rule as this particular key signature only has one flat (B-flat).
- If the piece is in a minor key, determine what the major key of the piece would be and go down a minor third to identify the major key’s relative minor. For example, the relative minor of G major is E minor, since this is a minor third below G.
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4Learn where each note falls on the staff. There are 2 types of clefs: treble and bass. The notes look different depending on which clef you’re using. Learn the location of every note on both sets of clefs and practice until you recognize the notes just by looking at them.
- On a treble clef, the line notes spell out EGBDF from bottom to top. Use the mnemonic device, “Every Good Boy Deserves Fudge.”
- On a treble clef, the space notes spell out FACE from bottom to top.
- On a bass clef, the line notes spell out GBDFA from bottom to top. Use the mnemonic device, “Good Birds Don’t Fly Away.”
- On a bass clef, the space notes spell out ACEG from bottom to top. Use the mnemonic device, “All Cows Eat Grass.” X Research source
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5Practice your scales. Practicing scales will help both vocalists and instrumentalists become more familiar with the names of each note and where each note falls on the staff. If you’re an instrumentalist, practice the scales without looking at your hands. This will take a lot of practice to master, but it’s essential for becoming a proficient sight reader.
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- If you’re looking at your hands, you’re not able to let your eyes focus on reading the music.
- Instrumentalists should also practice sight singing. This will help you work on phrasing, intonation and musicality.
- Look for key signature changes, repeats, and codas.
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Part 1 Quiz
Which of the following is a mnemonic for the space notes on a bass clef, from top to bottom?
Part 2 of 3:
Improving Your Sight Reading Skills
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1Give your full attention to the music in front of you. In other words, act as if every piece of music you are sight reading is the most important thing in the world at that moment, clearing your mind of other daily distractions and worries. Sight reading involves a lot of moving parts – you have to keep track of notes, rhythms, key changes and a thousand other variables. It’s impossible to sight read perfectly without focusing your entire brain on the task at hand. X Research source
- Challenge yourself to sight read an entire piece of music without making any mistakes.
- Whenever your mind begins to wander, refocus and start the piece again.
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2Look for any obvious changes in style, key, tempo, or dynamic. Scan through the piece of music and mark (if you can) any key changes, tempo changes, or change in dynamics.
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3Divide music into large chunks. When you first begin sight-reading, you may attempt to count every beat, divide every rhythm, and tap maniacally to the beat. Relax! Every piece of music has hundreds of notes and trying to count and identify every single one can be exhausting and impossible. Instead, divide the piece into bigger chunks of music and try to read it that way. X Research source
- Cut each measure into 2 parts, and note where the downbeats are. This is a method of interpreting the music in a more relaxed, musical way.
- Now you can look at 2 beats, or even an entire measure, at a time. This is a lot less chaotic than attempting to count each and every beat.
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4Look for familiar rhythms. While each piece of music you encounter is beautifully unique, there are certainly repeating patterns that you'll continuously encounter. Purchase sight reading practice materials. Children get better at reading words by reading multiple books. Musicians get better at reading music by sight reading multiple pieces. Try going online to sites like Piano Marvel to gain access to sight reading exercises and music pieces you can practice reading.
- Also look online for free sheet music websites.
- Ask your music teacher if they have extra music they’d be willing to let you copy.
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5Keep a practice journal. Practice often. The best sight readers are musicians who are relaxed and confident in their skills. Becoming an experienced sight reader can take years, but implementing good practice habits is something you can do right now. Try to practice your sight reading for at least 15 minutes every day.
- Write down what you practiced and how long you practiced in your journal.
- Practice sight reading slowly. You can always pick up the pace after you feel more comfortable with the music.
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6Use drills to improve. Not only will practice drills help you recognize certain patterns and memorize note types, key signatures, and time signatures, it will also help you become a more confident musician. Websites like TheSightReadingProject.com allow you to practice for free online. X Research source Grab a cheap music book, flip to a random page, and start sight-reading something. Just like with any skill, the more you sight read, the more confident and proficient you will become. As you feel more comfortable with the basics, you can start fine-tuning your skills.Advertisement
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Part 2 Quiz
What can you do when a piece of music seems too big or complicated to sight read?
Part 3 of 3:
Preparing to Sight Read
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1Read through the music. When you first see the piece, take a moment to look it over without your instrument. Try tapping out the rhythm, reading the notes and looking over the structure to see which bars will be repeated. Every time you encounter a new piece of music, you should go through a basic checklist in your head.
- Memorize the key signature, divide the music into chunks, note any repeating rhythms and tricky spots, and tune out the day's distractions.
- Look for any markings that denote changes in speed, volume or accidentals.
- If you have permission, mark these changes on your sheet music using a pencil.
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2Play through the piece in your head. Take a moment to sound the piece out and look for patterns within the music. See if there are places where the melodies repeat themselves. Study the piece as hard as you can before ever picking up your instrument.
- Look for places in the music where there are scales or arpeggios.
- The more familiar you are with the music, the easier it will be to sight read when you actually have your instrument in hand.
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3Breathe and brush off mistakes. Sight reading can be overwhelming, but breathing can help you remain focused and can even keep you on tempo. Relax your body and your mind and try to concentrate on the work. Keep going if you make a mistake, because freezing up can only make the problem worse. Make a mental note to practice the part that caused you an issue, and then forget about it. There is more music to play, and you'd be surprised how often an audience misses a small mistake.
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- If you are a singer or if you play a wind instrument, use a pencil to mark where you should take a breath.
- Don’t beat yourself up if you don't read the music perfectly your first time out. Sight reading is a skill that takes time to develop.
- Being able to keep going even when you make a mistake is a critical sight reading skill.
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Part 3 Quiz
What should you do if you make a mistake during your first sight read of a song?
Community Q&A
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QuestionHow do you practice sight reading?
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QuestionWhat does it mean to sight read music?
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QuestionWhy is sight reading important?
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QuestionIn a measure there are notes with stem up and some with stem down. All the notes add up to more than 6 beats. Which do I play?Whether the stems are up or down only has to do with where the notes are on the staff. Each note should be played. You'll need to look at the time signature to see how many beats are in a measure. For example if the time signature is 6/8, you will have 6 beats per measure with the 8th note being worth one beat.
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QuestionIn a time signature, can you tell me if the top number indicates the beat and the bottom number indicates the note value?
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QuestionI can read the notes and play the right and left separately, but not at the same time. How can I sightread better?Community AnswerPractice, practice, practice. Start very slowly, playing the left hand and the right hand at the same time, while reading of course, and gradually speed up.
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QuestionIf I have two notes for one stem, which one do I play first?Community AnswerThis means you play them both at the same time. Two (or more) notes with the same stem is called a chord.
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QuestionIs it really necessary to memorize every scale?Community AnswerIf you want to become proficient in sight reading or playing difficult pieces, then yes, you should memorize every scale. Otherwise, it's not really necessary.
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QuestionWhat is a "mezzo voce" marking?SunstahCommunity AnswerWhen translated, it means"half voice." This means to play more restrained and quietly than you normally would.
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QuestionWhat is sight reading?Community AnswerSight reading is reading a new piece of music for the first time. Mistakes are allowed and encouraged only when sight reading.
Video
References
- ↑ https://www.musictheory.net/lessons/11
- ↑ https://www.musictheory.net/lessons/11
- ↑ https://www.musictheory.net/lessons/12
- ↑ http://www.dummies.com/how-to/content/how-to-read-key-signatures.html
- ↑ http://artiden.com/how-to-learn-notes-easily/
- ↑ http://www.jazzadvice.com/5-steps-to-mastering-sight-reading/
- ↑ http://www.jazzadvice.com/5-steps-to-mastering-sight-reading/
- ↑ http://thesightreadingproject.com
About This Article
If you want to sight read music, start by reading through the piece while tapping out the rhythm and identifying any key changes. Then, divide the piece into large chunks of music, such as by cutting each measure into 2 parts. To improve your reading, look for familiar rhythms in pieces of music you can easily identify or do practice drills by opening a book to a random page. When you feel you're ready to play and read music, read through the piece once more entirely before picking up your instrument. For tips on how to stay calm and relaxed as you read music by using controlled breathing, read on!
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https://www.wikihow.com/Sight-Read-Music
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In music, two quarter notes tied together get the same amount of beats as a half note: two beats. If one quarter note is one beat, and you put together two, you get two beats.
Remember, one sixteenth plus one sixteenth equals one eighth. One eighth plus one eighth equals one quarter. One quarter plus one quarter equals one half. One half plus one half equals a whole. The same goes for rests, and later on you will probably get some thirty-second notes or sixty-fourth notes. You just go the opposite direction: two sixty-fourth notes equal a thirty-second note. Two thirty-second notes equal a sixteenth note. And then you go to eighths, quarters, halves, and wholes.
I hope this helps!
A dotted quarter note is equal to 1.5 beats. Three quarter notes are 3 beats. Therefore, 3 quarter notes is equal to 2 dotted quarter notes.
4
1 1/2 beats in 4 4 time
That is an eighth note
4 beats
You need to specify the time signature.
A quarter note takes up 1 beat. A minim takes up 2 beats. Therefore, there are 2 quarter notes in a minim, or half note.
There are two beats in a half note. This is equivalent to two quarter notes.
A quarter note is equal to 1 beat. A half note is equal to 2 beats. Therefore, two half notes are equal to 2 x 2 = 4 quarter notes.
Two half notes equal 4 quarter notes. That can equal 4 beats in any standard time signature (4/4, 3/4), or 2 beats in a cut time scenario( 2/2 where the half note gets the beat).
3 quarter notes equal one dotted half note. A quarter note is one beat, and a dotted half note is three beats, so there are 3 quarter notes in a dotted half note.
44 time is meaning how many of what note. 4 4 time means 4 beats in one measure that are quarter notes, split quarter notes or doubled quarter notes. (half notes, whole notes, eighth notes, sixteenth notes, etc.) Hope this answered your question!!
It gets half of a beat. Two eighth notes equal one quarter note.
A dotted quarter gains one and half beats when the time is measured by quarter notes (when the lower number of time signature is 4). It is three out of four pulses in a measure of that music piece.
4 beats
A quarter note is worth a single beat, and a dot increases the value of the note by a half, therefore a dotted quarter note is worth 1.5 beats.
Three; the top number shows how many beats, the bottom shows what constitutes a beat ( 3 4 means three quarter notes, 3 8 means three eighth notes).
Well think.... If there are 4 beats in a whole note and half of a whole note is half what if half of 4 it is 2 right whole note 4 / \ half note half note 2 2 / \ / \ quarter note quarter note quarter note quarter note 1 1 1 1 and then it goes on to eight notes sixtieth notes thirty sixth notes...
'One' Half Note = 2 Beats therefore, there are 2 half notes in 4 beats.
A whole note consists of 4 quarter notes. Therefore, two whole notes contain 8 quarter notes.
one
1
2
Here is the correct basic values in music theory: Quarter note = 1 beat = two 8th notes Whole note = 4 beats = two half notes Half note = 2 beats = two 8th notes Half Dotted note = 3 beats = one Half note + one Quarter note Half Dotted quarter note = (1.5) beat = one Quarter note + one 8th note 8th note = (1/2) beat= two 16th notes 16th note = (1/4) beat = two 32nd notes 32nd note = (1/16) beat = two 64th notes 64th note = (1/32) beat = two 128th notes
This time signature provides four 16th notes (semiquavers) in a measure. That is itself one quarter note from value.
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https://www.answers.com/Q/How_many_beats_does_2_quarter_notes_get_that_are_connected
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Rhythm is the single most important aspect of music and the second most important skill to have as a musician. Having your rhythm skills mastered will make every thing you play sound better, tighter, cleaner, more catchy, more in depth, and capture your listener on a deeper level.
When your teacher tells you that practicing rhythm is important, she is understanding its significance.
While most teachers understand rhythm's significance, they rarely teach it as its own subject. Rhythm is usually bundled in with other topics such as songs or technique. While this is a good approach, it is incomplete. Sometimes you have to start from the basics and later integrate rhythm with the other things you know. I know I had to (and still do)
So, how do we practice rhythm? There are many ways and, depending on your instrument, some ways work better than others. There is no way to practice strumming on a piano, but you can work on playing chords or notes to a beat.
Many examples I'll show you will be based on the guitar, but can be applied to every instrument, even vocals.
Essentials For Understanding Rhythm
(This assumes you have some basic knowledge about what some notes are and how long they are played for. If you don't know, that is ok! A quick Google search will clear things up and I will also have these examples played so you can hear how long they are played for.)
We are going to start from the very bottom and build up, so that you have a solid foundation to go forward and master rhythm playing.
A bar of music typically has 4 beats in it, spaced evenly. The music that fills every bar of music can have different rhythmic values (or lengths).
If you did music class in primary school then you should have a basic understanding of this. If not, then I'll have to assume you've listened to at least one pop song in your life.
A whole note is typically played for 4 beats and takes up a whole bar of music by itself.
Half Note
A half note is typically played for 2 beats and takes up half of a bar.
Quarter Note
A quarter note is typically played for 1 beat and takes up a quarter of a bar (noticing a pattern here?).
Here's where things get a little trickier.
Eighth Note
An eighth note is typically played for a half a beat, meaning you can fit 2 eighth notes into one beat of music. You can fit 8 eighth notes into one bar of music. The way to count this is 1 & 2 & 3 & 4 &: pronounced/counted: one and two and three and four and
So now that you have an understanding of the basics of rhythm, how do you go about playing (and actually practicing) rhythm?
Let's do this in levels. What I mean is, let's take the examples above and play them in different ways. You'll see those ways soon enough.
Have you ever counted to four before? Good! We'll need those skills to get us through mastering rhythm!
For the first level you need to go through each example above clapping all the notes and saying all of the beats.
For the whole note you will say, "1 2 3 4" and clap every time you say the 1.
For the Half Note, you can count 1 2, 1 2, 1 2, 1 2. So you clap on the 1 and let it ring for the whole 2 count.
For the Quarter note you can count as 1 1 1 1, and clap on every count and for eighth notes you can count as 1 & 2 & 3 & 4 &, and clap on the number as well as the "&"
Go ahead and do that along with the audio examples above right now.
LEVEL 2
Now we can move on to the next level which is mute strumming. Simply take your guitar and use your fretting hand to mute the strings and just strum with your picking hand. If guitar is not your instrument, just pluck or hit or sing a single note for now.
Go through the examples above again and mute strum your way through them. Now you're getting real practice on the instrument after building a solid foundation!
I've found from teaching dozens of students rhythm that if they can't say it, they wont be able to play it. This is why we focus on clapping and speaking first: to get the mind to understand what to do so it can tell the body what to play. If you are trying to process what to play, then send the signal to your hands to play, to have them play, to hear if it was good or not, reprocess that information, and make adjustments...
LEVEL 3
Now that you've got the hang of the rhythm, lets actually try it with full chords. Pick a chord you know, any chord! Go through the examples above and play them all with one full chord. Don't worry about changing chords just yet, just get used to playing rhythm with a single chord.
LEVEL 4
Now we can focus on changing chords with rhythm. Play each example above several times in a row, and every bar or every other bar, change to a different chord. Don't worry if it is not in time and smooth yet, that comes with practice. Many people struggle with this aspect of rhythm (I have too!) so don't beat yourself up or think you're never going to get it. You WILL get it, just give it time!
Try and smooth out the changes as best as possible, and ask your teacher to show you some effective ways of practicing chord changes.
LEVEL 5
This is where things get really interesting. Up until this point we have focused on one note value at at time. Now we are going to mix and match them up to create some interesting combinations.
With the examples below, take them through the first 4 levels to ensure you have a solid foundation and understanding of them to move on.
THIS IS CRITICAL. Even if you think this is easy, just do it. If its easy, then doing each one 8 times in a row will take no time at all.
The first example is a half note plus two quarter notes so the claps land on beats 1 3 and 4.
The second example is a quarter note followed by a half note followed by a quarter note. The claps land on beats 1 2 and 4.
The third example is two quarter notes followed by a half note. The claps land on beats 1 2 and 3.
Now we move on to using eighth notes!
The fourth example is two quarter notes followed by four eighth notes. So the claps land on beats 1 2 3 & 4 &. Have a below to hear when to clap or play.
Ex4
The fifth example is a quarter note followed by an eighth note followed by a quarter note followed by three eighth notes. The claps land on beats 1 23 & 4 & . Pay attention, the note on the 2 count here is an eighth note, and hence gets a shorter duration, compared to the notes played on count 1 and 3.
The sixth example is an eighth note followed by three quarter notes followed by an eighth note. The claps land on beats 12 3 4 &
Now that you have a good understanding of some basic rhythm concepts, it is time to branch out and explore.
Search up other patterns containing these types of notes, or create your own! These examples above will set you up for success for the rest of your musical life if you follow the instructions.
About the author:
Bryce Gorman is the owner and instructor at the first professional guitar school in Lethbridge Alberta, with a passion for helping his students become the best players they can be! If you are interested in taking , then be sure to contact Bryce!
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https://www.learnguitaronline.in/masterthebasicsofrhythmguitar
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If you are new to learning the piano and still not sure about the basic, worry not, it’s a given.
There is no surprise when the beginners are not aware of the basic terminology and their uses.
As one grows by practicing and putting their heart and soul in it.
Also, you cannot judge yourself too soon.
Coz, down the road you will eventually become a pro.
So, today we will be talking about some of the basics that every player must keep in their mind while playing.
The most important among the basics are the rhythms and how it works.
The term rhythm originated from the Greek word rhythmos.
Which derived from rhein, meaning “to flow”.
In musical sense, RHYTHM is an assignment of sound in time.
One can say, Rhythm is a culmination of note duration, that forms a recognizable pattern.
They are the lengths of the notes within the music itself.
Rhythm is what notes are long and short, in respect to one another.
Musicians know how to play these rhythms.
As they are within the context of every piece, owing to the musical time signature.
So, now let’s have a look at some of the essential elements of rhythms.
These elements will help you in enhancing your performance.
Elements of Rhythms
Beats
The very 1st term is the BEATS. So, how do you define a beat?
A beat is a regular interval of rhythm or of any kind of sound.
Tempo
The next we have the TEMPO.
Tempo is how fast you count the beats. It is expressed in numbers.
It will say like, quarter note equals 120 in the beginning of a song.
Or may even be used like an Italian word. Like, it is said adagio, that means you are going to be playing with a slow tempo.
Note Duration
If you want to be able to sight-read then, you need to have a very clear understanding of note values or NOTE DURATION.
The notes have many different faces and appearance.
Each different looking note has a different value attached to it.
A note duration or value of note is simply how long you are going to hold it down when you play it.
The example of note duration includes, quarter notes, half notes, whole notes, dotted half notes and eighth notes.
Every note duration has different beats.
Such as, the quarter note gets one beat.
A half note gets two, dotted half note gets three, whole note gets four and so on.
Let’s talk about this in detail. So here we go,
Quarter Note [1/4 note = 1 beat]
The first note that you should know about is the Quarter Note.
So, the quarter note is just a colored, encircle with a stem.
The quarter note equals one beat.
So, if you were to draw four quarter notes, it would be counted or clapped like: one two three four.
Half Note [1/2 note = 2 beats]
The next note is called the half notes.
The half note looks almost like the quarter note but it's not coloured in.
So, it's just a circle with the line. And a half note equals two beats.
Well, the interesting part about half note is that, each half note could fit two quarter notes.
Because two quarters put together makes a half.
Whole Note [Whole note = 4 beats]
The next note is the whole note.
This note is pretty straightforward, it looks like a circle.
You may even think of it as like a doughnut hole or a hole.
A whole note equals four beats. Which is resembles an entire measure of music.
You could fit two half notes into one whole note. Or even four quarter notes into one whole note.
So, this is the most basic simple look at rhythm.
There are more note values that you can add on to this. So, let's take a look at them too.
Eighth Note [1/8th note = 1½ beat]
The next note is called the eighth note.
The eighth note equals to one half of a beat.
You will often find eighth notes in groups of two.
So, when you put eighth notes beside each other instead of having their little stems point down you actually connect them.
Resulting in two notes that are put side-by-side and equals to one.
Thus, eighth notes are grouped together in groups which makes it much easier to count and to read.
They are often counted as “one and” because that breaks those ones into half.
Hence, you can count single eighth notes or eighth notes together. You will often hear them counted as “TT”.
Dotted Half Note [1/2. note = 3 beats]
So, what we have next is a dotted half note.
How is it represented?
Well, take a half note & put a dot beside it. and there you will get a dotted half note.
What does a dot represent?
It represents that, any time you add a dot beside a note it adds half the value of the note.
So, a half note equals to 2 (half note= 2), half of 2 is 1 (half of half note= 1 [1/2x2]).
So, when you add both notes, it gives you a note that equals 3 (dotted half note= 2+1= 3).
A half note dot equals 3 beats (1/2 note + dot [.] = 3 beats).
Dotted Quarter Note [1/4. Note = 1½ beat]
The last note that you must be aware of is the dotted quarter note.
Maybe one of the more complicated ones.
But when you break it down, it makes the most sense.
It sounds simple, all you need is a quarter note and put a dot beside it (1/4.).
Now the question arises, how to figure out the value of a dotted quarter note?
So, the solving goes like, a quarter note equals one (1/4 note = 1).
Add half the value of Quarter Note to the note.
So, you will be adding half of one which is half (1x1/2= 1/2).
Now you will have a note that equals 1 and half beats (1/4 note + dot[.] = 11/2).
What is Measures in Music ?
Next, we are going to talk about the MEASURES.
Measures are used in breaking up the music and read it in a little bit easier way.
This helps you in organizing the music into little units.
They are based on the time signature.
Each of these units fit perfectly into so many beats.
This makes it more easy for you to follow the song.
So, if you are playing in a band and the instructor or the director says “Play starting from measure 10,” you will know where that is.
Usually there are measure numbers at the top to tell you what number measure you are currently on.
Just know that the measures are the little boxes that help you break up the music.
The music thus broken are more digestible and easier to understand smaller units.
If you notice that the music is broken up by the vertical lines, they are called the measure lines.
Relation Between Time Signature and Rhythms ?
The other element relevant to the rhythm is the TIME SIGNATURE.
So where is this time signature actually located?
Usually, they are located right at the beginning of the song.
That is, right next to the clef. And you say it by the first number first on the top.
For example, four four time signature (one 4 is at top and another one is at bottom).
It means that the top number 4 tells you, how many beats are there in a measure.
And the bottom number tells you which one gets one beat.
This implies that the note is equivalent to 4 quarter notes in that measure.
Conclusion
So, if you want to memorize note values very early on, keep a track with your rhythm.
The best way to learn them earlier is to draw it all out. You can practice them at home so you can get really comfortable with rhythm concepts.
This is an overview on note values.
What the notes equal, write this down on a piece of paper and see how many of them that you can memorize.
Make little combinations of the different note values and practice them.
Trust me, it will really help you as you.
And eventually you will be able to do sight read and play it smoothly.
So, keeping dwelling on the basics and you will soon be a professional. Keep learning and stay safe!!!
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https://www.doomsquadmusic.com/rhythms-piano/
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While there are many musicians who can learn music by ear, most beginners should learn how to read music. Understanding how to count music is also important to dancers and can contribute to the enjoyment of a casual listener. Part of reading music is the ability to “count” it, or knowing how long to hold each note on the page. It is also important to understand what a time signature is. This article describes the basic principles of counting using 4/4 time and introduces time signatures.
Part 1
Counting Rhythms
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1Understand what a measure is. Music is divided into measures, which are designated by a vertical line. Notes in music are named based on how much time they take up within a measure. Think of the measure as a pie that can be cut into quarters, halves, eighths or a combination of different notes.
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2Learn basic notation. The names of the notes clue you in to how much of the measure they will take. This will necessitate a rudimentary understanding of fractions. A whole note will take the whole measure. A half note will take half of the measure.
- Quarter notes take a quarter of the measure.
- Eighth notes take one eighth of the measure.
- Sixteenth notes take one sixteenth of the measure.
- Notes can be combined to make one whole, for instance one half note and two quarter notes makes one whole measure.
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3Practice keeping the beat. In an even rhythm tap your heel and count to four repeatedly, like this: 1-2-3-4, 1-2-3-4. The speed is less important than keeping the time even between each number. A metronome can also be helpful in setting an even beat.
- Each full cycle of 1-2-3-4 is one measure.
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4Practice counting basic note lengths. Say or sing “la” while continuing to keep up the counting in your head. A whole note will take the whole measure, so begin singing “la” at the number 1, and hold it until you have reached 4. You have just performed a whole note.
- Two half notes make up a measure. Sing “la” for 1-2 then a new “la” for 3-4.
- There are four quarter notes in a measure. Sing “la” for each number you’re tapping.
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5Add syllables for smaller notes. For eighth notes you will need to divide the measure into eight even pieces, but you are still only beating four times per measure. Add the word “and” between each number as you count like this: “1 and 2 and 3 and 4 and.” Practice this until it becomes easy. Each word is one eighth note.
- Use a similar principle to count sixteenth notes. You will need to fit sixteen sounds into one measure and do it evenly. One common way to do this is to say “1-e-and-a, 2-e-and-a, 3-e-and-a, 4-e-and-a.” Remember that the numbers should still be perfectly even.
- The same general idea can be applied to ever smaller notes, but as these notes appear rarely they are less important to master as a beginner.
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6Understand what a dot means. Sometimes in music there is a small dot immediately after a note. This dot indicates that the note’s length should be increased by 50%.
- A half note, normally worth two beats, becomes three beats with a dot.
- A quarter note, worth one beat without the dot, takes 1.5 beats with a dot.
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7Practice triplets. Triplets are when one beat is divided into three notes. This is tricky because otherwise all the notes you have practiced are even fractions. Vocalizing syllables can help you get the hang of triplets.
- Practice counting triplets by saying “1-e-and, 2-e-and, 3-e-and, 4-e-and.
- Remember to continue keeping the numbers even using a metronome or tapping your foot.
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8Break the rules. A fermata is a sign that looks like a dot with an eyebrow over a note. When you see this symbol it means that note can be held for as long as you like, regardless of what the music might say.
- If you are part of an ensemble the director will determine how long it should be held.
- If you are performing solo consider in advance what will be most appropriate length.
- Listen to recordings of your piece if you are uncertain how long to hold. This will give you a sense of what other performers have done and you can decide what sounds best.
Part 2
Understanding Time Signatures
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1Find the time signature. At the top left hand corner of a piece of music you will see several notations. The first is a symbol called the clef, which typically depends on the instrument for which the piece was composed. Next there may be some sharps or flats. Finally you will see two numbers stacked on top of each other. This is the time signature.
- For the first part of this article we used the signature 4/4 which is indicated by two fours stacked on top of one another.
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2Understand the significance of each number in the time signature. The top number indicates the number of beats in a measure, and the bottom number is which note value gets the beat. It is most common for a four to appear on the bottom, giving the quarter note the beat.
- In 4/4 time the top note tells you that there are four beats in a measure, and the bottom note tells you that a quarter note is gets the beat.
- In 2/4 time there are two beats in a measure, but you are still counting a quarter note as a beat. So instead of counting 1-2-3-4, you would use that same pace but simply say 1-2, 1-2.
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3Practice a waltz. Music set in 3/4 time counts three quarter notes to every measure. The waltz is always danced in this rhythm, and finding a song that is designated as a waltz may help you to hear the pattern more clearly. As you listen count “1-2-3” in your head.
- The song “Christmas Waltz” has a distinctive waltz rhythm, and also contains the lyrics “and this song of mine/in three-quarter time” tipping you off to the rhythm.
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4Review less common time signatures. The top number always denotes the number of beats in a measure, and the bottom always signifies what note gets the beat. If the bottom number is an 8, then you should count eighth notes. If the bottom number is a 2 then you should count half notes.
- 6/8 meter is like the waltz in that the beats are grouped into threes, but there are two of them. Beats 1 and 4 should get the emphasis: “ONE-two-three-FOUR-five-six.” Beat one is the strongest beat.
- 3/2 times means you should count three half notes for one measure. One half note is worth two quarter notes. Try counting evenly to six, emphasizing the odd numbers: “ONE-two-THREE-four-FIVE-six, ONE-two-THREE-four-FIVE-six.” By emphasizing the odd numbers you’re pointing out where each half note begins. By counting the even numbers you’re ensuring a regular pace.
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5Practice counting while listening to music. The time signature gives a distinctive rhythmic sound to different types of music. For example, composers often write marches in 2/4 time to give a distinctive feeling of boots stepping 1-2, 1-2.
- Pop, country and other music aimed at a broad audience typically has some form of 2 or 4 in the time signature because people like to tap their foot along with the music. Choosing a simple time signature makes it easy for a general audience to enjoy it.
- Jazz and other modern music often sounds disjointed because of unusual time signatures, such as 13/8, 5/4 and other uneven divisions. This will be a challenge to count, but may help you see how the time signature contributes to the overall feel of music.
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https://2shorte.com/how-to-count-music/
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Music is a field of activity that many cachers seem to use to relax during breaks from searching for cans. At least that’s how I explain the perceived frequency of mysteries that contain any kind of music. For me, this has always been a little horror, as I hated these round “bubbles” even in my school days and successfully punished them with contempt. Apart from the pedagogical incompetence of the teaching staff, this was probably also due to the fact that I am about as musical as a refrigerator. In the end, however, that’s no excuse; I had to painstakingly patch up the gaps in my knowledge that arose back then, now that I’ve finally found a useful purpose for it (deciphering mysteries 😉 ).
Most note mysteries are pretty simplistic. Somehow, you have to compare numbers with the nub of a note, so someone once started just counting through. The first note is a 1, the next highest a 2 and so on. Conveniently, this is a notation that even I could see through at first go. Stupidly, this counting method is not necessarily “standardised”, so you might have to juggle the numbers back and forth a bit. You could also start counting at 0 and musical laymen like me would also rather start writing and counting on the staves instead of somehow in the nothingness below 😉
Slightly more difficult are the cases where the encoding is based on the note name. Johann Sebastian Bach liked to put his name, i.e. the notes B-A-C-H in his pieces. Other artists did likewise, but only very few had a name that was as suitable in terms of letters or notes.
If one now takes the semitones for such word formations:
- is for notes raised by half a tone, for example c sharp, marked with a small double cross
- es for notes lowered by half a tone, for example des, marked by a small b before the note
you can almost form meaningful words. Or possibly at least provide pretty templates for further letter value calculations. Really nasty natures mix in the Italian note designations (do-re-mi-fa-sol-la-si). This then requires a lot of reading comprehension or love of notes to decipher.
In addition to the note names and the height on the staves, the notes also differ in appearance. There are the black notes shown here with stems on them, which are quarter notes. If they have a stem but are not filled in black, they are half notes. If the note is completely black but still has a little flag (or if several are connected with a line at the top), these belong to the genre of eighth notes, and if the stem is completely missing, it is a whole note. Sometimes notes are connected with a bow at the bottom, in which case they are played contiguously in music. For the mystery calculation, it could mean that you might have to add these together. From the different types of notes, you can now come up with all sorts of funny things to torment the mystery solver. For example, only the whole notes could be used to calculate coordinates, and then their number place value as described above. You could also bring mathematics into play, after all the fractions (half note, eighth note) offer a pleasing template for this (count the note genres individually and divide by their “fraction”?). Surely it helps here once again if one tries to look at the sheet of music as logically as possible, juxtaposing the number of notes with the usual number of coordinate digits. 52° 12.345 and 009° 12.345 are seven and eight digits, i.e. 15. If I conveniently have 15 notes (or individual note types), I already know where the solution is and only have to think about the “how”.
For those for whom this is still not enough to decipher, the alphabet can be replaced by notes. Francis Poulenc and Giovanni della Porta did this in the 16th century (Hidden Messages by Klaus Schmeh, pages 27 and 28). Known as “French note encoding” is a similar variant in which the upper line is the usual note designations (the B is the note H in German) and these can have various equivalents. Cleverly composed, for example garnished with different pitches, one can thus bring funny note stories into the listings.
Also possible would be a simple note frequency, which is then juxtaposed with the alphabet. The most frequent note could then correspond to A, the second most frequent to B. Alternatively, one could contrast the note frequency with the usual letter frequency in the German language. Someone even did this on a grand scale once: Christiane Licht studied 40,000 music titles accordingly and I’m sure someone has already used her research result in a mystery, right?
The Russian composer Alexander Nikolayevich Scriabin (*1872 – 1915) linked certain keys or tones with special colours, creating the Scriabin Code.
Since the fingerings for the various instruments are usually standardised (i.e. where which finger has to lie in which key), this could also be a good approach if a specific instrument is named in the listing.
And should any of you want to craft another of these fun note encoding caches, with on Scorio.com you (and even I! 😉 ) can get excellent easy note painting. Addendum: Another variation, using notes and the corresponding lyrics to encode coordinates: take the notes and put them over the lyrics – and take the letters that were “hit” by a note.
In the symbol tables of the GC Wizard you will find numerous tables for a wide variety of note values, clefs and rests.
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https://blog.gcwizard.net/manual/en/other/02-note-and-note-encodings/
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I'd like to say what a god send your courses have been to me. I'm certainly thinking more in terms of what it is I do all day, how I can improve and more importantly the future.
Learn How To Take Effective Notes at Meetings
Taking Notes at Meetings
|Course Ref.||10070|
|No. of Days||Half day|
|Participants||6 to 8|
Target AudienceFor those who have to take notes in various situations: client meetings; 1-1 meetings; telephone conference calls; taking instructions from fee earners or clients. The course will highlight the differences and similarities of these situations. This course can also be tailored for taking the types notes required for Grievance and Disciplinary Meetings.
Course Objectives
- Prepare more efficiently to take notes
- Take notes by identifying key points
- Confidently take notes so making it easier to write up the notes
Important notes
There will be short practical exercises throughout the course for participants to practise listening and note taking skills in different situations.
Course Contents
Welcome and introductionsWelcome and introduction
- Course overview and objectives
- Method
- Introductions and your objectives
- Why are your notes important?
- How are your notes used?
- Administrative preparation
- The pre-meeting meeting
- Using a checklist
- Listening, concentrating and maintaining interest
- Identifying key points
- When to summarise or take verbatim notes
- Taking notes that are easy-to-understand
- Making sense of notes after the meeting
- Tips on writing up notes
- What will you do differently next time you take notes at a meeting?
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https://www.zee-associates.co.uk/training-course/taking-notes-at-meetings
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The pattern of four beats to a bar and eight bars in a section is the most commonly used of all beat structures. Four beats to a bar is called common time (or 4/4). In these four-beat bars, the first and third beats are the strongest and usually receive an accented word from the lyrics (I call these on beats).
The second and fourth beats are weak, usually receiving an unaccented word (I refer to these as off beats). When a song is “in four” (or 4/4), it means there are four beats in each bar and each quarter note receives one beat. If a song is “in two” (also called cut time or 2/4), there are two beats to a bar with a quarter note getting one beat. A song “in three” (also called waltz tempo or 3/4) has three beats to each bar with a quarter note receiving one beat.
In each bar of music, you’ll find notes of different value — a whole note in a bar of 4/4 will last for four beats (the whole bar), a half note for two beats (one half of a bar), and a quarter note for one beat (one quarter of a bar). A quarter note can be subdivided further into two eighth notes (the notes coming twice as fast as a quarter note), four sixteenth notes (twice as fast as an eighth note), and eight thirty-second notes (you guessed it — played twice as fast as sixteenth notes). It’s this variation of note values that gives a melody its rhythmic movement.
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http://www.songsbyjimbyrne.com/showlog.php?weblogid=86&contentid=6
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Dear members and non-members of our group,
Feel free to post your comments if you will have the chance/or already did, to show and teach one of the three short pieces taken from the LCM Piano Handbook 2013-2017 – Step 2 Exam Book LL251, ISBN/ISMN: 9790570121236 to your piano students. We would like to hear back from you, your comments about how you have taught these pieces, some characteristics of the student learning this piece, the challenging spots and how long in took to master the piece.
1 Comment (+add yours?)
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I can be the first to post! Just to get the discussion started, I gave the “Accidental Fifths” piece to 4 of my students. These are students in their second year of piano at my studio, although two of these students previously took a year or a year and a half of lessons with other teachers. 2 of the students have become proficient at the piece after 3 weeks. This is generally the progression these two students took:
First day piece is introduced:
We spend time identifying the first notes of the piece. We note that the left and right hands are playing notes of the same note name. Looking at the placement of the hands, I point out that the distance between notes is a 5th – same size as our hands if each finger is assigned to one note. We spend some time identifying a few more notes, and I point out that the whole piece is made up of 5ths (except for the very last chord which contains a 6th). Student is then asked to practice this piece and play for next week.
After week 1:
Student is able to play all notes correctly but were not able to keep steady pace because they had to move hands around keyboard to find notes. Also, students did not play eighth note rhythms correctly on their own. Time was spent during lesson to coach the student on playing the eighth note rhythms. (We used clapping exercises as well as playing the rhythm together).
After week 2:
Student is able to play all notes at a steady pace without hesitation. Quarter note and eighth note rhythms are played correctly (although the student did not play it correctly on their first attempt). I point out the different dynamics in the piece and we take a highlighter to colour in notes that are forte in one colour and notes that are piano in a different colour. Student is asked to play the piece for one more week – considering dynamics.
After week 3:
Student is able to play all notes and rhythms with ease. Student makes good attempt to play different dynamic levels. When asked to focus specifically on the dynamics, the eighth note rhythms are often played incorrectly. When student is asked to “play the piece one more time”, all of the elements of rhythm, pace and dynamics are played correctly (mostly)
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Kind of a brief summary. Hopefully it makes sense! During our next meeting, I have some thoughts about students’ practice habits and parent involvement during practice that I would love to discuss and hear about your experiences on.
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https://calgarypianopedagogygroup.ca/open-discussions/
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Now that you know how to read notes, let's learn how to read rhythms. Rhythm just refers to timing: when to start and stop playing/singing a note. Before I explain how to read rhythms, let's have an example, shall we?
There's a lot to digest here, isn't there? Well, bear with me and we'll go through it slowly. You should almost be able to play this on the Offtonic Keyboard with what you know (though you probably won't do it very well the first time...). There are a few things I haven't explained yet, though, so let's talk about them!
First, let's go over the notes. We have some new things here. The first new thing is the little flat next to the treble clef. We call these accidentals next to the clef the key signature, and what that means is that, unless you're told otherwise, every B is flat, in any octave. See how the flat is on the line that's a B (specifically B4)? Even B's elsewhere on the staff, like the B3 below the staff or the B5 above, are flat.
Now, when you do see an accidental in the music, like that Cb at measure 9, it applies only for the rest of the measure, so if you see a C in a different measure, it's back to being C natural. Of course, musicians are likely to forget this, so my music notation program, Sibelius, puts a natural on the C the next measure anyway, just to remind the reader. (I could disable that if I want, but it's useful so I keep it.) Accidentals do not apply to notes in other octaves, so that flat in measure 9 applies only to C5, not C4's or C6's that may occur later that same measure. However, this can be confusing, so it's best to mark those if they do come up. Anyway, now you should be able to at least read every note in the music.
At the very top you have "Tristeza", which is the title of the piece. It means "sadness".
I know! I love it! It's one of my all-time favorite songs. The words in Portuguese are the singer asking sadness to go away, and the song sounds so happy because the singer is trying to make it go away by singing a happy-sounding song. I'm not sure it actually works. I think it ends up being even sadder because of that. Haroldo Lobo and Niltinho, the composers, did a wonderful job — actually, the song as originally written by Niltinho was much longer, but Haroldo came along and "fixed" it to be a Carnaval hit in the 1950's. That's their names in the composer credit on the top right. My name comes below, since I arranged it for you here. Arranging a song means rewriting it but keeping the important aspects of the composition: these days you might call it a remix. By the way, you'll be seeing more of this song later on; it has a lot more to teach us.
In the top left you have your tempo marking. There are a few ways of notating that; the simplest is to just describe how you want the piece to feel. Traditionally these directions are in Italian. Tempo markings include Largo, meaning very slow, Adagio, meaning slow, Andante, meaning walking speed, Moderato, meaning moderately fast, Allegro, meaning fast, and Presto, meaning very fast. These tempi (plural of tempo, but "tempos" works too) are up to interpretation. How fast is Allegro, exactly? It will depend on the music. For example, I've heard the Finale to Dmitri Shostakovich's Symphony No. 5 done very quickly, so it felt rushed, and very slowly, so it felt like the air turned to molasses (no offense to victims of the 1919 Molasses Disaster here in Boston). Both conductors probably thought they were following the score (that's where all of the different instrumental parts are written, which the conductor usually looks at while conducting).
These days, though, it's quite common to offer a metronome marking. In this case, I wrote quarter = 112, so the quarter note beat happens 112 times per minute. You can use a metronome to figure out how fast that is. A metronome is a little pendulum with an adjustable weight on it that clicks each time the pendulum swings, but these days people use electronic metronomes instead. Here's the Offtonic Metronome:
Other options include "112 BPM", meaning 112 beats per minute, or "M.M. = 112", which stands for "Metronome Marking", but I find the quarter note is most obvious to readers, especially because the unit of tempo may well be something else: an eighth note, a dotted quarter or dotted half, etc.
The dot actually just means that the note gets its value and a half, so if a half note is worth two quarter notes, a dotted half note is worth three. Actually, we'll get to this in depth in just a bit.
Another thing you may have wondered about in Tristeza are the big letter A at measure 8 and the big letter B at measure 16.
These are rehearsal letters. Most music doesn't have all these measure numbers because they clutter up the score, so instead it will have rehearsal numbers or letters. The point of these is to just mark spots on the music. The conductor can then call out "start 4 before letter F", and everyone will be able to find letter F on their own music and count back four measures. Arguably we don't need rehearsal letters in this short example, but I figured you should see them. Some people use numbers in boxes instead of letters, so there's rehearsal number 1, rehearsal number 2, etc. Other people use measure numbers in boxes, so instead of A and B, we'd have 8 and 16 in the boxes. Some publishers don't actually use boxes; they'll just have the big letter. Sibelius, my notation program, has boxes by default, so there they are.
You noticed! We'll talk about how to count these in just a bit, but that lone eighth note before measure 1 is called a pickup. Since the first measure starts with an eighth note pickup, the last measure is missing an eighth note. You don't have to do that, but since I have a repeat sign, I figured I might as well demonstrate it.
Ah, yeah, see the thick double bar line at the end with the two dots? That's a repeat sign. It means to repeat the music from the matching sign earlier, or from the beginning if there isn't one. There is one; it's right after the 4/4 at the start. That's a start repeat sign, and the one at the end is an end repeat sign. That's why the recording (which is synthesized, by the way; I didn't play that myself, if you hadn't noticed) repeats.
I think there's only one bit of that example that we haven't covered yet. See that curved line at measure 1? That's a tie. It means that you don't hit the second note; you just keep holding the first note. On the other hand, see the curved line at measure 3? That's a slur, not a tie. It means to play the things under the slur in a connected way. We'll talk about what that means later, but notice that the tie is always between two notes of the same pitch, while the slur can connect as many notes as you want. If you want to connect three notes of the same pitch, you'll have to use two ties. If you look at measure 13, you can see both a slur and a tie at the same time.
I think that's actually it for Example 1.7. So let's actually talk about rhythm notation, shall we?
I think it's safe to say that you'll never see most of this, so let's start where it matters: the whole note. Most music is written in time signatures with a 4 on the bottom. You'll recall that a time signature like 8/4 means 8 beats, where each beat is a quarter note. Something like 4/2 would mean four beats, where each beat is a half note. Well, a whole note is worth four quarter notes — the American names are all just fractions of the whole note, which makes sense — so, if the quarter note is the beat, the whole note gets four beats. Next to it is the whole rest, which is when you shut up for four beats. (Actually, saying "four beats" is a bit misleading, but I'll show you later on.) Now, Americans have neat names for these notes, but elsewhere in the world people use other names. The whole note is called semibreve in those places.
Good question. Over the course of the 16th century or so, people started subdividing music differently. If you look at music by Byrd or Monteverdi, you may see that for them, the beat was the whole note. Byrd didn't even use time signatures or measures (at least in stuff I've sung). It was just the music. But by the 17th century, people were writing in 4/4, with the quarter note as the beat instead of the whole note, and that's where we are now. So while the double whole note (also known as breve) and the long note are very, very rarely used today (I've seen double whole notes in music, but never a long note), that wasn't always the case, and the names stuck.
Next is the half note (aka minim), which is two quarter note beats. Note the appearance of these notes and rests. The whole note is a big not-filled-in notehead with no stem; the half note is a normal-sized not-filled-in notehead with a stem. It's easy to confuse their rests: the whole rest hangs down from the fourth line, while the half rest pokes up from the third line. The double whole rest (which you do see, occasionally) takes up an entire bit of the third space.
Yeah. The way I was taught is that the half rest looks like a hat. "Half" and "hat" are similar words, so it's easier to remember. By the way, when there's a rest for an entire measure, that rest is usually a whole rest no matter how long the measure actually is. Like, a measure of 1/16 (that's only 1/4 of a quarter note long) would still have a whole rest to indicate a rest for the entire measure. The only exception is a measure that's exactly the length of a double whole note, in which case it gets a double whole rest (so 8/4 or, more commonly, 4/2).
The quarter note is easy. Brits call it a crotchet, and elsewhere in Europe it's a semiminim, being half of a minim. In music with a 4 at the bottom of the time signature, it's just one beat. The quarter note is the most basic note we use today. It's a filled-in notehead with a stem. The quarter rest is just a squiggle. Good luck learning to draw it. (For that matter, good luck learning to draw a G clef; my tip is to start from the middle.) The weird thing about the quarter rest is that sometimes, not often but sometimes, a publisher will use a different symbol for it: a backwards eighth rest. The eighth rest opens to the left, as you can see; the quarter rest looks the same but opens to the right instead. Again, it's uncommon, and I don't think Sibelius even has that symbol so I'm not going to bother with it, but just know about it in case it does come up someday.
Starting with the eighth note, which Brits call a quaver and others call a fusa, the notes start having little lines coming off of them. The eighth note has one line (and the eighth rest has one line). The eighth note is half of a quarter note, so usually it's half a beat, meaning that two eighth notes together make one beat.
When it connects it's called a beam; when it just hangs there it's called a flag. There is no difference between them in terms of note length, but beaming notes together is used to visually indicate a unit. When you look at the two eighth notes, you immediately recognize that this is a beat. If you take a look at Example 1.7, you can see how beats are specified very cleanly through the beaming of the notes.
Not usually. You'll never see rests beamed like notes, but sometimes you'll see a beam group with a note missing where a rest is. That's just to make things easier to read. When it comes up I'll show you.
Next are the 16th notes, also known as semiquavers in Britain and semifusas in Europe. They get two flags/beams, and the 16th rest similarly has two flags. They're usually 4 to a beat. These can get pretty fast in fast-paced music. You should be able to read these pretty well. In fact, you should be able to read any reasonable combination of rhythms from whole notes to 16th notes pretty well. I'll give you some examples later once we cover a few more details.
Then, we have 32nd notes (demisemiquavers), with three beams or flags (and the 32nd rest has three flags). There are 8 of these to a quarter note. They're actually pretty rare, mostly because they're usually just too fast. That's not always the case. In slow music, especially in music where the 8th note gets the beat, these come up. There are a few other situations, too, and I'll show you some of them. This example is note-able (HA) because of the secondary beaming. See how the eight 32nd notes are in two groups of four, with a single beam between them? That's to make it easier to read. This kind of thing happens often, so don't be confused. You only need the right number of beams in one direction. In fact, you could even have the beam not connect to anything else (see the 16th notes in Example 1.7, measure 8).
You may actually see 64th notes, very, very, very rarely. If you do, it's probably some sort of run, which is where you play a lot of notes in a scale (we'll talk about scales later in a lot of depth) really quickly, like running your hand across a piano. 64th notes have four beams/flags. It's hard to count the flags. But they have a really cool British name: hemidemisemiquavers! On the other hand, you will probably never see 128th notes in real life. I have no idea why Sibelius even included them. Same with 256th notes and 512th notes. Maybe they're useful for some special effect of notation or something, because they're definitely no good for actually playing. However, once you understand the way these note divisions work — each division is in half, and when you cut a note in half it gets a beam or a flag — then you can figure them out if they ever do come up. Which they won't.
Let's hear a little bit about how each of these kinds of notes sound.
These are whole notes. I also want you to notice a few other things. First, I have the instruments arranged in a score: different instruments each have their own staves, and the notes line up vertically since they get played at the same time. This will become more obvious later. Orchestral pieces can have dozens of different lines playing at the same time, so orchestral scores can get quite big! Second, the metronome part uses X noteheads, and the staff has only one line! Well, since it's percussion, there's no need for five lines. There's only one thing you can do and that's click the metronome, so there's no need for more than one line. You see X noteheads when you have stuff that's not supposed to be in pitch — for example, if you have to shout "Hey!" at the end of a piece, it'll probably be shown with an X notehead because there's no specific pitch required, just a shout. Some percussion gets X noteheads, and in this case it's actually just personal preference. I wanted to show you what it looks like. (A half note with an X notehead looks like a circle with an X inside it; maybe one will come up eventually that I can show you.)
Hmmm... Interesting question. Listen to the whole notes again. When does the last whole note actually stop?
A proper whole note only stops at the very end of the fourth beat, which is when the fifth beat begins. If you cut off too early, you're actually playing it wrong.
OK, fine. It's not wrong. It's merely different from what the composer intended, which is a whole fucking note, which you cut off too early because of your fucking artistic vision. Happy?
...Sorry. I got a bit upset. I guess I need to breathe...
Ah, um. Good point. It's not actually an easy question, and as a performer you need to plan this kind of thing out ahead of time. As a composer, you need to make sure there's time to breathe, or at least that your musicians have lungs of steel. Er, not steel, that wouldn't work. I don't know, huge tanks? But in an ensemble, where there are actually many people playing the same thing you're playing, you do something called stagger-breathing. You try to sneak a breath somewhere, even in the middle of a note, at a time when other people aren't breathing, and you do your best to come back in as if you'd never left. This way, your breathing isn't noticeable, and you don't cheat your notes by cutting them off too early. You can actually plan this with the people next to you so that you can mark it in your music.
The important thing to keep in mind is to not breathe at times when people might be tempted to breathe. For example, don't breathe at the end of a whole note. Also, don't breathe at emotional moments in the music, like when things are getting louder or softer, because it can kill the moment if everyone (or even almost everyone) takes a breath at the same time there.
Half notes! Well, and a quarter note with a quarter rest. That's what half notes sound like. Notice again how the half note actually goes all the way until the third beat. It doesn't stop before it; it's two whole beats.
In part so that you can tell the difference, and in part to give the performer a chance to breathe. I figured that, musically, this was a decent time to take a breath. You should play this on the Offtonic Keyboard (or just sing it) and try out different places to breathe. I happen to like this one, but you might like a different one better! Of course, if you were to do that, you'd be going against what the composer (me) wrote, but don't be afraid to experiment. That's how you write your own music. And if you change my music around, hey, you can just call it an arrangement!
I actually have no idea how this works. I think there's some sort of licensing structure in place, at least in the US. Eh. Call a lawyer? They love this stuff, especially if you pay them.
That's quarter notes. Nothing too special there, but again, note when they stop: not until the next click.
Yep! I decided to mess with the articulation (and kudos to the Sibelius soundset for actually reproducing it pretty well). Also, whoops, I left in that ff. I didn't mean to. But it does make things easier to hear: ff means very loud. We'll talk about dynamics — volume — soon enough. The other stuff is what I want to focus on here.
Now, the clarinet is a wind instrument: you produce sound by blowing into it. Try this: blow some air with your mouth. Now, as you're doing that, put your tongue where the air is coming out. It stops the air, right? Like you're blowing a raspberry? Wind instruments use the tongue as a way of stopping sound. With instruments where you put the mouthpiece inside your mouth — clarinets/saxophones, oboes/bassoons, recorders, that kind of thing — you actually touch the mouthpiece or reed with your tongue to stop the air. With brass instruments and flutes, where nothing goes inside your mouth, you basically just make consonants, like D's and T's and K's depending on what effect you're going for. In any case, you can think of playing a note on a wind instrument as saying "doo". Try blowing and whispering "doo" and you'll see what I mean. The way you use your tongue is called the articulation. Other instruments have other means of articulation. String instruments can sound different depending on how you pluck the string or use the bow. Obviously the voice can sound different depending on your consonant, too!
In music, we usually interpret "articulation" a bit more broadly. What you see here in Example 1.12 are articulation marks. The curved lines are slurs, and that means that you tongue only the first note. The V-like thingy pointing to the right (for example, under the B in the second measure) is called an accent, and it can mean a few different things. You can interpret it as just playing that note a bit louder, or articulating it harder (like with a harder D), or just putting more weight on it. The dot is called a staccato, and it means to play the note short. Conventionally, "short" means half the length, but in practice what this really means is "light": put space between the note and the next, and don't articulate too hard. The little horizontal line is called a tenuto, and it means to play the note full length. Of course, you should already be doing that, right? Well, sometimes you're playing in a style where that's not recommended for whatever reason, but specifically on the tenuto, you should give the notes the full value. Finally, the little hat is a marcato, and it's a cross between a staccato and an accent: keep it short and heavy.
Also, I'm sure you already noticed, but the "M." and "Cl." on the left on the second system are just abbreviations for the instrument names, so if you're reading the score you can keep track of what's what. Oh, and I'm not too worried about holding the eighth note all the way to the end of the beat, but it's something to pay attention to. People usually perform eighth notes short, but there's always the option to make them long (just use the tenuto markings to be sure).
Not much to say about this one. 16th notes. That's what they sound like. This one has a dynamic marking of mf, meaning medium loud. This is because I made the accents louder. Why? A lot of times, when you have lots of fast notes like here and some of them have accents, you "ghost" the other notes. This is to bring out the accent, and what it means is to play everything that doesn't have the accents much softer so that the accents stand out. Sibelius isn't going to do that automatically so I had to help it along, but I think it did a good job, don't you agree? Try to sing this passage, by the way, and notice that it's actually pretty hard to articulate all those staccato 16th notes. (This is when computers are useful!) On a different instrument, there would be the possibility of double-tonguing, which is when instead of saying "doo doo doo doo" on a note, you actually say "doogoodoogoo". Try saying "doo doo doo doo" (repeatedly, obviously) as fast as you can, then try saying "doogoodoogoo" as fast as you can. Unfortunately, having a mouthpiece in your mouth prevents you from double-tonguing on clarinet (and sounding good — you can still do it, but meh), but this is a very common technique on trumpet — and scatting! Doodoo d'g'd'dah! (There was a feces-related pun in there, if you missed it. Totally intentional.) In fact, on trumpet it's common to do triple-tonguing. Some players suggest TTK (or DDG) as your consonants, but I actually prefer something like TGN, using the tip of my tongue to keep it light. Then again, I don't play trumpet, so.
Let's move on to dots. Dots!
The rhythm dot makes a note half again as long. The rhythm dot is different from the staccato dot! The staccato dot goes above or below the note (depending on stem direction); the rhythm dot goes next to it. Anyway, the dot adds half the note's value. So a half note, which is two beats, becomes three beats with a dot. A quarter note is one beat; a dotted quarter note is a beat and a half. An eighth note is half a beat; a dotted eighth is 3/4 of a beat. And so on. In larger time signatures, you can have dotted whole notes too, which are worth 6 quarter notes. You can have dotted 16ths. Dotted 32nds (well, not very often). You can have dotted rests too, but we haven't yet gotten to the point where it makes sense to talk about those. We will, though, don't worry.
The second dot adds half the value of the first dot. So, say you have a half note. The first dot adds half of that, so a quarter note. The second dot adds half of the quarter note, which is an eighth note. The third dot adds half of that, which is a 16th note. I don't think I've ever actually seen a triple dot in practice, but Sibelius supports it so why not? Double dots don't happen very often, but they're not unheard of, especially the double-dotted quarter and the double-dotted eighth.
Actually, pay special attention to the last measure. The first beat has a double-dotted eighth and a 32nd, but the second beat has a regular dotted eighth and a 16th. Can you hear the difference? The dotted eighth 16th rhythm is an extremely common one that you'll see again and again, so it's good to get used to the sound and the feel, especially so that you can get the timing right. You should be neither too early nor too late with the 16th note. Note also in the fourth measure, where beat 1 has a dotted eighth 16th but beat 2 has a 16th followed by a dotted eighth. That beat 2 is a somewhat less common rhythm, but it also comes up often enough that you should know what it feels like.
Ah, yes! Ties! I'll show you:
You can create notes as long as you want by using ties. You can tie things over the bar line. You can have multiple notes tied together. A tie takes two adjacent notes (of the same pitch) and turns them into one note. A quarter note tied to a quarter note, for example, is the exact same thing as a half note.
No. It wouldn't make any sense to do that. A rest is when you aren't doing anything, so what would be the difference between doing nothing twice in a row versus doing nothing for longer?
You have, have you? Actually, that happens in percussion music. Normally, a rest means no sound, but for some instruments, especially percussion, you can hit an instrument and let go, and it will still keep making sound for a while. Normally you'd use your hand (or knee or whatever) to stop the sound on the rest, but sometimes the composer wants you to just let it fade away on its own. This is represented with a tie to a rest, and usually "l.v." ("laissez vibrer") or "let ring" is written above it.
Yes to the second one; I just thought that this way would be easier to read. But to your first question, there's a very clear reason why I did not write those two G# 16th notes as a single eighth note: it would make it difficult to find the beat divisions. We'll talk more about that later when we get in depth into time signatures, but notice how you can clearly see each beat because the notes in that beat are all beamed together? That's hugely important for readability. You should generally make the beats easy to follow. You can use beaming and carefully-placed ties for the purpose.
Now that you can understand rhythm notation, let's see about actually counting these rhythms, shall we?
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https://offtonic.com/theory/book/1-4.html
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In this part of the course, we will finally start with actually music theory. I will explain notes, and the basics of music notation. I will show you some normal notation, so you can get the more “classic” idea, but beyond the we will be focusing on presenting music theory using MIDI stuff :).
Remember that you can download source files for this course, and you’ll find a link in the first part of this music theory for computer musicians course.
1. Music Theory for Computer Musicians
What is music theory? Well, it’s knowledge about all the building blocks of music.
Consider these building blocks to be toy bricks that you can use to build anything you want (a music piece). Music theory teaches about various “bricks” you can use in your creations. In some ways, music theory is also about learning how to put these bricks together (and this is called music composition).
But music composition is often taught separately, and I will continue this tradition here, so in this book you will simply learn about the building blocks of music.
There are many such blocks. For example, we have notes, intervals, or scales and chords.
Take a look at figure 1.1. The first “block” on the left is a lonely note C4 – it’s a note C in the 4th octave/register. All the other blocks are notes, too. Remember that in a package for this book, you will find most of these images in MIDI form so you can load them to your DAW and test them by yourself.
Figure 1.2 shows a difference in pitch between two notes – this difference is called an interval – it’s the vertical distance (pitch distance) between two sounds. One is higher than the other. This is another building block of music.
Figure 1.3 shows three notes played together – any two or more sounds playing together are called a chord, and chords are another building blocks we will learn. Chords are used to build harmonies – consider them as something that builds the emotional depth of your music.
Figure 1.4 shows a couple of notes following each other – this is a scale, based on which we can make music. We use the notes of a scale to build melodies. In case of figure 1.4, we see a C Major scale, which means this is a “major scale in a key of C”.
After finishing this guide, you will gain basic knowledge about all these building blocks of music. How to use them to actually compose music, well, this I will discuss in another guidebook.
This guide focuses on showing you music theory in practice (by offering you MIDI files), but also it is meant for computer musicians that means people who make music on a computer. Thus, I will focus on explaining music theory based on DAW programs and MIDI grids, and at the same time I will skip classic music notation whenever possible.
That said, I encourage you not simply to read this book, but also to practice things you will learn.
One more thing: learning theory is one thing, but understanding theory is another thing. The best way to understand music theory is through practice, so if don’t understand some things written in this book at first, don’t worry. Take your time, start making music and try things in practice, and with time, everything will become easier. Some things simply require you to actually make music, before you suddenly understand them.
In the next few chapters, you’ll learn the three primary elements of music:
- Rhythm
- Melody
- Harmony
Instead of discussing music composition, I will discuss these elements from pure theoretical perspective. I will discuss rhythm by discussing the length of notes, pauses or the idea of time signature. I will discuss melody by explaining the intervals, and I will discuss harmony by talking about chords.
This way you will discover three dimensions of music – the vertical dimension of pitch and melody, the horizontal dimension of time and rhythm, and the depth represented by harmony, offering our music some emotional content.
The Notes
The basic element of music is a sound, which is represented by notes.
Notes are sounds represented by specific symbols that we call notes. A note is a graphical representation of sound.
Figure 1.5 shows an example of classic music notation for notes.
On figure 1.5 you can see a couple of notes written on a staff. All these notes are exactly the same you’ve seen on figure 1.1 when they were pictured on a MIDI grid. From the left, you see the half note C (half note tells us that this note is half the length of the whole note). The three half notes stacked one above the other are a chord, C Major. Finally, we have a couple of 16th notes following each other, and this is a C Major scale.
Useful Tip
MuseScore is a popular and free software to create classic music notation and you can find it on https://musescore.org – it has a lot of features and it also allows you to save your music in MIDI format (yep, from staff to MIDI) so you can open your scores in a DAW to orchestrate them.
On figure 1.5, on the left, you can see a symbol – a treble clef. Next to it you see digits 4/4, and this is called a meter, or time signature. Meter is a way to divide the song into smaller pieces called bars. The 4/4 meter tells us that our track is divided into bars in which every bar contains four quarter notes. I’ll explain this in details soon.
Useful Tip
DAW programs do not display clefs. The vertical piano roll displays all possible registers, from subbass to highest possible pitches, and often it displays digits next to note C, such as C3, C4, C5 etc, to tell you which register you’re looking at.
The staff is a classic way to notate music and it is used by musicians to this day for a simple reason: it works very well. But if you make music on a computer, you don’t have to read classic notation (great news for hobbyists!) – you can create music simply by using a MIDI grid. That said, if you do learn how to read music, you will benefit greatly, because most educational resources available these days is written in a classic format, so you will have easier time learning.
The vertical lines between the notes on figure 1.5 separate bars from one another.
Music made on computer usually utilizes a MIDI grid, so for the purpose of this book, I will show notes and other building blocks of music using the MIDI grid instead of classic staff notation.
MIDI Grid
Figure 1.6 shows a MIDI grid in a DAW program.
On the left side you see a piano roll – this is a standard element in all MIDI editors. It’s a MIDI keyboard, like the one on a real piano. Each of the white and black keys represents notes. These are the notes in different registers/octaves. An octave is one of the music intervals, but also it’s a term used to describe a collection of 12 chromatic notes.
The grid itself is divided into lighter and darker rows. The lighter represent the white keys and darker rows represent the black keys.
At the top of the MIDI grid, you see how everything is divided into bars. On figure 1.6 you may see digits 2, 2.2, 2.3 and so on. These are bars, and they are divided into smaller pieces as defined by the meter. All the lines intersect each other, thus creating a grid.
For now, just remember that the thicker lines represents bars. The thin lines represent the meter. In one of the coming lessons you will learn that this grid actually tells us a lot of things about the length of the notes. Then, everything should become a lot more clear.
Seven Notes
There are seven main notes.
These are: C, D, E, F, G, A and B. Figure 1.7 shows these notes on a MIDI grid.
The basic musical scale is the C Major scale, shown on figure 1.7. This scale begins with note C.
Seven notes and an additional eighth note create an octave. This eighth note is again a note C, but an octave higher. An octave is also a name for an interval – a distance between two notes measured in number of semitones. Later on you will learn a lot about the intervals and semitones.
On figure 1.8 the distance – the interval – between the first note C and the second note C is exactly an octave. Count all the rows – the second note C is placed 12 rows up when counted starting with the first row above the very first note C. These 12 rows are 12 semitones, and we count intervals with semitones. Later on you will learn how to count semitones and intervals.
Full notes, represented by white keys, that is: notes C, D, E, F, G, A, B, are either a semitone or two semitones apart. Two semitones happen when there is a black key between the white notes, and one semitone happens when there is no black key between the white notes. We can also create additional five notes with semitones, so called “chromatic notes”, that is notes with either a # (sharp) or ♭(flat) symbols. A sharp makes the sound higher in pitch, and the flat makes the sound lower in pitch.
For example, figure 1.9 shows the note C as the one on the very left.
The middle note on figure 1.9 is C# – C sharp. It sounds a semitone higher than normal note C. The third note, the one on the right, is C♭, also written down as Cb – it’s C flat. It sounds a semitone lower than note C.
Figure 1.10 shows how chromatic notes look on a staff. This time we have a note A on the left, A sharp in the middle, and B flat on the right.
Most of the notes can be changed into chromatic notes, making them higher or lower in pitch. Notice that in Reaper, in the upper left corner, you can see a small field in which the name of the note is displayed when you point it with your mouse. Beginners will find this very useful. Other DAWs may have similar function somewhere on the screen.
On a real piano, full notes are played by white keys, and chromatic notes are played with black keys. Similar situation occurs on a piano roll.
Thus, we have seven white notes and five black notes – twelve notes in total. All western music is made of only these twelve notes.
Here’s where thing get tricky – notice that if you lower the note C a semitone down using a flat symbol, you will find yourself playing note B – a while key. There is no black key between notes B and C.
Note Cb (C Flat) is, in reality, a note B – this situation, when a single note can have two different names, happens a few times on a piano roll and we say that these notes are enharmonic. So how do we know whether a note should be called Cb, or B? This depends on the context – what scale are we using and what chord are we using. Just know that if you have a scale, you can’t have the same two notes in a scale. If a scale contains A and A# notes, you need to change them to A and Bb, because you can’t have two A notes in the scale. If you’re a beginner, don’t worry about this too much, just remember that notes can be enharmonic and that this phenomena simply happens.
For now just remember that in total, we have 12 chromatic notes. Try to count all the keys starting with note C and going up to note B. You will get 12 keys.
Now you know the notes. Let’s recall: we have C, D, E, F, G, A and B, as well as chromatic notes between them as sharps or flats. In total, these notes make the chromatic scale – the basis for western music.
The vertical axis on the MIDI grid represents the pitch of the note. The higher up the axis, the higher the sound.
The cbass_violins.ogg file for this book contains a recording of two D notes – the first one is low, played on a bass, and the second is high, played on violins. Still, they are the same notes, just in a different register/octave.
Music is made of two dimensions of sound: the melodic sounds that happen one after another which can be perceived as horizontal sounds, and vertical sounds of harmony that are played at the same time, creating chords, thus creating emotions of your music. By creating music, we simply work with these elements, playing all of them in a given rhythm.
Note Value and its Length
The first axis, the vertical one on the MIDI grid, is the pitch of the sound and is easily recognized when looking at the piano roll. The second axis is the horizontal one and it is the time axis.
It represents the time dimension of your music and the length of the notes. In MIDI editor, the longer the note, the longer it is played.
Now you need to understand that your music is divided into bars.
A bar is a unit of measurement in music. Take a look at a time scale in your MIDI editor. You should notice digits and numbers, like on figure 1.12.
The main numbers represent bars, and each bar is then divided into even smaller pieces. Figure 1.12 shows bars 9, 10, 11 and 12.
Dividing your track into bars, and dividing bars further, helps us understand the idea that we also have notes of different length: whole note, half note, quarter note, 8th, 16th and so on. These are the values of the note.
Figure 1.13 shows notes one above the other. From the very top, we have:
- Whole note. Here it plays through the entire bar.
- Half note. It’s half the size/length of the whole note.
- Quarter note. It sounds half the length of the half note and ¼ of the whole note.
- 8th. 1/8 of the whole note.
- 16th. 1/16 of the whole note.
- 32nd. 1/32 of the whole note.
On a staff, each of such notes has its own symbol, like on figure 1.14.
Notes can also have a non-standard length. On a staff, we can make the note longer by placing a dot behind it. Such dot makes the note longer by half of its length.
In case of MIDI editor, you simply make the note longer or shorter, by dragging it left or right with a computer mouse.
Figure 1.16 shows multiple notes that are now longer by half their length. So if the whole note C is an entire bar long, then traditional dot should make it a bar and a half long. Of course, this is just the standard “lengthening”, and if you want, you can make the notes longer or shorter in any way you want to fit your composition.
Pauses in Music
Sound is not the only element of music – silence is also used, and it is represented by pauses. In classic notation for every note symbol we have a pause symbol, too. This is because for every whole note there is a whole pause, for every half note there is a half pause and so on. Figure 1.17 shows the same notes as in figure 1.14, but the notes are now pauses.
A pause is simply a moment in your music, when the instrument does not play. While in case of classic notation you need to indicate a pause with a special symbol, like one of the symbols from figure 1.17, in MIDI grid you simply place no notes, and the instrument will remain silent. The empty places between notes on figure 1.18 are pauses – the silence between the sounds.
Based on the files for this book, “listen” to pauses of different type.
You can make pauses of any length, just as you can do so with normal notes.
The length of the note and pause is always related to the length of the whole note – but how many seconds is the whole note? Well, in reality, the length of the note is never defined this way. The length of the whole note is defined by tempo and by meter. These are two concepts that we will explain how.
Tempo in Music
Tempo is measured in beats per minute. 120 BPM is an example of a tempo, where BPM stands for beats per minute.
You can listen to some examples of a tempo by listening to a metronome, a simple tool available in every DAW. Usually, you just need to enable a metronome and hit “play” button in your DAW, and you will hear “ticking”. In Reaper, all you have to do to change tempo is to type a new value in a field below “BPM” at the bottom panel, like on figure 1.19, where it says “120”.
At the top panel of Reaper, you will find a button to enable metronome. After enabling it, hit the “play” button and you will hear ticking.
First, just play the track with standard 120 BPM settings. Next change the settings to:
- 160 BPM
- 80 BPM
After each change, play the track again and hear as the ticking gets faster or slower, based on different settings.
Tempo can take various values – like 140, 74, 53, 88 – you can have any tempo you want for your music, as long as it makes sense to you and your listener.
Changing tempo affects how long each bar of the track is played. With lower tempo, the bar is played longer. With faster tempo, the bar is played faster. This of course affects how long (in seconds) we play the whole note and all the other notes. Is that all?
Not really – now it’s time to learn about the meter and rhythm. But before we do, take a look at a quick video showing some of the things we talked about today.
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https://orchestralmusicschool.com/music-theory-for-computer-musicians-part-3/295
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I'm not sure if i should write it as an eight note tied to a dotted eight note, or maybe a half note tied to a 16th note or what I don't know.
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4Welcome! The answer would depend on context, and what part of a beat the note begins on. By the way, an 8th tied to a dotted 8th is only 2.5 eighth notes, and a half note tied to a 16th is 4.5. Are you sure that "five eighth notes" is the value you want? Apr 12 at 1:12
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1It's unclear to me what do you want to achieve. Is it a homework problem? Apr 12 at 5:09
1 Answer
First, 5 eighth notes is not either of the values you mentioned in your question as pointed out in comments. There are several different combinations possible to get a note that is 5 eighth notes in duration. A half tied to an eighth and a dotted quarter tied to a quarter are the most common and logical.
The other issue is 6/4 time. In 6/4 time you want beat 4 (the middle of the bar) to be visible since 6/4 implies 2 groups of 3 quarter notes. This will determine the note values used for a note of that length.
Here are examples of notes on and off various beats that are 5 eighth notes long in 6/4 time. For simplicity I used all quarter rests instead of half and dotted half rests:
Examples 1-4 start on Beats 1-4 respectively. Note that example 3 has a quarter tied to a dotted quarter to show beat 4.
Examples 5-8 start on 1&, 2&, 3&, and 4& in that order. Also note that example 6 has a dotted quarter tied to a quarter to show beat 4.
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https://music.stackexchange.com/questions/122313/how-would-i-write-5-eighth-notes-as-one-note-and-ties-are-ok-in-6-4-time-sign
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Ever wonder exactly how rhythms are written in music? This short article will certainly teach you to read the a lot of prevalent basic musical rhythms.
You are watching: How many beats does a quarter note receive
What is rhythm?
Music is consisted of of two things: pitches and also rhythms. Rhythm lets musicians recognize as soon as a note must be played and also exactly how lengthy it must be played for. The rhythmic value of a note is presented by the form and also parts of a note.
The components of a note.
Tright here are 3 major parts to a note, each of which will certainly tell you somepoint around the duration of the note.
Now, a note doesn't need to have actually all 3 points. It can have simply a head, or a head and a stem, yet each of these facets alters the note value. All notes obtain their name from the relationship they need to the totality note. For example, 4 quarters make a whole, and tbelow are 4 quarter notes in a totality note.
Keep in mind Values
Whole Notes
A whole note gets 4 beats. It has an empty (white) note head yet no stem or flag.
Half Notes
A half note gets 2 beats. That must be easy to remember as it is half the worth of a whole note. It has an empty (white) note head and also a stem. It does not have a flag.
Quarter Notes
A quarter note gets 1 beat. It has a filled-in (black) note head and also a stem, however no flag.
Eighth Notes
An eighth note gets half of a beat. It has a filled-in note head, a stem, and a single flag. When you connect multiple eighth notes through a solitary bar.
Triplets
A triplet receives one-3rd of a beat and also they generally appear in threes. They can have actually a flag or be associated through a bar, but will certainly have the 3 above their grouping to identify them from eighth notes.
Sixteenth Notes
A sixteenth note gets one-fourth of a beat, which indicates four sixteenth notes will certainly make up one beat. They have actually a filled-in note head, a stem, and also two flags. When they are connected to other notes, the two flags are replaced via two bars.
Rhythmic Tree
Remember, all note values acquire their name from their relation to the totality note. A half note is fifty percent of a entirety note. A quarter note is a quarter of a entirety note. Just as 4 quarters make a totality dollar, 4 quarter notes make a entirety note. This tree mirrors these relationships and also just how many kind of of each smaller rhythmic worth fits right into the bigger value. This is what musicians contact subdivision.
Rests
Music likewise has a method to notate exactly how lengthy silences should last. Maybe the composer just wants area, or perhaps a various instrument is playing and also have to be the emphasis. Silence is notated with what is referred to as a rest. As with note values, tbelow are different kinds of rests to show various durations. Rests share their names and also lengths through their note countercomponents. For example, simply favor a whole note receives 4 beats, a entirety remainder will certainly get 4 beats of silence.
Whole Rest
A whole rest receives four beats of silence and also looks like an upside-dvery own top hat. It will always hang from the staff line. Whole notes and fifty percent notes look incredibly comparable, so a simple method to tell the difference between the two is that whole notes "hold on" to the staff to save them from falling off.
Half Rest
A fifty percent rest receives 2 beats of silence. It looks choose a peak hat and also constantly sits on the staff line.
Quarter Rest
A quarter rest gets one beat of silence. It looks rather prefer the letter "Z" stacked on top of the letter "C".
Eighth Rests
An eighth remainder gets one half of a beat of rest. Unfavor eighth notes, you will never view eighth rests linked. The factor is slightly obvious, 2 eighth rests are equal to a quarter rest, so you would simply write a quarter rest.
Sixteenth Rests
The sixteenth rest looks choose the eighth rest except it as another flag and also receives a quarter of a beat of silence.
Multiple Measures of Rest
Sometimes in music, you will need to rest for multiple measures at a time. Composers will certainly create the number of actions you have to rest above the staff. Generally, rests will certainly only be composed favor this if tright here are even more than 4 procedures of rest.
Dotted Rhythms
A dot after any kind of note exoften tends the duration of the note by half of its value. For instance, a totality note gets 4 beats. Adding a dot to the totality note will certainly include another two beats (fifty percent of the totality note's value), interpretation a dotted totality note gets a total of 6 beats (4 beats + 2 beats).
Here is that exact same idea used to half, quarter, and eighth notes.
Anvarious other way to understand the value of a dotted rhythm is to think around the subdepartments. Ask yourself, What is the subdepartment of this note? For example, a half note can be subdivided into quarter notes. A dotted rhythm is equal to 3 of its subdepartments. So, a dotted fifty percent note is equal to three quarter notes.
Occasionally, you will certainly watch double dotted or, even more rarely, triple dotted notes. A double dotted rhythm adds another quarter of the worth to the finish. Sticking with our entirety note example:A totality note gets 4 beats.A dotted totality note gets 6 beats (a entirety note + fifty percent its value).A double dotted totality note gets salso beats (a whole note + fifty percent its worth + a quarter of its value).## TiesA tie is a curved line that joins 2 notes together. They deserve to connect values of any kind of duration and deserve to even extfinish over bar lines. However before, a tie deserve to only attach notes of the very same pitch. If the pitches are various, then it is called a slur, definition tbelow need to be no articulation between the notes.
How to Count Rhythms
Before you review this section, I extremely recommend that you understand how time signatures job-related. You need to know exactly how many kind of beats are in a meacertain and what note value obtained the beat. To learn, we will usage the 4 4 time signature, which suggests that tright here are four beats in a meacertain and also the quarter note gets the beat. When you count rhythms, you are fundamentally counting the beats.
Notice just how each beat is acquiring a number and because a quarter note gets simply one beat, we count eexceptionally quarter note. Of course, that just functions for quarter notes. How would certainly we count a fifty percent note? Or a entirety note?
A fifty percent note takes 2 beats, so we would certainly just count the beat wbelow the begin of the note happens. When we count notes that last for less than a beat, we need to add new syllables.
The downbeat will certainly acquire the number and also the upbeat will always be and also. To feel what an eighth note feels like, attempt saying the words "soda" in one beat.
With triplets, we say the number on the downbeat and also the "la" for the second triplet of the group and also "le" for the third triplet for the team. You can feel triplets by saying the word "Strawberry" in the room of one beat.
Sixteenth notes are counted with the downbeat acquiring the number, the upbeat acquiring the and (simply prefer via eighth notes), and also the second sixteenth gaining an "e" and the fourth an "uh." You have the right to feel sixteenth notes by saying "Ravioli" in the area of one beat.
See more: List Of Songs In Guitar Hero 3 Setlists : Guitarhero, Looking For Pc Gh3 Setlists: Guitarhero
Now that you recognize exactly how these rhythms are counted, you have the right to look at they fit into a measure.
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https://carolannpeacock.com/how-many-beats-does-a-quarter-note-receive/
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scale of C, treble clef and bass clef, measure, bar line, beats, 4/4 time signature, quarter notes, rests.
Eighth notes, half notes, whole notes, sixteenth notes, half note rest, sixteenth note rest, eighth note rests, dotted notes, sharps, flats, naturals.
3/4 time signature, 2/4 time, key signatures, scale of G major, scale of D major, scale of F major, scales in the bass clef, construction of major scales.
Triads on C, triads on G, triads on D, revision of Stages 1 - 4.
Time signatures of 2/2, 3/2, 4/2, 3/8, groupings of notes in different time signatures, rhythmic structure, grouping of rests, ledger lines in treble clef, ledger lines in bass clef.
A minor, construction of minor scales, E minor, D minor.
Tonic triad of A minor, triad of E minor, triad of D minor.
Triplets, Eighth note triplets, quarter note triplets, sixteenth note triplets, triplets with rests, Musical (Italian) terms for speed and strength of tone.
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http://www.music4musicians.com/music_theory_topics.htm
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Have you ever heard a song on the radio and thought, “Hey, it would be really cool to know how to play that? “Do you have friends who play musical instruments and you want to get in on the fun? Do you just want to expand your general artistic knowledge? Well, if you learn the basics of reading sheet music, you can accomplish all of this in less time than you might have thought!
At its simplest, music is a language, like reading from a book. The symbols you see on pages of sheet music have been used for hundreds of years. They represent the pitch, speed, and rhythm of the song they convey, as well as the expression and techniques a musician uses to play the piece. Think of the notes as letters, the measures as words, the phrases as sentences, and so on. Learning to read music really opens up a whole new world to explore!
Follow our step-by-step introduction to the language of music below.
How to read sheet music
Step 1: Learn the basic symbols of notation.
Music is made up of a variety of symbols, the most basic of which are staff, bosses, and notes. All music contains these basic components, and to learn how to read music, you must first familiarize yourself with these basics.
Staff
The staff consists of five lines and four spaces. Each of these lines and spaces represents a different letter, which in turn represents a note. These lines and spaces represent notes named A-G,and the note sequence moves up alphabetically.
Treble Clef
There are two treble clefs to familiarize yourself with; the first is a treble clef. The treble clef has the ornamental letter G on the far left. The inner swoop of the G surrounds the” G ” line on the staff. The treble clef notates the higher registers of music, so if your instrument has a higher pitch, like a flute, violin or saxophone, your notes are written in the treble clef. Higher notes on a keyboard are also notated in the treble clef.
We use common mnemonics to remember the note names for the lines and spaces of the treble clef. For example, we remember EGBDF with the word, “Every good boy does well. “Similarly, FACE is just like the word “face” for the spaces.”
Bass Clef
The line between the two bass clef points is the” F ” line on the bass clef bar, and it is also called the F clef. The bass clef notates the lower register of the music, so if your instrument has a lower pitch, like a bassoon, tuba or cello, your notes is written in the bass clef. Lower notes on your keyboard are also written in bass clef.
A common mnemonic to remember note names for bass clef lines is: GBDFA ” Good Boys Do Fine Always. “And for the spaces: ACEG”, all cows eat grass.”
Notes
Notes on the staff tell us what note letter to play on our instrument and how long to play it. There are three parts to each note, the note head, the stem and the flag.
Each note has a note head either filled (black) or open (white). Where the note head sits on the staff (either on a line or a space) determines which note you will play. Sometimes noteheads sit above or below the five lines and four spaces of a staff. In this case, a line (known as a ledger line) is drawn through the note above or below the notehead to indicate the note letter to be played.
The note stem is a thin line that extends either up or down from the note head. The line extends from the right if it points up, or from the left if it points down. The direction of the line does not affect how you play the note, but serves as a way to make the notes easier to read while they fit neatly on the staff. Generally, all notes at or above the B-line on the staff have downward pointing stems, those notes below the B-line have upward pointing stems.
The note flag is a curved mark to the right of the note stem. Its purpose is to tell you how long to hold a note. We’ll see below how a single flag can shorten the duration of the note, while multiple flags can make it even shorter.
Now that you know the parts to each note, we’ll take a closer look at the filled and open noteheads discussed above. Whether a note head is filled or open tells us the value of the note, or how long that note should be held. Start with a closed note head with a stem. This is our quarter note, and it gets one beat. An open note head with a stem is a half note, and it gets two beats. An open note that looks like an “o” without a stem is a whole note and gets four beats.
There are other ways to extend the length of a note. For example, a dot after the note head adds another half to the duration of that note. So a half note with a dot would equal a half note and a quarter note; a quarter note with a dot would equal a quarter plus an eighth note. A tie can also be used to lengthen a note. Two notes tied together should be held as long as the value of those two notes is together, and ties are commonly used to indicate held notes that cross measures or bars.
The opposite can also happen, we can shorten the time a note should be held, relative to the quarter note. Faster notes are denoted either by flags, like those discussed above, or by bars between notes. Each flag halves the value of a note, so a single flag means 1/2 of a quarter note, a double flag halves that to 1/4 of a quarter note, etc. We do the same thing while we can read the music more clearly and keep the notation less cluttered.
But what happens when there is no notation to record each beat? It’s simple, we rest! A rest, just like a note, tells us how long it should be held based on its shape.
Step 2: Record the beat
To play music, you need to know the meter, the beat you use when dancing, clapping or tapping your foot along with a song. When reading music, the meter is represented similar to a fraction, with an upper and lower number we call this the time signature of the song. The top number tells you how many beats to a measure, the space of the staff between each vertical line (called a bar). The bottom number tells you the note value for a single beat, the pulse your foot taps as you listen.
In the example above, the time signature is 4/4, which means that there are 4 beats per measure and that each quarter note gets one measure.
In the example below, the time signature is 3/4, which means that there are 3 beats per measure and that each quarter note gets one measure.
Let’s look at the above examples again and notice that there are no 4 notes in the second bar, even though the 4/4 time signature in “Twinkle, Twinkle Little Star” requires 4 beats per bar. This is because you have two quarter notes and a half note, which together equal 4 beats.
In addition to your note values and time signature, the final piece to feeling the rhythm is to know your tempo or beats per minute. Tempo indicates how fast or slow a piece should be played, and is often shown at the top of a sheet of music. For example, a tempo of 60 BPM (beats per minute) would mean that you would play 60 of the indicated notes every minute, or a single note every second. Likewise, a tempo of 120 would double the speed at 2 notes per second. You may also see Italian words like “Largo”, “Allegro”, or “Presto” at the top of your notes, meaning common tempos. Musicians use a tool called a metronome to help them keep tempo while practicing a new piece.
Step 3: Play a melody
Congratulations, you’re almost on your way to reading music! First, let’s look at scales. A scale consists of eight consecutive notes, for example, the C major scale consists of C, D, E, F, G, A, B, C. The interval between the first note of your C major scale and the last is an example of an octave. The C major scale is very important to practice because once you have the C scale down, the other major scales begin to fall into place. Each of the notes in a C major scale corresponds to a white key on your keyboard.
You will notice that the pitch of the notes gets higher as the notes go up the staff and move to the right on your keyboard. But what about the black keys? Musically, whole notes or whole steps between note letters would limit the sounds we can produce on our instruments. Let’s consider the C major scale you just learned to play.
The distance between the C and the D keys in your C scale is a whole step, but the distance between the E and the F keys in your C scale is a half step. Can you see the difference? The E and F keys don’t have a black key between them, so they are only half a step apart. Every major scale you play on a keyboard has the same pattern, whole-whole-half-whole-half. There are many other types of scales, each with unique sounds, such as minor scales, modal scales, and more that you will encounter later.
Halftones, or half steps, on the keyboard allow us to write an infinite variety of sounds in music. A sharp, denoted by the ♯ – symbol, means that note is a semitone (or half-step) higher than the note head right on notes. Conversely, a layer denoted with a ♭ – symbol means that note is a semitone lower than the note head on the right. You will notice on the keyboard picture and the notated staff below that each half step between the C and the E notes shows that whether you use the sharp or flat note depends on whether you move up or down on the keyboard
The internet offers many things and among them free music. You can find many websites that offer free downloadable music; however, Not all of them are legal. Therefore, if you are looking for songs that are safe and free to use, we have selected the best music websites for you.
How do I download music for free?
There are many people who are not sure where to download free music from or how to download songs. To help you out, I have created the following list of the best free music download sites. Just visit the links below and look for download icons. These sites offer you free music downloads with just a single click.
Before we dive deep into the pros and cons of various free resources, here’s a short list of the top sites
No. Music Download Sites Best Known For
1 SoundCloud Spotify Alternative
2 ReverbNation Pop, alternative and hip-hop.
3 Well curated playlists and radio stations.
4 SoundClick All Genres
5 Audiomack Hip-hop, electronic and reggae
6 Noise Trade All genres with exclusive samplers and premium release tracks.
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https://thisiswhatwelivefor.com/how-to-download-music/
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The major scale is the basic set of notes that most modern music is built from.
Before we talk about building the scale, we've got to cover a few basics.
Okay, so all music consists of 12 notes. For now you can think of them as 12 blocks, or you might think of them as the 12 frets on the B string from 1 to 12. After that, those same 12 notes repeat forever. So there is a "C" on the first block here. And a "C" on the 13th block here. Even though you can hear the difference, they're the same note. The second "C" vibrates exactly twice as fast as the first. So it is exactly the same ratio. And you can hear that.
Within that set of 12, we need to find some relationships to make music. If we just randomly play 12 notes, it will sound pretty stupid. Or brilliant, depending on who you ask.
So the first thing we'll do is choose one to be our tonic. That's our center of gravity. It means everything will come back to that note eventually. We'll choose C in this case just to make it easy to imagine, but because the 12 notes repeat forever, any one can be used as the center.
And the second thing to do is to choose some notes that sound good with our tonic. But we can't choose them all.
The most common group of notes is called the major scale, and it follows this pattern.
This scale has emerged as the most popular scale in music, and we don't really need to talk about why. I'm sure you can recognize it.
So the formula for the major scale is big step, big, small, big, big, big, small.
If you start on any note, you'll end up with a major scale from that note if you follow that formula. So we can do that with any other note. For instance, if you start on D and do this pattern, you'll end up with two notes that are not in the C scale: a F# and a C#.
So that's the basic pattern of how major scales are constructed.
The first scale you will learn is the C major scale, formed by playing the 7 natural notes with unique names. Play these notes on the B string of your guitar now. Why don’t E and F or B and C have an accidental between them?
We’ve chosen to divide the octave into 12 pieces, and give unique names to the 7 notes of this scale. There’s no room for an E♯ or a C♭ because if there were, we’d have 14 unique slices in our octave—and a very different set of notes.
When you played the C major scale, did it seem familiar? If so, that’s because it’s been used in most music since the year 1500 A.D., and most people have heard thousands of hours of music based on this scale by the time they reach adulthood.
The scale’s unique sound is a product of two things: first, the perceived root noteFor a chord or scale, this is often both the lowest note in the chord, and also the note to which all other notes in the structure are compared. For a scale, this term is essentially synonymous with the tonal center. or lowest note of the scale—in this case, C. When you play the scale from C to C, you will hear C as the most basic note. Second, all other notes that you played on your way up to the high C will now be heard in relationship to their distance from the first C.
A movement up two blocks is called a whole step. A movement up just one block is called a half step. We can see that this C major scale is formed by starting on the root of the scale, C, and then moving through the chromatic scaleA scale consisting of all 12 of the notes used in modern music. notes: whole step, whole step, half step, whole step, whole step, whole step, half step. This pattern is so fundamental that it will be the basis of all other musical concepts that we study. Learn to play the scale, name the notes, and memorize the formula of steps needed to create this scale.
The C major scale, and this pattern for constructing scales, must both be accepted without question in order to study music. As you are beginning your study of how music works, now is not the time to ask, “but why C major? Why this pattern?” Since this pattern is used to comprehend all musical concepts to come, it must be taken for granted just as the sky is blue.
C major is not the only major scale there is. If we choose any note, such as E, and repeat this sequence of whole and half steps, we will have a new scale: the E Major scale. The notes will change. We must have sharps and flats: C major is the only major scale with no sharps or flats.
When we take one example of music, whether just a few notes, or an entire scale, or even a whole song, and move all of the notes up or down by an equal amount, the notes will all have the same relationship that they had before, but the song will sound higher or lower than before. This change is called transposing a song.
What notes are in the F Major scale?
What notes are in the G Major scale?
1) Try writing out the notes in the following major scales: C, G, F, D, B♭, A, E♭.
2) Memorize the formula: whole, whole, half, whole, whole, whole, half.
half step, whole step, key, major scale, root.
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http://hubguitar.com/music-theory/understanding-the-major-scale
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Now we're going to talk a little bit about bow divisions and rhythms. A good way to demonstrate bow divisions is in a scale. I always put my metronome at sixty when I practice my scales, and I work from a slow tempo up to a faster tempo. But, the metronome always stays at sixty.
First, you start with whole notes which is four counts to sixty, and that's dividing the bow. One, two, three, four. One, two, three, four. So, I'll play a little bit of an A major scale like that.
OK. Now I'm going to show you about doing half notes separate bows. I'm going to divide the bow. One, two. One, two. So the bow's going a little faster.
Now we're going to go to quarter notes, but we're going to slur them so that one note is half a bow and the next note is half a bow.
But if you can see, the bow division is so important. Because if I did not divide that in half and I divided it, you know, the first note three quarters of a bow and then the second note just a quarter of a bow, the sound would be very different. It would sound like this.
Maybe you'll use that kind of a bow speed at some point in bow division, but to really practice your scales and get them the right sound sustained you do definitely need the exact bow division, sort of like math.
Let's go to four notes to a bow. So now you're dividing each note into quarters. One two three four. One two three four.
This is a little example of bow division in your scales. You can use it in all your different scales and, of course, your pieces as well.
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https://www.howcast.com/videos/501250-bow-divisions-rhythms-violin-lessons
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The Music (General Conference) Honor is a component of the Artisan Master Award .
1. Play or sing a scale and know its composition.Edit
Scales are an important building block of music. They are the basis of melodies and chords. Without knowing your scales, you are like a car mechanic without his tools.
What are scales? A good way to define a scale is to list the following characteristics:
- A scale is an organized series of pitches
- A scale utilizes sharps and flats, when necessary
- A scale consist of a series of notes that differ in sound
- A scale is linked to the concept of "Keys" in that a song which utilizes a given scale is said to be in that key (For example: "Mary had a little lamb in C major").
A major scale has 8 tones. The (C major scale) is: C-D-E-F-G-A-B-C.
These notes in the major scale form a pattern of steps between notes called whole tones, or semitones. On a piano keyboard semitones are from key to key with no keys in between, whole tones always skip a key with one key in between.
The major scale is made up of a pattern of two whole tones, followed by a semitone, followed by three whole tones, ending with one more semitone.
This illustration shows the difference between whole tones and semitones on a piano keyboard.
Notice how the whole tones skip a key on the keyboard, and semitones do not. Also you can see that two semitones makes up a whole tone. Whole tones and semitones are types of intervals.
The natural minor scale has a whole tone semitone pattern of whole tone, semitone, whole tone, whole tone, semitone, whole tone, whole tone.
Other scales such as melodic minor, harmonic minor, pentatonic, and whole tone have different patterns of whole tones and semitones.
2. Write a scale in both treble and bass clef.Edit
In order to write a scale on your own, you are going to need to study and understand a few musical terms. The following sections will help you better understand the musical theory that makes up a scale.
ClefsEdit
The word clef is used to describe the symbol at the beginning of the set of five lines on which notes are printed. This symbol tells the player what the notes are going to be within the five lines. In piano music both Treble and Bass clefs are used. Usually the pianists left hand plays the lower notes in the bass clef with his left hand, and the upper notes in the treble clef with his right hand.
This illustration shows a note called middle C. The note drawn in the bass clef is exactly the same note as the one drawn in the treble clef.
The set of five lines on which the notes are drawn is called a staff.
Note NamesEdit
The notes on the treble clef have different names for the notes within the lines or on the lines of the staff than the note in the bass clef. These diagrams show the names of the notes in between and on the staff lines for both treble and bass clef.
Notes names can be seen on a piano keyboard as well. The notes played with the black keys on a piano keyboard are named with the note letter plus a symbol to indicate if the note is above or below the note named by a semitone. The symbol means the note is a semitone above the note name and is called sharp. The symbol means the note is a semitone lower and is called a flat.
Notice how the black keys can each be named with two names. This is called enharmonic spelling.
Sharps and FlatsEdit
Sharps and flats are notated (drawn on the staff) by placing the sharp or flat symbol in front of the note on the staff. This example shows the notes D, E, F , and G.
Scale RootEdit
The note that the scale starts on is called the root note. Below you can see that the first note for the C Major Scale is the note named "C"
Scale DegreesEdit
The word degree in music simply means a number that has been assigned to each note within a scale. In the C major scale below you can see that the scale degree of E is 3, F is 4, and so on.
The scale degree number 1 will not always be assigned to the note "C". It is assigned to the starting note of the scale or key of the piece is composed in. For example a song in the key of "G" would have the scale degree 1 assigned to the note "G".
Based on what you now know about scale degrees, note names, clefs, and using the whole tone / semitone patterns shown above, you should now have enough information to write a scale in both treble and bass cleff.
3. Know a half-tone, a whole tone, a third, a fifth, and an octave.Edit
A half tone is the same as a half step (1/12 of an octave). It is basically the distance of two notes immediately next to each other, such as C to C# and B to C. A whole tone is the same as a whole step. It is the distance of two notes separated by another, such as C to D (C# is in between) and B to C# (C is in between). A third is an interval of three degrees (C and E). A fifth is an interval of five degrees (C and G). An octave is an interval of eight degrees—the same note eight notes higher or lower (Middle C and C).
4. Distinguish a march from a waltz and give the time of each.Edit
'Waltz', or valse from the German term, is a piece of music in triple meter, most often 3/4 but sometimes 3/8 or 6/4. A waltz has a 1.2.3. - 1.2.3. count and (generally) a slow tempo. Waltzes typically have one chord per measure, with the root of the chord as the first note.
Classical composers traditionally supplied music for dancing when required, and Schubert's waltzes were written for household dancing, without any pretense at being art music. However, Chopin's 19 waltzes (five he wrote as a child), along with his mazurkas and polonaises, were clearly not intended to be danced to. They marked the adoption of the waltz and other dance forms as serious composition genres.
Other notable contributions to the waltz genre in classical music include 16 by Brahms (originally for piano duet), and Ravel's Valses nobles et sentimentales for piano and La Valse for orchestra.
The waltz style is found in nearly every kind of European and Euro-American folk music and also in classical music. Although waltzes are often associated with the dance of the same name, not all waltzes were composed as dances: some were written for concert performance.
The waltz had once held so much importance in European music circles that great waltz composers received the honorary title of “Waltz King”. The title came with an accompanying “royal staff”, a decorated silver baton which was passed from musician to musician. Johann Strauss Junior, the most famous “Waltz King”, received the title frequently.
5. What is a quarter note? A half note? A whole note? Draw the symbols of each.Edit
The names of the types of notes come from the fraction of a measure that each note gets in bar of music in four four time. In the 4/4 time signature, the top 4 indicates how many beats are in each bar of music, and the lower 4 indicates that a quarter note gets one beat. Since four quarter notes would fill the entire bar, they are called quarter notes. A half note would get two beats, or ½ of the measure, and a whole note gets 4 beats or the whole measure.
Quarter notes have a solid note head with a stem attached.
Half notes have a hollow note head with a stem attached.
Whole notes have a hollow note head, but no stem at all.
6. Name five great composers and one composition of each, including an oratorio, a piano composition, and a song.Edit
Bach, Johann Sebastian (1685-1750)Edit
Handel, George Frederic (1685-1759)Edit
Beethoven, Ludwig van (1770-1827)Edit
Chopin, Frédéric François (1810-1849)Edit
Schubert, Franz (1797 – 1828)Edit
Mozart, Wolfgang Amadeus (1756 - 1791)Edit
Haydn, Joseph (1732 - 1809)Edit
Tchaikovsky, Pyotr Ilyich (1840 - 1893)Edit
Many more composers articles have been written for wikipedia.Edit
The Composers category in Wikipedia lists composers grouped by musical era.
7. Play with or without music or sing from memory 15 hymns (one verse or stanza each) and/or other sacred songs or choruses and list the composer of each.Edit
8. Play or sing from memory one piece of good music other than those used in #7.Edit
9. Do one of the followingEdit
For instrumentalists, be able to sight-read and play a moderately difficult piece of music. Explain all signs and terms in it.Edit
Adventist Youth Honors Answer Book/Music/Sight read
For singers, show with baton or arm how to lead a group in singing compositions written in 3/4 and 4/4 time.Edit
10. Define orchestra and name at least five instruments in an orchestra.Edit
The modern definition of the word Orchestra tends to refer to the ensemble of mixed instrumentalists playing classical music. When you think of an orchestra, you imagine seventy or eighty or more musicians dressed in black on stage. This was not always the case.
In the musical time period known as Renaissance times (1450–1600) these musical groups not only accompanied vocal music, but played supporting music for drama. Ensembles playing this music were formed from instruments as varied as the harpsichord, viol, lute, recorder, cornett, sackbut, and organ.
The orchestras seen in the Baroque period (1600–1750) began to get bigger. Previous to this, vocal music was the most important music, and instrumental music was less so. The ability of the craftsmen to build instruments had improved to the point that the finest violins ever built were made around this time.
The orchestra of this time centered around the harpsichord. A harpsichord was like the piano of today, except a mechanical pick plucked the strings like a guitar, rather than a hammer hitting the strings like a piano. Violins, violas, cellos, and bass violins provided string sounds. Woodwind instruments like recorders, flutes, bassoons, and oboes, added color to the sound. Trumpets were used in orchestras as well, but were long natural trumpets without the more modern invention of valves. The timpani was the main percussion of the period.
Orchestras of the Baroque period were small by modern standards, numbering only about twenty to thirty players.
The next musical period is called the Classical period (1750–1825). During this period the orchestra grew to include 30-40 players. The brass section grew to include horns and trombones. Woodwinds included piccolos, clarinets, and contra bassoons (bass).
The Romantic musical period (1820–1900) brought new changes to the orchestra and it's instruments. The industrial revolution allowed for technical advances in the fabrication of instruments, especially the brass section with the invention of valved instruments. This allowed composers much more freedom in the parts they could write for all the instruments.
The tuba, bass clarinet, and many percussion instruments were added. This required additional string players to make the orchestra sound balanced. In his Symphony of a Thousand, Mahler had wrote for an orchestra containing one hundred and thirty musicians so it is clear to see with what enthusiasm composers explored the limits of possibility.
A current, professional symphony orchestra usually contains about seventy or eighty instrumentalists selected to fill the four sections of a modern orchestra; Brass, Woodwind, String, and Percussion. This will vary depending on the music being performed.
Brass InstrumentsEdit
WoodwindsEdit
StringsEdit
PercussionEdit
11. Do a biographical sketch on a famous hymn writer and orally present it to a group.Edit
Biographies of some hymn writers can be found at the following links.
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https://en.m.wikibooks.org/wiki/Adventist_Youth_Honors_Answer_Book/Arts_and_Crafts/Music_(General_Conference)
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Within the framework of the NCI-sponsored Cohort Consortium, investigators from 12 prospective epidemiologic cohorts formed the Pancreatic Cancer Cohort Consortium in 2006. The groups study, also known as PanScan, is funded by the National Cancer Institute (NCI) and involves a genome-wide association study (GWAS) of common genetic variants to identify markers of susceptibility to pancreatic cancer. In 2007, the study was expanded to include 8 case-control studies. The study team includes scientists from the cohorts comprising the Consortium and NCI. PanScan 1 and 2 were conducted in 12 cohort studies and 8 case-control studies, leading to the discovery of four novel regions in the genome associated with risk for pancreatic adenocarcinoma. We an ongoing third phase of PanScan to conduct a new GWAS of 1,600 recently identified incident pancreatic cancer cases with an equal number of controls drawn from 19 cohorts from the cohort consortium, including the 12 prospective cohorts who participated in PanScan 1 and 2, and seven newly joined cohorts. Our study will include approximately 1600 new incident pancreatic cancer cases with consent and acceptable quality DNA to be part of the study. We will also be using and/or genotyping data from controls without previous pancreatic cancer that were part of previous GWAS studies. Specifically, we will analyze a dense set of common genetic variants in the human genome, single nucleotide polymorphisms (SNPs) with minor allele frequencies >5%. The panel of SNPs is based on an analysis of common SNPs in individuals of northern European background determined by the International HapMap Project and provides an opportunity to monitor tested and untested SNPs because of linkage disequilibrium in the genome. The current panel of markers for the GWAS includes 610,000 SNPs, and it is estimated that these serve as markers for approximately 90% of all common SNPs in Europeans and East Asians. A joint analysis of the newly scanned cases will be conducted with cases from PanScan1 and 2 to identify novel regions of the genome associated with pancreatic cancer susceptibility. We will also conduct a GWAS analysis of pancreatic cancer survival using cases from both the cohorts and case-control studies. With the larger sample size (5,500 cases and 13,500 controls), we anticipate that we will identify new genetic risk variants for etiology and perhaps survival. It is notable that our study will include 3,200 incident cases from the cohort consortium, which are more likely to represent the diversity of pancreatic cancers at presentation. In order to accelerate the pace of discovery and characterization of genetic markers associated with pancreatic cancer risk, the genotype results and executive summaries of individual SNP analyses will be posted on a controlled-access web site, available to the biomedical research community in accord with NIH policy.
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https://grantome.com/grant/NIH/ZIA-CP010193-05
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Correlations between genotype and tissue-specific gene expression levels will help identify regions of the genome that influence whether and how much a gene is expressed. Top: DNA and RNA is collected and analyzed from multiple tissues. Each donor has different genetic variants. In this example they are G/G, A/G, and A/A. Middle: Gene expression levels (RNA) are measured in each tissue from each individual and correlated with that individual’s genotype. Each donor has different gene expression (RNA) levels. In this example donor 1 has the highest while donor 3 has the lowest RNA levels in brain. Donor 2 is in the middle. RNA expression levels are treated as quantitative traits or expression quantitative trait loci (eQTLs). When eQTLs are correlated with genetic variation new genetic variants associated with, and potentially causal to, gene expression are discovered. In this example the genetic variant G/G is associated with high gene expression in brain while the genetic variant A/A is associated with low gene expression in brain. The genetic variant A/G is associated with intermediate gene expression in brain. When eQTLs between healthy and unhealthy individuals are compared, novel genes contributing to disease can be discovered. Bottom: The eQTL data and the donor tissues are deposited in the GTEx Portal and tissue repository for use by the scientific community.
The GTEx (Genotype-Tissue Expression) Project. Correlations between genotype and tissue-specific gene expression levels is helping to identify regions of the genome that influence whether and how much a gene is expressed. GTEx is helping researchers to understand inherited susceptibility to disease by developing a resource database and tissue bank for current and future studies.
GTEx has collected multiple human tissues from over 900 donors – half the data is available to researchers through the GTEx Portal – who are also densely genotyped, to assess genetic variation within their genomes. By analyzing global RNA expression within individual tissues and treating the expression levels of genes as quantitative traits, variations in gene expression that are highly correlated with genetic variation can be identified as expression quantitative trait loci, or eQTLs. The GTEx Portal, where the eQTLs and other gene expression data are shared, is a resource for the scientific community to study human gene expression and regulation and its relationship to genetic variation.
During the past decade over 2,000 genome-wide association studies (GWAS) were published examining common genetic variants in different individuals to see if any variant is associated with a trait, most commonly a disease. Despite the rapid progress achieved using GWAS (See: http://www.genome.gov/26525384 ) to identify genetic changes associated with common human diseases, such as heart disease, cancer, diabetes, asthma, and stroke, a large majority of these genetic changes lies outside of the protein-coding regions of genes and often even outside of the genes themselves, making it difficult to discern which genes are affected and by what mechanism. GTEx, by correlating genetic variation with gene expression in multiple tissues through eQTLs, is beginning to bridge the gap between genetic variation and disease by identifying tissue-specific genes potentially causal to disease. The comprehensive identification of human eQTLs will greatly help to identify genes whose expression is affected by genetic variation, and will provide a valuable basis on which to study the mechanism of that gene regulation. As new genetic variants are discovered GTEx is expected to stimulate research towards understanding the genetic basis of complex diseases.
GTEx also involves consultation and research into the ethical, legal and social issues raised by the research, support for statistical methods development, and additional analysis beyond gene expression (Enhanced GTEx projects –eGTEx). The associated tissue repository serves as a resource for many additional kinds of analyses in the future.
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http://commonfund.nih.gov/GTEx/overview
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Half the variation in I.Q. due to variation in genes
A new paper in Molecular Psychiatry has been reported on extensively in the media, and readers have mentioned it several times in the comments. I read it. It’s titled Genome-wide association studies establish that human intelligence is highly heritable and polygenic. But the fact is that I read this paper last year. Back then it was titled Common SNPs explain a large proportion of the heritability for human height. I kid, but you get the picture. The new paper establishes for intelligence what we already suspected: most of the genetic variation in this heritable trait is accounted for by numerous genes of small effect. You inherit variants of these numerous genes from your two parents, and your own trait value is to a large extent a combination of the parental values. The issue is not if intelligence is heritable, but the extent of that heritability.
The standard way to estimate human heritability was to track similarities across individuals with varying degrees of relatedness. For example, compare identical twin correlations on a trait with fraternal twin correlations. The main objection to these methods is that one could argue that environmental factors were correlated with particular genetic relationships (e.g., you treat individuals who are presumed identical twins more similarly). There are many reasons that I’m skeptical of extreme objections in this vein, but there are out there. This particular experiment design sidesteps that issue by looking at unrelated individuals. Not just notionally unrelated individuals, but actually those who were not genomically related. That’s a key difference between quantitative genetics and quantitative genomics. The former takes biological relatedness at face value, translating from ideal categories. The relatedness between full siblings is 0.50 for example. But when you look at the genomic level you can account and correct for the variation of that relatedness amongst siblings (e.g., two of my siblings exhibit a relatedness of only 0.42)! In this study they focused on numerous widely dispersed single nucelotide polymorphisms (SNPS), specific variants within genes, and used these to infer the nature of the genetic architecture of intelligence. More specifically, the genetic variation of two forms of intelligence, crystallized and fluid. The former seems to correspond to knowledge and the latter to raw problem solving abilities. Perhaps the difference between having an excellent operative system and applications vs. top of the line hardware?
In any case, here’s their abstract:
General intelligence is an important human quantitative trait that accounts for much of the variation in diverse cognitive abilities. Individual differences in intelligence are strongly associated with many important life outcomes, including educational and occupational attainments, income, health and lifespan. Data from twin and family studies are consistent with a high heritability of intelligence, but this inference has been controversial. We conducted a genome-wide analysis of 3511 unrelated adults with data on 549 692 single nucleotide polymorphisms (SNPs) and detailed phenotypes on cognitive traits. We estimate that 40% of the variation in crystallized-type intelligence and 51% of the variation in fluid-type intelligence between individuals is accounted for by linkage disequilibrium between genotyped common SNP markers and unknown causal variants. These estimates provide lower bounds for the narrow-sense heritability of the traits. We partitioned genetic variation on individual chromosomes and found that, on average, longer chromosomes explain more variation. Finally, using just SNP data we predicted ∼1% of the variance of crystallized and fluid cognitive phenotypes in an independent sample (P=0.009 and 0.028, respectively). Our results unequivocally confirm that a substantial proportion of individual differences in human intelligence is due to genetic variation, and are consistent with many genes of small effects underlying the additive genetic influences on intelligence.
The authors suggest that these values are a floor to heritability estimates, at least with the sorts of homogeneous populations they have here. That’s because their statistical genetic method is likely to miss a lot of true genetic variance due to its diminishing power when the causal genes are at too low of a frequency. They’re working within a framework where a given typed marker is correlated with a nearby I.Q. causal marker. At very low correlations they are going to miss the causal variant.
Some of the psychologists interviewed by the media contended that on one level these were banal findings. A value in the range they report is entirely within the mainstream of behavior genetic studies, which use pedigrees and what not. But many people don’t trust behavior genetics for whatever reason. One person’s banality is another person’s profundity.
But I think these sorts of findings should tilt us away from the proposition that large effect quantitative trait loci are common for I.Q. By this, I mean an “I.Q. gene” which is responsible for a huge difference between two people. There are some of these no doubt, especially those which result in mental retardation, but they don’t play that much of a role in all likelihood in ‘normal’ variation. Earlier linkage studies which reported such genes made huge media splashes and tended to fade because of lack of replication. Those genes may actually have been real QTLs, but the huge effect was likely to have been a random chance occurrence. Genome-wide association is better able to detect smaller effect genes within populations, but even it has been notably lacking in robust results.
Overall, this is good science. The results aren’t what those of us who were hoping that the intersection between psychometrics and genomics would yield low hanging fruit were pulling for. But reality is often likely to dash our hopes. No matter the banality of the final results, I do think the figure to the left is rather cool. It shows that the larger the chromosome the greater the proportion of variance is explained by that chromosome. This is entirely expected in theory (large chromosomes would carry more causal variants), but it is gratifying to still see it born out empirically.
Comments (26)
I can’t access the paper. Has anyone knowledgeable looked at the stats and vouched for it?
“The authors suggest that these values are a floor to heritability estimates, at least with the sorts of homogeneous populations they have here. That’s because their statistical genetic method is likely to miss a lot of true genetic variance due to its diminishing power when the causal genes are at too low of a frequency.”
Okay, the title of your blog is “Gene Expression.” You and the study do not acknowledge a role for gene expression elements.
“But I think these sorts of findings should tilt us away from the proposition that large effect quantitative trait loci are common for I.Q.”
It may very well be that such loci do not exist, but the study only addressed SNPs. It is still possible that large effect gene expression elements are common for IQ. Is it possible to construct a GWAS that examines genetic variation besides SNPs?
“gene expression elements” will either be tagged by the markers they genotyped or not just like any other functional class of variant.
Thanks for the lead. I see that they used the Illumina610-Quad v1 chip that has 60,000 copy number variant markers. Illumina now makes a 660W-Quad v1 chip with 100,000 CNV markers. So, at least GWAS will better address this issue with time.
I feel slightly dumb but that’s fine. Is anyone willing to put this in laymens terms for me?
I am also confused by nooffensebut’s reference to “gene expression elements”? If these are elements in the genetic sequence that regulate gene expression then they would be picked up by GWAS, as would more and more copy number variants. Are you referring to epigenetic changes that may be heritable for one or two generations? Or something else entirely?
Sorry, but it is a life-and-death issue, both figuratively for most of molecular psychiatry and literally. GWAS keep bringing genetics to square one by not finding loci. I have seen one GWAS for psychopathology, albeit childhood psychopathology, with Viding et al. There has to be some way to reconcile the trend of disappointing GWAS with the evidence of exciting candidate gene studies, like this one by Beaver and Chaviano, which has an amazing graph for Hispanic arrests versus three dopamine genes. It cannot all be massive fraud.
I meant promoters mostly. That’s what most candidate gene research seems to be today. Viding et al used the Affymetrix 6.0 GeneChip. I think that is this one with 200K probes of 5,677 CNVs. That’s genetics at 20-thousand feet, and I’m trying to make sense of it.
“The authors suggest that these values are a floor to heritability estimates, at least with the sorts of homogeneous populations they have here.”
Razib,
Could you elaborate on this? Based on the coverage, do you see a ceiling below the .8 (broad heritability) found from kinship studies?
google “genetic architecture”. you really need 10k or 100k samples for GWAS results with complex traits.
http://www.nature.com/mp/journal/vaop/ncurrent/abs/mp201165a.html
In this article, we review some of the data that contribute to our understanding of the genetic architecture of psychiatric disorders. These include results from evolutionary modelling (hence no data), the observed recurrence risk to relatives and data from molecular markers. We briefly discuss the common-disease common-variant hypothesis, the success (or otherwise) of genome-wide association studies, the evidence for polygenic variance and the likely success of exome and whole-genome sequencing studies. We conclude that the perceived dichotomy between ‘common’ and ‘rare’ variants is not only false, but unhelpful in making progress towards increasing our understanding of the genetic basis of psychiatric disorders. Strong evidence has been accumulated that is consistent with the contribution of many genes to risk of disease, across a wide range of allele frequencies and with a substantial proportion of genetic variation in the population in linkage disequilibrium with single-nucleotide polymorphisms (SNPs) on commercial genotyping arrays. At the same time, most causal variants that segregate in the population are likely to be rare and in total these variants also explain a significant proportion of genetic variation. It is the combination of allele frequency, effect size and functional characteristics that will determine the success of new experimental paradigms such as whole exome/genome sequencing to detect such loci. Empirical results suggest that roughly half the genetic variance is tagged by SNPs on commercial genome-wide chips, but that individual causal variants have a small effect size, on average. We conclude that larger experimental sample sizes are essential to further our understanding of the biology underlying psychiatric disorders.
I would interpret these findings very differently. What the authors do is analyse GWAS data in a very unusual way – they are not interested in finding specific SNPs affecting the trait, they simply use the SNPs to measure genetic relatedness between individuals. (Well, they were interested in findings specific SNPs but once they didn’t find any significant ones they turned to this other kind of analysis). Razib, you say that the people in the study are unrelated but they are not – they are all from the same population and are distantly related. The study uses SNPs across the genome to measure this relatedness and then shows it correlates with phenotypic similarity – i.e., the trait is heritable. We knew that already.
What they claim is that you can break down this effect by chromosome or by subregion. When they use the SNPs along longer chromosomes they seem to get a bigger effect – “explaining more of the phenotypic variance”. The inference is that thousands of SNPs, scattered across the whole genome, contribute to the trait or, more specifically to variance in the trait across the population (the implication is that they contribute to the value of the trait in individuals).
There is an alternative explanation for this effect, however, which is that using more SNPs simply gives a better estimate of genetic relatedness. So, the SNPs on chromosomes 1 (the longest) give a better estimate than those on chromosome 21 (the shortest) – they index relatedness with more precision. As a result, they correlate better with phenotypic similarity – this looks like you have “explained more of the variance”. In fact, getting such a signal from SNPs on chromosome 1 does not mean that any of the causal variants are actually on chromosome 1. Nor does the fact that such signals can be derived from anywhere in the genome mean that there are thousands of variants across the genome affecting the trait.
In fact, the authors can conclude very little from this study beyond a replication of the known fact that IQ is heritable. They can say nothing about how many variants are involved across the population or how many affect the trait in each individual. Note that those could be very very different from each other – you could have hundreds or thousands of genes affecting a trait across the population, but only one, two or a handful of variants affecting the phenotype in any individual. Nor can they say whether the causal variants are common or rare. One could expect different combinations of small numbers of different rare variants to be determining phenotype in different individuals. In fact, I would say that is exactly what one should expect. Not the picture they try to sell in this paper, which is that the phenotype in any individual is determined by the combination of thousands of common variants.
It’s heartening to know that somewhere in all the science blogs I read, there’s someone who knows the difference between ‘titled’ and ‘entitled’!
@kjmtchl
If it weren’t many genes of small effect then this and earlier GWAS would have picked up individual hits.
A few genes of large effect accounting for the 1 SD population variation would have already been detected. They’d have to be common variants (since by assumption they account for the observed variation) and of large effect, so difficult to hide.
Steve, the point is that the variants that are having an effect may be rare. We may each carry a different spectrum of rare variants that affects the trait. These would be completely missed by GWAS. The results they show in this paper do not definitively support the conclusion that hundreds of thousands of variants are involved. For more on why I generally think the idea that common variants explain human diversity, see: http://wiringthebrain.blogspot.com/2011/08/welcome-to-your-genome.html
If I understand correctly, you want to claim that the observed population variation could be due to a few rare variants of large effect. But then it would be surprising for this study to have found .5 of the total variation to be associated with SNPs — compare to earlier studies using twins/adoptions/siblings that found narrow sense heritability of about .6 or so. I would not expect the rare alleles you hypothesize to be in good LD with SNPs (which are designed to tag common variants), so we would expect to lose a big chunk of the .6 additive heritability.
For example, in the Visscher paper on height they had to hand wave about imperfect LD to recover the full .8 or so of heritability. In this case the global fit comes out very close to .6, which suggests common rather than rare variants (at least, they are well tagged by SNPs). But if they are common variants their individual effect sizes must be small and there are a lot of them. Let me know if I am missing something.
Razib Khan said:
“wouldn’t linkage studies looking for QTLs have found regulatory elements”
Well, those studies did find linkages, but they did not agree, so Butcher et al said, “Because linkage designs are powerful for detecting genes of large effect size, one safe conclusion from these linkage studies is that there are unlikely to be any genes that have a large effect on g, for example accounting for more than 10% of the variance.” This is a more limited statement than that of SNP GWAS, in which “estimates for the effect of any one genetic variant are well below 1% of the variance…” Gene duplication and associated regulation might be an additional source of variation unexamined by GWAS. Nevertheless, if I grant you that regulatory elements do not have large-effect loci, it might still be true that the study was wrong to fail to acknowledge gene expression elements as an additional source of many common variants of small effect. Their limited view could lead to a premature resolution that underestimates true IQ heritability. Some adult IQ heritability estimates approach 80%, and Need et al determined a principal component heritability of 88% for CANTAB, which seems to emphasize crystallized intelligence more. Comparisons between chimpanzee and human protein-coding have concluded that gene expression elements, which show positive selection, might account for most differences in behavior and cognition.
It looks to me like GWAS chips have markers for a fraction of CVNs, but not VNTR. Up to 20% of genes might have VNTRs, which have accelerated mutation rates and can affect protein coding (“little is known about the underlying molecular mechanism”) and gene expression. A good (free) review of VNTR is Gemayel et al. They write of VNTR, “They represent, in addition to single nucleotide polymorphisms (SNPs) and copy number variations (CNVs), a third, mostly ignored, category of genetic variation. Many of the examples demonstrating or suggesting that variable TRs influence phenotypes have been discovered by research teams focusing on a specific phenotype or gene rather than large-scale studies specifically aimed at characterizing the global role of repeats in genome evolution.” Therefore, GWAS should acknowledge VNTR as true variation outside their current detection ability.
Steve Hsu said:
“But then it would be surprising for this study to have found .5 of the total variation to be associated with SNPs — compare to earlier studies using twins/adoptions/siblings that found narrow sense heritability of about .6 or so.”
Why should we be married to 60% IQ heritability? If you will pardon the cliché, you are putting the cart before the horse. This study uses 60% but uses as support a review that says, “Again we cite older studies because it is well established that heritability increases from about 30% in very young childhood to as much as 80% in adulthood. Part of the reason that this corroboration is so helpful is that the twins studies are all over the map. I remember The Bell Curve settled on a 60% estimate, but it was a comically glib compromise between 40% and 80% intended mostly to change the subject. James Lee’s response to Nisbett cites an aggregate broad-sense heritability from monozygotic twins reared apart studies of 75%. The debate over whether twins studies under- or overestimate IQ heritability is complex with arguments for both sides. As Lee puts it, “Such factors as fetal position, order of delivery, and blood transfusion may even act to differentiate MZ twins rather than to increase their similarity.”
Steve, I am saying that all this study does is use SNPs to estimate genetic relatedness and show that it correlates with phenotypic similarity. This does not mean that there are thousands of SNPs involved. They can say nothing about the SNPs actually being causal. And I don’t think the population variation is caused by “a few” rare variants – I think it is (or could be at least) caused by a larger number of rare variants – different ones in different people.
kjmtchl,
I think the authors realize this limitation of their method. From a commentary paper (http://homepages.ed.ac.uk/qgjc/2010_2011/CommentaryOnYang.pdf):
“If most causal variants for human height have such low frequency in the population that they are not in LD with the (common) SNPs on the commercial SNP arrays then the method we used would not detect much more additional variance than already accounted for by the published genome-wide significant loci”.
kjmtchl,
In reference to your point that chr 1 would explain the most variance simply because it is the largest – Figure 2 shows chr 1 and 2 actually explain very little variance in IQ, whereas 3, 4, and 5 explain a lot more. Granted, you’re right that SNP hertability is a function of ancient relatedness, but if that’s all it was measuring, then there should always be a very strong correlation between variance explained (regardless of the trait) and chromosome size. However, the correlation is only moderate (.07 to .21 r2 or a correlation of .26 and .46).
Point taken.
Razib, you say in a comment “last i heard people had looked at cnvs (circa 2006 or so i think). nothing showed up. ”
I would say that if that’s what the intelligence people are saying, they must be wrong or at least only talking about part of the IQ range. We know that CNVs are associated with very low IQ i.e. mental retardation or intellectual disability or whatever you choose to call it.
Typically this is defined as an IQ of <70.
In the psychiatric literature it's also striking that across all kinds of disorders, autism schizophrenia ADHD and others, whenever a study finds CNVs, the patients with the CNVs have a lower IQ than the patients without.
There's a nice paper just out showing that, above a certain size of CNV (about 1.25 megabases), everyone who carries them has a low IQ. And the larger the CNV, the less likely it is to be carried by people with normal IQ.
Cooper, G.M., et al., A copy number variation morbidity map of developmental delay. Nat Genet, 2011.
Personally I suspect that CNVs account for most of the variation at the bottom of the IQ curve, while in the middle it's common genetic variation, and at the very top it's environment – I don't think you can score 140 without the benefit of the right education on top of the right genes – but that's just my intuition.
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http://blogs.discovermagazine.com/gnxp/2011/08/half-the-variation-in-i-q-is-due-to-genes/
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15th European workshop on QTL mapping and marker assisted selection (QTLMAS). Go to conference site.
Rennes, France19-20 May 2011
Our aim was to simulate the data for the QTLMAS2011 workshop following a pig-type family structure under an oligogenic model, each QTL being specific.
The QTLMAS XVth dataset consisted of the pedigrees, marker genotypes and quantitative trait performances of 2,000 phenotyped animals with a half-sib family structure. The trait was regulated by 8 QTL which displa...
The QTLMAS XVth dataset consisted of pedigree, marker genotypes and quantitative trait performances of animals with a sib family structure. Pedigree and genotypes concerned 3,000 progenies among those 2,000 were ...
Despite many success stories of genome wide association studies (GWAS), challenges exist in QTL detection especially in datasets with many levels of relatedness. In this study we compared four methods of GWA o...
The mixed model based single locus regression analysis (MMRA) method was used to analyse the common simulated dataset of the 15th QTL-MAS workshop to detect potential significant association between single nuc...
Five main methods, commonly applied in genomic selection, were used to estimate the GEBV on the 15th QTLMAS workshop dataset: GBLUP, LASSO, Bayes A and two Bayes B type of methods (BBn and BBt). GBLUP is a mixed ...
The goal of this study was to apply Bayesian and GBLUP methods to predict genomic breeding values (GEBV), map QTL positions and explore the genetic architecture of the trait simulated for the 15th QTL-MAS worksho...
Recent developments in genetic technology and methodology enable accurate detection of QTL and estimation of breeding values, even in individuals without phenotypes. The QTL-MAS workshop offers the opportunity...
The least absolute shrinkage and selection operator (LASSO) can be used to predict SNP effects. This operator has the desirable feature of including in the model only a subset of explanatory SNPs, which can be...
Genomic selection (GS) is emerging as an efficient and cost-effective method for estimating breeding values using molecular markers distributed over the entire genome. In essence, it involves estimating the si...
The aim of this study was to estimate haplotype effects and then to predict breeding values using linear models. The haplotype based analysis enables avoidance of loosing information due to linkage disequilibr...
In genomic models that assign an individual variance to each marker, the contribution of one marker to the posterior distribution of the marker variance is only one degree of freedom (df), which introduces man...
Genomic breeding value estimation is the key step in genomic selection. Among many approaches, BLUP methods and Bayesian methods are most commonly used for estimating genomic breeding values. Here, we applied ...
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https://bmcproc.biomedcentral.com/articles/supplements/volume-6-supplement-2
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One way of investigating how genes affect human traits would be with a genome-wide association study (GWAS).
Genetic markers, known as single-nucleotide polymorphism (SNP), are used in GWAS.
This raises privacy and security concerns as these genetic markers can be used to identify individuals uniquely.
This problem is further exacerbated by a large number of SNPs needed, which produce reliable results at a higher risk of compromising the privacy of participants. We describe a method using homomorphic encryption (HE) to perform GWAS in a secure and private setting.
This work is based on a semi-parallel logistic regression algorithm proposed to accelerate GWAS computations.
Our solution involves homomorphically encrypted matrices and suitable approximations that adapts the original algorithm to be HE-friendly.
Our best implementation took $24.70$ minutes for a dataset with $245$ samples, $4$ covariates and $10643$ SNPs. We demonstrate that it is possible to achieve GWAS with homomorphic encryption with suitable approximations.
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https://crypto.ku.edu.tr/achieving-gwas-with-homomorphic-encryption/
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Complex trait genome-wide association studies (GWAS) provide an efficient strategy for evaluating large numbers of common variants in large numbers of individuals and for identifying trait-associated variants. Nevertheless, GWAS often leave much of the trait heritability unexplained. We hypothesized that some of this unexplained heritability might be due to common and rare variants that reside in GWAS identified loci but lack appropriate proxies in modern genotyping arrays. To assess this hypothesis, we re-examined 7 genes (APOE, APOC1, APOC2, SORT1, LDLR, APOB, and PCSK9) in 5 loci associated with low-density lipoprotein cholesterol (LDL-C) in multiple GWAS. For each gene, we first catalogued genetic variation by re-sequencing 256 Sardinian individuals with extreme LDL-C values. Next, we genotyped variants identified by us and by the 1000 Genomes Project (totaling 3,277 SNPs) in 5,524 volunteers. We found that in one locus (PCSK9) the GWAS signal could be explained by a previously described low-frequency variant and that in three loci (PCSK9, APOE, and LDLR) there were additional variants independently associated with LDL-C, including a novel and rare LDLR variant that seems specific to Sardinians. Overall, this more detailed assessment of SNP variation in these loci increased estimates of the heritability of LDL-C accounted for by these genes from 3.1% to 6.5%. All association signals and the heritability estimates were successfully confirmed in a sample of ~10,000 Finnish and Norwegian individuals. Our results thus suggest that focusing on variants accessible via GWAS can lead to clear underestimates of the trait heritability explained by a set of loci. Further, our results suggest that, as prelude to large-scale sequencing efforts, targeted re-sequencing efforts paired with large-scale genotyping will increase estimates of complex trait heritability explained by known loci.
PublisherPLoS One
CitationPLoS Genetics (2011), 7(7): e1002198
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To the Editor:
Genome-wide association studies (GWAS) of complex human traits have become an important approach in human genetics. Taken together, GWAS are arguably the largest biological investigations of humans ever conducted. The total number of people genotyped to date with a GWAS array is difficult to know but probably exceeds 1,000,000. Major findings from these studies are that many common diseases have a polygenic architecture, the genetic effect sizes of common SNP variants are small, the identification of the involvement of genes and biological processes not previously suspected, and the association of some loci with different diseases1,2. Critically, the sample sizes necessary to identify robust and replicable findings are beyond those achievable by single groups, and collaborations have rapidly evolved to augment statistical power.
We sought to describe the collaborative networks that emerged as part of GWAS. We used the National Human Genome Research Initiative (NHGRI) GWAS catalog1 and PubMed to identify the authors of 604 GWAS published from the first report in 2005 up to the last complete year, 2010 (Supplementary Methods). These 604 GWAS papers had a total of 21,007 authorships (8,718 individuals; Supplementary Fig. 1).
We constructed network diagrams in the form of graphs, where nodes are authors and edges connect coauthors on a GWAS paper (Supplementary Figs. 2 and 3). Overall, there was a more than tenfold increase in the number of coauthorships from 2005 to 2010 (Supplementary Table 1).
We created a network graph using the open-source network visualization platform Gephi (Fig. 1). The graph shows modularity at several levels: there are 14 empirical coauthorship modules (groups of nodes of the same color), several modules show substructure (clusters within a module), and there are often abundant connections between modules. This graph is annotated more fully in Supplementary Figure 4 and Supplementary Table 2 and is coherent in the identification of individuals, laboratories and phenotypes studied.
Small-scale collaborations between laboratories are common in human genetics. There are also multiple examples of large-scale, 'big science' collaborations (for example, the Human Genome Project, HapMap, Table 1 the 1000 Genomes Project and ENCODE). Most large collaborations developed in a federated manner with a formal, top-down structure. GWAS collaborations are an unusual event in the history of biomedicine, as large and extensive collaborations self-organized and emerged rapidly from grassroots origins.
Author contributions
B.K.B.-S. provided technical knowledge of graph theory and wrote the paper. P.F.S. designed the project, conducted the analyses, and wrote the paper.
References
Hindorff, L.A. et al. Proc. Natl. Acad. Sci. USA 106, 9362–9367 (2009).
Lander, E.S. Nature 470, 187–197 (2011).
Acknowledgements
This work was supported by US National Institutes of Health grants MH077139 and MH085520.
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Competing interests
The authors declare no competing financial interests.
Supplementary information
Supplementary Text and Figures
Supplementary Methods, Supplementary FIgures 1–4 and Supplementary Tables 1 and 2. (PDF 6072 kb)
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Bulik-Sullivan, B., Sullivan, P. The authorship network of genome-wide association studies. Nat Genet 44, 113 (2012). https://doi.org/10.1038/ng.1052
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In the last decades, genome-wide association studies (GWAS) have uncovered tens of thousands of associations between common genetic variants and complex diseases. However, these statistical associations can rarely be interpreted functionally and mechanistically. As the majority of the disease-associated variants are located far from coding sequences, even the relevant gene is often unclear. A way to gain insight into the relevant mechanisms is to study the genetic determinants of intermediate molecular phenotypes, such as gene expression and transcript structure. We propose a computational strategy to discover genetic variants affecting the relative expression of alternative 3' untranslated region (UTR) isoforms, generated through alternative polyadenylation, a widespread posttranscriptional regulatory mechanism known to have relevant functional consequences. When applied to a large dataset in which whole genome and RNA sequencing data are available for 373 European individuals, 2,530 genes with alternative polyadenylation quantitative trait loci (apaQTL) were identified. We analyze and discuss possible mechanisms of action of these variants, and we show that they are significantly enriched in GWAS hits, in particular those concerning immune-related and neurological disorders. Our results point to an important role for genetically determined alternative polyadenylation in affecting predisposition to complex diseases, and suggest new ways to extract functional information from GWAS data.
RNA sequencing (RNA-Seq); alternative polyadenylation; genome-wide association studies (GWAS); human genetic variants; quantitative trait loci (QTL); whole-genome sequencing (WGS)
National Center for
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https://www.ncbi.nlm.nih.gov/pubmed?cmd=search&term=Gilotto+S%5Bau%5D&dispmax=50
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Bioinformatics is the application of information techniques for the storage, retrieval, and analysis of large quantities of biological data.
Image Credit: mopic / Shutterstock
Through the development of algorithms and statistical testing, research can be carried out faster and more accurately. Bioinformatics is used in different fields of research; however, it is especially important in genomics, such as in genome analysis, gene identification, genome-wide association studies and evolutionary studies.
Traditional and next-generation processes aim to sequence the genome allowing the analysis of DNA sequences. However, these methods produce many fragments of DNA, like fragments of a jigsaw puzzle, which need to be aligned and compiled to create a final complete sequence. The use of bioinformatics can align these fragments quickly and cheaply, aiding genomic sequencing.
The human genome was initially sequenced between 1990 and 2003, and has since been uploaded online and extensively annotated. Annotation is the process whereby genes and their protein products are labeled directly onto the genome.
The volume and complexity of the produced data would have taken many years to compile manually. However, with the advent of bioinformatics, scientists have the capacity to carry out the compilation and annotation processes quickly and with better precision.
Bioinformatics is vital in the research of de novo mutations. One example of a method that is used to identify these mutations is whole exome sequencing. Whole exome sequencing is used to sequence only the protein coding regions of DNA (the exomes), which makes up only 1% of the genome, thereby making it much faster than genome sequencing.
However, large quantities of data are produced whereby bioinformatics application becomes vital for data curation, sequence alignment, and analysis.
An example of the application of bioinformatics in genome sequencing is the diagnosis of Cantu syndrome. This syndrome is characterized by cardiac defects, unique facial features, and excessive hair. One study compared the exome of a child (with the condition) to the parent exomes (without the condition) which resulted in the identification of five candidate genes that were significantly different.
These genes were then sequenced allowing for the identification of a causative dominant missense mutation in the ABCC9 gene. The ABCC9 protein is part of the ATP-dependent potassium channel responsible for relaying chemical messages across cells.
This mutation has also been identified in many other patients with this condition, and therefore it has been suggested that loss of function of this kinase results in Cantu syndrome.
Using whole exome sequencing and bioinformatics, 50% of rare diseases genes have so far been identified, with the rest is expected to be sequenced by 2020.
Another use of bioinformatics is in the identification of cancerous mutations. Through the development of automated systems, large volumes of sequential data can be produced and used to identify previously unknown point mutations.
Bioinformatics also works to create new algorithms that can compare different sequences, thereby aiding in identification of mutations.
Genome-wide association studies (GWAS) carry out genomic scans with the attempt to identify specific markers that can indicate an individual’s susceptibility to a genetic disease. Genetic association between a specific marker and the disease can improve detection and treatment. If used on a large scale, this can also aid in the development of prophylactic treatments.
To carry out GWAS, the genomes of individuals with a disease and those without a disease are compared. Development of highly automated systems has led to the high-throughput identification of single nucleotide polymorphisms (SNPS).
By comparing SNPS, those which are more common in individuals with the disease can be identified and used as disease markers. This information is then stored online and made available to scientists across the globe.
The first published GWAS was age-related macular degeneration (AMD). Out of 116,204 SNPS that were genotyped, one study observed a link between the complement factor “H” (CFH) gene and AMD. Therefore, individuals susceptible to AMD can be screened for the presence of the CFH gene.
Several other disease genes have been characterized after that with the intention of helping doctors and other health care professionals in identifying possible risk of a genetic disease and allowing for appropriate disease management.
By studying the changes in DNA within organisms and comparing them to other species, the genetic changes associated with evolution can be classified. Evolution is the process that involves small, cumulative changes in DNA that eventually leads to the formation of novel species.
Bioinformatics has aided research in the evolutionary process by allowing comparison of DNA sequences, sharing of data, prediction of future evolution and classification of complex evolutionary processes.
When put together, the data can be used to create a phylogenetic tree that can trace several species to their original ancestry.
These are only a few of the myriad applications of bioinformatics within genetics. Overall, bioinformatics has thrown open enormous opportunities in the field of genomics and targeted gene therapy.
Last Updated: Feb 14, 2020
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Hannah is a medical and life sciences writer with a Master of Science (M.Sc.) degree from Lancaster University, UK. Before becoming a writer, Hannah's research focussed on the discovery of biomarkers for Alzheimer's and Parkinson's disease. She also worked to further elucidate the biological pathways involved in these diseases. Outside of her work, Hannah enjoys swimming, taking her dog for a walk and travelling the world.
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Scientists participating in the project initially expected that individual rare variants would have a greater effect on over 80 heart, lung and blood related traits and diseases of high public health significance, said Suzanne M. Leal, Ph.D., professor and director, Center for Statistical Genetics in the Department of Molecular and Human Genetics of Baylor College of Medicine in Houston, TX.
The researchers found that many (1.1 million) of the 1.2 million coding variants that they identified in exome data from 4,420 European-Americans and 2,312 African-Americans occurred very infrequently in the population and often were only observed in a single individual, explained Dr. Leal, who presented the findings today at the American Society of Human Genetics 2012 meeting.
The major goal of the project was to understand how variation in the exome affects heart, lung and blood related traits and diseases.
The study participants were selected from a sample of over 220,000 individuals who participated in another National Institute of Health (NIH) supported study that had collected extensive medical dataon the participants. “Individuals were selected to have a disease endpoint of interest or an extreme trait value of public health importance,” said Dr. Leal.
By sequencing the exomes of 91 cystic fibrosis patients, Dr. Leal and her research colleagues discovered and replicated an association between variants in the DCTN4 gene and when a patient first develops a Pseudomonas aeruginosa airway infection.*
The researchers were also able to replicate many known associations between individual DNA variants and traits, such as high blood levels of low-density lipoprotein, known as the ‘bad’ cholesterol, and C-reactive protein, which increases the body’s response to inflammation.
The majority of these findings are for variants that are common in the population, said Dr. Leal.
To detect associations with rare variants, analyses were performed by aggregating information from individual variants within a gene. This approach successfully detected an association with rare variants in the APOC3 gene that lowers triglyceride levels, an unhealthy type of fat in the blood, said Dr. Leal.
“In order to detect associations with rare variants, due to their modest effects, very large samples sizes are required. In many cases the data from the Exome Sequencing Project gave us leads that had to be evaluated using more study subjects. One mechanism for doing this was by genotyping additional samples using the exome chip, which contains approximately 240,000 coding variants. The Exome Sequencing Project played a very important role in the development of the exome chip, by being the largest contributor of data,” she added.
According to the NHLBI, exome sequencing is an efficient way to search for rare variants associated with complex traits. In contrast to previous genome wide association studies (GWAS), which concentrated on common variants scattered throughout the genome, exome sequencing has the potential to accelerate the search for unambiguous genetic links to disease by focusing attention on the protein coding portion of the genome
In the journal Science**, Dr. Leal and her colleagues wrote that GWAS have substantially improved knowledge about common genetic variation, but have been generally uninformative about the patterns of rare variation within the protein coding regions of the genome.
“This is a very new field for which new methodology had to be developed. We learned many lessons in the quality control and analysis of exome data, as well as what types of results one would expect to see when analyzing rare variants. Additionally, the Exome Sequencing Project has been extremely valuable in obtaining a better understanding of population genomics and the history of man,” Dr. Leal said.
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https://clubalthea.com/2016/12/01/surprising-findings-from-exome-sequencing-project-reported/
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Aloha Airlines Inc., faced with staggering losses since emerging from bankruptcy in February 2006, filed for Chapter 11 reorganization yesterday for the second time in 39 months.
The 61-year-old airline blamed predatory pricing by Mesa Air Group's interisland carrier go!, which began service in June 2006, and record-high fuel prices.
Aloha said its losses swelled to $81 million in 2007 after losing $46 million in 2006 and $41.2 million in 2005. The airline said it lost an additional $11 million in January of this year.
The company reported $215.9 million in assets and $284.9 million in liabilities.
Also filing for bankruptcy were the airline's parent company, Aloha Airgroup Inc., and the California-based company that was formed to bring Aloha out of its 2004 bankruptcy, Airgroup Acquisition Corp.
Aloha said it will seek federal Bankruptcy Court approval of a cash collateral financing arrangement with its main working capital lender, General Motors Acceptance Corp., to let it keep flying.
The airline said it is trying to protect the jobs of its 3,500 employees, honor thousands of passenger travel reservations, keep U.S. Mail and air cargo moving between the islands, and provide ground-handling services for domestic and international airlines serving Hawaii.
Aloha Airlines Inc., unable to survive a cutthroat interisland fare war and record-high fuel prices, filed for Chapter 11 bankruptcy yesterday for the second time in just more than three years.
The state's second-oldest airline, which disclosed it lost $81 million in 2007 and an additional $11 million in the first month of this year, blamed its bankruptcy filing on predatory pricing by Mesa Air Group's interisland carrier go!, which began service in June 2006, and record-high fuel prices that hit $111 a barrel for crude oil last week.
David Banmiller, hired as Aloha's president and chief executive six weeks before the airline filed for bankruptcy on Dec. 30, 2004, lashed out at Mesa, which Aloha is suing for allegedly engaging in predatory pricing intended to drive Aloha out of business. Aloha's lawsuit, scheduled to be heard in federal District Court on Oct. 8, also accuses Mesa of using confidential information obtained as a potential investor during Aloha's first bankruptcy to gain a competitive advantage in the Hawaii market.
"It is a travesty and a tragedy that the illegal actions of a competitor and other factors completely beyond our control have forced us to take this action," Banmiller said. "Through this filing, we hope to achieve a successful outcome that will protect the jobs of 3,500 dedicated employees who have made extraordinary sacrifices for Aloha, and to continue to earn the support of our loyal customers, business partners, vendors and financial backers."
Jonathan Ornstein, chairman and CEO of Mesa, declined to comment immediately on Aloha's filing but said Mesa planned to issue a prepared statement, possibly today. In the past, Ornstein has cited overcapacity in the market from Hawaiian Airlines for some of the problems facing the three carriers.
Last October, Hawaiian won an $80 million judgment against Mesa for using confidential information obtained as an investor during Hawaiian's 26-month bankruptcy that ended in June 2005. Mesa has appealed that decision.
Hawaiian President and CEO Mark Dunkerley said the action taken by Aloha "reflects the difficult operating environment in Hawaii's airline industry. It is extremely challenging and marked by high operating costs, record-high fuel prices and a very competitive pricing structure."
Aloha said it will seek federal Bankruptcy Court approval of a cash collateral financing arrangement with its principal working capital lender, General Motors Acceptance Corp., to enable the airline to continue operating.
Also filing for bankruptcy were the airline's parent company, Aloha Airgroup Inc., and the California-based group that was formed to bring Aloha out of its 2004 bankruptcy, Airgroup Acquisition Corp.
Aloha's bankruptcy filing renewed fears that the Hawaii market might not be able to support three major carriers.
"This is like the shot over the bow regarding the overcapacity in the interisland business, and one way or another, this is going to get resolved," said analyst Nick Capuano, who covers Hawaiian Airlines for Los Angeles-based Imperial Capital LLC. "It's still early in the process, but when all is said and done, I think there's only going to be two airlines left."
Capuano suggested there are a lot of potential outcomes from Aloha's bankruptcy, including a successful restructuring or Aloha working out a deal with another airline.
Gov. Linda Lingle expressed her concern for the 3,500 employees and the sacrifices they have made.
"The continued, uninterrupted service of the airline is in the best interest of the employees, Hawaii residents and visitors, and our state's economy," she said.
Aloha, which said it has in excess of 4,000 creditors, listed the Transportation Security Administration as having the largest unsecured claim at $7.5 million, followed by United Airlines at $5.5 million, Hawaii Medical Services Association at $2.1 million, the state Department of Transportation Airports Division at $1.3 million and law firm Latham & Watkins at $1.2 million.
In its filing, Aloha also reported its revenue slipped in 2007 to $407 million from $416 million in 2006 when it had a net loss of $46 million.
In 2005, Aloha lost $41.2 million on revenue of about $455 million.
Aloha Airlines and two related entities filed for Chapter 11 bankruptcy yesterday.
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http://archives.starbulletin.com/2008/03/21/news/story01.html
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Union organizers are rallying around the recent arrest of IBM executive Robert Moffat on insider trading charges to call for a broader investigation into all the company's heads.
Alliance@IBM, a union that represents a small number of IBM employees, posted an open letter on its website Tuesday asking the US Department of Justice and US Securities and Exchange Commission to launch a probe of all IBM executives. On behalf of current and former employees at Big Blue, the organization is an extremely vocal critic of IBM outsourcing and its downsizing of domestic operations.
"There's been an awful lot of rumor and innuendo over the years from employees who are very concerned that they see IBM taking a turn towards what they believe is unethical behavior and possibly illegal behavior," alliance@IBM national coordinator Lee Conrad told El Reg. "While this can't be proved at this point, there's an underlying feeling that this arrest of Moffat might just be the tip of the iceberg."
Moffat is senior vice president and general manager of IBM's Systems and Technology Group, and before his arrest, he was seen as an heir apparent to CEO Sam Palmisano. He, along with five others, were charged October 16 over an alleged insider trading scheme that investigators said netted $20m in illegal gains.
Moffat is accused of passing information to a portfolio manager at hedge fund New Castle Funds regarding IBM revenues and profits ahead of when the numbers went public in late 2008 and early 2009. IBM has placed the executive on leave following the charges. Moffat's attorney says his client is innocent.
In an open letter posted on its website, Alliance@IBM questions whether Moffat's alleged actions involve more than just one executive at IBM – particularly in light of Moffat being groomed to become the company's next chief executive. Conrad tells us Alliance@IBM has faxed its call to investigate to the SEC and sent it via email to the DoJ. It also plans to distribute the letter to select politicians that oversee large IBM communities, such as in New York and California.
According to Conrad, many IBM employees herald the hiring of former CEO Louis Gerstner in 1993 as the beginning of IBM's loss of respect for its workers.
"What employees feel and what the Alliance feels is that the current crop of IBM executive have pretty much broken faith with the employees and the communities that IBM does business in," he said.
The Alliance@IBM website posted a poll October 19 asking whether readers believe all IBM executives should be investigated for unethical or illegal activities in light of Moffat's arrest. The results, as of publication, are 476 voting yes; 182 voting no; and 1 vote for "not sure." This, of course, is an internet poll on a union website – so the results are almost definitely skewed.
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https://www.theregister.com/2009/10/22/allianceibm_call_for_investigation_executives/
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One of the best ways to stop fraud in the workplace is to establish policies, rules and procedures that let employees know in no uncertain terms that fraud or other unethical behavior will not be tolerated.
What Do Codes Typically Cover?
An organization's Code of Conduct typically addresses the areas such as:
Commitment to all Stakeholders;
Fair Employment Practices;
Positive and Safe Work Environment;
Compliance with the Law;
Accurate and Complete Records;
Properly Recording Costs;
Conflicts of Interest;
Adherence to Antitrust Laws; and
Political Contributions and Activities.
- Source: The Ethics Officer Association
You can start emphasizing ethical corporate culture during initial interviews with applicants. During the interview process, collect as much information as you can on potential employees, including work history and address history (not just current address). Has the applicant moved frequently? Although there can be legitimate reasons, a history of repeatedly moving can indicate more investigation is warranted. If an applicant is reluctant to provide information, this can be another red flag. (However, federal and state laws restrict some of the questions that you can ask about a person's background.)
Though you may be able to glean a lot of information in the interview, this is only the beginning. An ongoing proactive approach to preventing and detecting fraud is important.
Develop a code of ethics that all employees must sign. The document, which can also be made part of the staff handbook, should spell out corrective action that will be taken if the policies are violated.
Of course, not all issues can be covered in a code of ethics. Written rules should be augmented by personal contact. It's important that company executives talk with employees on a regular basis. Being out among staff members can promote good relationships - and help uncover potential fraud before it costs your company a fortune. Remember the "smell" test: If something smells like fraud or unethical behavior, there's a good chance it is.
Companies used to try to keep internal fraud incidents secret, but that's not an effective deterrent. Instead, every time there's an episode, make employees aware that it was dealt with, and if warranted, that the conduct was turned over to law enforcement. Employees should be put on notice that the company is serious about ethics and will deal with violators. It also curtails the "grapevine" that often passes around a distorted version of what happened. Get the basics of the story out - although it's seldom necessary or wise to reveal all the details.
Leading by Example
Establishing an ethical code does little good if upper management looks the other way when unscrupulous actions take place - or if the rules apply to employees but don't apply to executives.
The case of former Boeing CEO Harry Stonecipher illustrates the importance of leading by example. In 2005, Boeing announced that its board of directors asked for, and received, Stonecipher's resignation after it discovered a personal relationship between the married CEO and a female executive at the company.
Boeing stated in a press release that Stonecipher's actions were "inconsistent" with the company's Code of Conduct. "The facts reflected poorly on Harry's judgment and would impair his ability to lead the company," according to the board chairman.
An immediate and comprehensive investigation of the matter was ordered by Boeing's board after receiving information that was sent anonymously to the board chairman and the company's legal and ethics officials. The resignation was not related to the company's operational performance or financial condition. "However, the CEO must set the standard for unimpeachable professional and personal behavior," the board chairman stated.
Boeing officials said the relationship itself did not violate the company's conduct code, but the liaison and some reportedly inappropriate e-mails sent from Stonecipher to the woman did violate a portion of the code that prohibits conduct that can "cause embarrassment to the company."
In recent years, many companies and not-for-profit groups have established ethics or conduct codes. The Sarbanes-Oxley Act generally requires all public companies to adopt a Code of Ethics for the CEO and senior finance officers, but many organizations apply similar rules to all employees.
At the same time, in response to Sarbanes-Oxley, many companies have set up anonymous hotlines and other mechanisms that allow employees to report misdeeds in confidence. In fact, the Boeing Code of Conduct requires employees to report any suspected violations and provides an "Ethics Line" to do so. Retaliation against those who report improper conduct is prohibited under Sarbanes-Oxley.
Like Boeing, companies should hold executives to high standards. If staff members become aware that their leaders are permitted to get away with shoddy principles while lower level employees are held accountable, the damage can be immeasurable. Everything starts with leadership.
(In a future article, we'll provide some ways that companies can train employees on ethical behavior.)
Posted in Fraud & Forensics Group
Disclaimer: The information contained in Dulin, Ward & DeWald’s blog is provided for general educational purposes only and should not be construed as financial or legal advice on any subject matter. Before taking any action based on this information, we strongly encourage you to consult competent legal, accounting or other professional advice about your specific situation. Questions on blog posts may be submitted to your DWD representative.
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https://dwdcpa.com/blog/corporate-culture-helps-to-deter-fraud/
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AMERICAN RARE EARTHS AND MATERIALS, CORP.
CODE OF CONDUCT AND ETHICS
OVERVIEW
This Code of Conduct and Ethics sets forth the guiding principles by which we operate our company and conduct our daily business with our stockholders, customers, vendors and with each other. These principles apply to all of the directors, officers and employees of American Rare Earths and Materials, Corp. (the "Company").
PRINCIPLES
Complying with Laws, Regulations, Policies and Procedures
All directors, officers and employees of the Company are expected to understand, respect and comply with all of the laws, regulations, policies and procedures that apply to them in their positions with the Company. Employees are responsible for talking to their supervisors to determine which laws, regulations and Company policies apply to their position and what training is necessary to understand and comply with them.
Directors, officers and employees are directed to specific policies and procedures available to persons they supervise.
Conflicts of Interest
All directors, officers and employees of the Company should be scrupulous in avoiding any action or interest that conflicts with, or gives the appearance of a conflict with, the Company's interests. A "conflict of interest" exists whenever an individual's private or business interests interfere or conflict in any way (or even appear to interfere or conflict) with the interests of the Company. A conflict situation can arise when an employee, officer or director takes actions or has interests that may make it difficult to perform his or her work for the Company objectively and effectively. Conflicts of interest may also arise when a director, officer or employee or a member of his or her family receives improper personal benefits as a result of his or her position with the Company, whether from a third party or from the Company. Company employees are encouraged to utilize the Company's products and services, but this should generally be done on an arm's length basis and in compliance with applicable law.
All directors, officers and employees of the Company are obligated to disclose potential and actual conflicts of interest as and when they arise. Subject to any pre-existing fiduciary duty which exists prior to the time of becoming a director, officer or employee of the Company, all directors, officers and employees of the Company are prohibited from participating in any transaction that is or may pose a conflict of interest with the Company without the prior written consent of the Company.
If a conflict of interest shall arise, our directors, officers and employees shall act in a manner expected to advance and protect the Company's interests, subject to any pre-existing fiduciary duties. Conflicts of interest may not always be clear-cut, so if a question arises, an officer or employee should consult with higher levels of management, the board of directors or company counsel. Any employee, officer or director who becomes aware of a conflict or potential conflict should bring it to the attention of a supervisor, manager or other appropriate personnel.
Corporate Opportunity
Directors, officers and employees are prohibited from (a) taking for themselves personally opportunities that properly belong to the Company or are discovered through the use of corporate property, information or position; (b) using corporate property, information or position for personal gain; and (c) subject to pre-existing fiduciary obligations, competing with the Company. Directors, officers and employees owe a duty to the Company to advance its legitimate interests when the opportunity to do so arises.
Confidentiality
Directors, officers and employees must maintain the confidentiality of confidential information entrusted to them by the Company or its suppliers or customers, except when disclosure is specifically authorized by the board of directors or required by laws, regulations or legal proceedings. Confidential information includes all non-public information that might be material to investors or of use to competitors of the Company or harmful to the Company or its customers or employees if disclosed.
Fair Dealing
We seek to outperform our competition fairly and honestly. We seek competitive advantages through superior performance, never through unethical or illegal business practices. Stealing proprietary information, possessing or utilizing trade secret information that was obtained without the owner's consent or inducing such disclosures by past or present employees of other companies is prohibited.
Each director, officer and employee is expected to deal fairly with the Company's customers, suppliers, competitors, officers and employees. No one should take unfair advantage of anyone through manipulation, concealment, abuse of privileged information, misrepresentation of material facts or any other unfair dealing.
Protection and Proper Use of the Company Assets
All directors, officers and employees should protect the Company's assets and ensure their efficient use. All Company assets should be used only for legitimate business purposes.
Public Company Reporting
As a public company, it is of critical importance that the Company's filings with the Securities and Exchange Commission be accurate and timely and not contain any known material misrepresentation or omission. Depending on their position with the Company, an employee, officer or director maybe called upon to provide necessary information to assure that the Company's public reports are complete, fair and understandable. The Company expects employees, officers and directors to take this responsibility very seriously and to provide prompt accurate answers to inquiries related to the Company's public disclosure requirements.
Inside Information and Securities Trading
The Company's directors, officers or employees who have access to material, non-public information are not permitted to use that information for stock trading purposes or for any purpose unrelated to the Company's business. It is also against the law to trade or to "tip" others who might make an investment decision based on inside company information. For example, using non-public information to buy or sell the Company stock, options in the Company stock or the stock of any Company supplier, customer or competitor is prohibited. The consequences of insider trading violations can be severe. These rules also apply to the use of material, nonpublic information about other companies (including, for example, our customers, competitors and potential business partners). In addition to employees, these rules apply to an employee's spouse, children, parents and siblings, as well as any other family members living in the employee's home.
Financial Statements and Other Records
All of the Company's books, records, accounts and financial statements must be maintained in reasonable detail, must appropriately reflect the Company's transactions and must both conform to applicable legal requirements and to the Company's system of internal controls. Unrecorded or "off the books" funds or assets should not be maintained unless permitted by applicable law or regulation.
Records should always be retained or destroyed according to the Company's record retention policies. In accordance with those policies, in the event of litigation or governmental investigation, please consult the board of directors.
Improper Influence on Conduct of Audits
No director or officer, or any other person acting under the direction thereof, shall directly or indirectly take any action to coerce, manipulate, mislead or fraudulently influence any public or certified public accountant engaged in the performance of an audit or review of the financial statements of the Company if that person knows or should know that such action, if successful, could result in rendering the Company's financial statements materially misleading. Any person who believes such improper influence is being exerted should report such action to such person's supervisor, or if that is impractical under the circumstances, to any of our directors.
Types of conduct that could constitute improper influence include, but are not limited to, directly or indirectly:
- Offering or paying bribes or other financial incentives, including future employment or contracts for non-audit services;
- Providing an auditor with an inaccurate or misleading legal analysis;
- Threatening to cancel or canceling existing non-audit or audit engagements if the auditor objects to the Company's accounting;
- Seeking to have a partner removed from the audit engagement because the partner objects to the Company's accounting;
- Blackmailing; and
- Making physical threats.
Anti-Corruption Laws
The Company complies with the anti-corruption laws of the countries in which it does business, including the U.S. Foreign Corrupt Practices Act (FCPA). Directors, officers and employees will not directly or indirectly give anything of value to government officials, including employees of state-owned enterprises or political candidates. These requirements apply both to Company employees and agents, such as third party sales representatives, no matter where they are doing business. If you are authorized to engage agents, you are responsible for ensuring they are reputable and for obtaining a written agreement to uphold the Company's standards in this area.
REPORTING ILLEGAL OR UNETHICAL BEHAVIOR
Reporting Illegal or Unethical Behavior
Employees, officers and directors who suspect or know of violations of this Code or illegal or unethical business or workplace conduct by employees, officers or directors have an obligation to contact either their supervisor or superiors. If the individuals to whom such information is conveyed are not responsive, or if there is reason to believe that reporting to such individuals is inappropriate in particular cases, then the employee, officer or director may contact the Chief Executive Officer or the President of the Company. Such communications will be kept confidential to the extent feasible. If the employee is still not satisfied with the response, the employee may contact the chairman of the board of directors or any of the Company's outside directors.
Accounting Complaints
The Company's policy is to comply with all applicable financial reporting and accounting regulations. If any director, officer or employee of the Company has unresolved concerns or complaints regarding questionable accounting or auditing matters of the Company, then he or she is encouraged to submit those concerns or complaints (anonymously, confidentially or otherwise) to the Company's directors. Subject to their legal duties, the directors will treat such submissions confidentially.
Non-Retaliation
The Company prohibits retaliation of any kind against individuals who have made good faith reports or complaints of violations of this Code or other known or suspected illegal or unethical conduct.
Amendment, Modification and Waiver
This code may be amended or modified by the board of directors of the Company. Only the board of directors or a committee of the board of directors with specific delegated authority may grant waivers of this Code of Conduct and Ethics. Waivers will be disclosed to stockholders as required by the Securities Exchange Act of 1934 and the rules thereunder and the applicable rules of the American Stock Exchange.
Violations
Violation of this Code of Conduct and Ethics is grounds for disciplinary action up to and including termination of employment. Such action is in addition to any civil or criminal liability which might be imposed by any court or regulatory agency.
CODE OF ETHICS FOR CHIEF EXECUTIVE OFFICER AND SENIOR FINANCIAL OFFICERS
Attached hereto is the Code of Conduct and Ethics applicable to all directors, officers and employees of the Company. The CEO and all senior financial officers, including the CFO and principal accounting officer, are bound by the provisions set forth therein relating to ethical conduct, conflicts of interest, and compliance with law. In addition to the Code of Conduct and Ethics, the CEO and senior financial officers are subject to the following additional specific policies:
1. Act with honesty and integrity, avoiding actual or apparent conflicts between personal, private interests and the interests of the Company, including receiving improper personal benefits as a result of his or her position.
2. Disclose to the CEO and the Board of Directors of the Company any material transaction or relationship that reasonably could be expected to give rise to a conflict of interest.
3. Perform responsibilities with a view to causing periodic reports and documents filed with or submitted to the SEC and all other public communications made by the Company to contain information that is accurate, complete, fair, objective, relevant, timely and understandable, including full review of all annual and quarterly reports.
4. Comply with laws, rules and regulations of federal, state and local governments applicable to the Company and with the rules and regulations of private and public regulatory agencies having jurisdiction over the Company.
5. Act in good faith, responsibly, with due care, competence and diligence, without misrepresenting or omitting material facts or allowing independent judgment to be compromised or subordinated.
6. Respect the confidentiality of information acquired in the course of performance of his or her responsibilities except when authorized or otherwise legally obligated to disclose any such information; not use confidential information acquired in the course of performing his or her responsibilities for personal advantage.
7. Share knowledge and maintain skills important and relevant to the needs of the Company, its stockholders and other constituencies and the general public.
8. Proactively promote ethical behavior among subordinates and peers in his or her work environment and community.
9. Use and control all corporate assets and resources employed by or entrusted to him or her in a responsible manner.
10. Not use corporate information, corporate assets, corporate opportunities or his or her position with the Company for personal gain; not compete directly or indirectly with the Company.
11. Comply in all respects with the Company's Code of Conduct and Ethics.
12. Advance the Company's legitimate interests when the opportunity arises. The board of directors will investigate any reported violations and will oversee an appropriate response, including corrective action and preventative measures. Any officer who violates this Code will face appropriate, case specific disciplinary action, which may include demotion or discharge.
Any request for a waiver of any provision of this Code must be in writing and addressed to the Chairman of the Board of Directors of the Company. Any waiver of this Code will be disclosed promptly on Form 8-K or any other means approved by the Securities and Exchange Commission.
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http://www.americanrare.com/investors.htm
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July 27, 2006: U.S. Reps. Tim Ryan and Michael Turner Ask Labor Secretary Chao to Maintain TAA Assistance for Displaced Delphi Workers
Washington D.C. - Representatives Tim Ryan (D-Niles) and Michael R. Turner (R-Centerville) recently sent a joint letter to Secretary of Labor Elaine Chao. The Representatives wrote Secretary Chao on behalf of Delphi employees who may accept a buyout offer from the Delphi Corporation.
The Delphi Corporation, which is currently under Chapter 11 bankruptcy protection, seeks to eliminate thousands of employees-many though buyout packages. Representatives Turner and Ryan are concerned that employees that accept buyout offers may not be eligible for federal benefits such as Trade Adjustment Assistance (TAA).
The letter states: "As members of Congress who represent thousands of Delphi employees we encourage you to do everything in your power to see that these workers will be eligible for TAA and all other types of federal assistance available to displaced workers. It is vital that these hard working individuals be eligible for TAA benefits so that they may get the training and job placement assistance they need to be successful and move Ohio's economy into the 21st century."
"These workers, through no fault of their own, face not only the loss of their jobs but, potentially, the loss of affordable healthcare," said Representative Ryan. "We must use every tool at our disposable-including Trade Adjustment Assistance-to ensure that these workers are able to afford health insurance for themselves and their families."
Representative Turner added, "During the past century Delphi played an important role in Dayton's history. My father worked for over 40 years from one of the jobs being slated for elimination at one of the Moraine plants, so I understand what these jobs mean to our community. I have been active in seeking solutions that will allow the company to survive, including leading a delegation to corporate headquarters last year. As the company prepares for the future, and some employees accept buyout offers, it is critical that the government is available to help with training and job placement assistance so workers have the skills and opportunity to work in the future."
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https://timryan.house.gov/press-release/july-27-2006-us-reps-tim-ryan-and-michael-turner-ask-labor-secretary-chao-maintain-taa
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Moral Development Paper Essay Example
Moral development constitutes a psychological adaptation theory on moral reasoning based on ethical behavior. One of the theories used to explain moral development was by Lawrence Kohlberg (1981), a psychologist who developed the theory from Jean Piaget. Piaget outlined a two-stage moral development process, and Kohlberg had six stages with three levels. He claimed that moral development happens throughout a person’s life (Kohlberg, 1981).
On the other hand, ethics describes a set of moral values. Hence business ethics refers to behavior constraints or decisions that affect interests, welfare and expectations of others in a business setting. Therefore, unethical behavior describes unacceptable and illegal behavior. Consequently, business ethics involves a complete personal ethical audit, recognition of the existence of ethical issues that are inherent in a specific situation and the identification of the parties affected. Business ethics codifies and emphasizes the adoption of ethical codes of behavior. The codes reassure trust amongst the government, suppliers, customers, employees and management. The empowerment of ethics is crucial in the post-bureaucratic organizations due to less reliance on the externally imposed rules; they greatly emphasize responsible autonomy (Kohlberg, 1981).
Honesty is considered an attribute of superior leaders, and integrity is associated with having certain convictions. Any desire to follow someone requires the reassurance of trust, ethics, honesty and acceptable principles. Unethical behavior is costly as far as business is concerned. It leads to credibility loss and reduction of the financial remuneration. According to Lewis (1985), unethical behavior by the management translates into negative impacts on their subordinates, who expect total i...
ntegrity from their leaders (Lewis, 1985). Employees are believed to judge by their leaders’ integrity depending on the behavior. Failure of following agreements, cover-ups, the inconsistency in words and actions are strong indicators of dishonesty. This results in corporate values confusion for the employees and may lead to indecisions, conflicts and stress. Kohlberg (1981) claimed that moral crises are a result of breakdown of moral expectations.
According to Trevin%u0303o & Katherine (2007), almost every dimension taken towards acheving satisfaction in a job is negatively related to unethical behavior perceptions in a company. They contend that managers will achieve satisfaction in their jobs through the reduction of opportunities of unethical practices in their companies. In other words, they attempt to encourage ethics at an industrial level. In the prevention of unethical behavior, many companies will tend to create Code of Ethics, which is enforced to cover any conflicts, promote customer, government and competitor relationships, and facilitate the control of the government, assets as well as an enhancement of good judgment (Trevin%u0303o & Katherine, 2007).
In most cases, management does not have a clear outline of the ethical behavior in certain situations, a factor that makes workers unable to distinguish between right and wrong behaviors. Lewis (1985) warns of the danger of committing small unethical actions, whose eventual consequences are detrimental unethical practices.
Teaching of business ethics
Studies show that many companies prefer economic imperatives to moral imperatives. This is usually illustrated by the argument of bad apples. The greatest percentage of the unethical behavior is due to individuals who initially did not learn ethics from family, schoo
or even from their employers, popularly referred to as “bad apples” (Furnham & Taylor, 2011).
Effects of Bad Apples in an Organization
Bad apple theory states that people are either good or bad, and the organization is powerless in changing them. The unethical conducts are associated with few individuals of poor character. Despite it is being unfair for any organization to fire its employees; the organization can identify few of the bad apples and discard them to avoid the rotting of the entire apple. A good general character is not a warrant of being able to deal with ethical problems. Training is critical for one to be able to recognize any ethical problem related to their occupation (Furnham & Taylor, 2011).
Unethical people can never achieve a business, which is ethical. In explanations, bad apples are considered people who join an organization having either good or bad morals. The organization usually has minimal influence on their morals. The idea of bad apples hass a psychological appeal since people believe that badness is usually in other people who may be ‘removed’. This is considered a scapegoat and attribution error (Furnham & Taylor, 2011).
On the other hand, social scientists argue that poor definition of character contributes to weaknesses in the description of bad apples. Unethical personality is immeasurable, and many behave unethically due to several factors. People will often search for clues on how to be ethically behaved (Furnham & Taylor, 2011).
Moral Intelligence
Moral intelligence refers to the mental capacity in the determination of human principles. These principles include integrity, responsibility, forgiveness, and compassion. Studies show that moral intelligence is different from the technical, cognitive and the emotional intelligences (Trevin%u0303o & Katherine, 2007 and Lewis, 1985).
It encompasses the universal human principles, which are not based on ethnicity, gender, religion, or even culture, and instead they are applicable to the personal values, actions, and goals. The neuro-scientific advances in brain mapping indicate that people are born morally upright. The repercussions of loss of trust, honesty and confidence lead to huge business losses like the decrease in the capitalization of the traded stock to over $1 trillion (Lewis, 1985). Moral intelligence requires nurturing in the initial stages by family members or guardians. The achievement of an organizational as well as personal success that is sustainable calls for moral competence. This is an outgrowth associated with “living in alignment,” interconnecting the moral compass of an individual. These include the behaviors, emotions, external actions, and goals, which influence one’s beliefs, values and moral principles. Alignment living refers to the consistency of a person’s behavior with the goals and moral compass and requires a comprehensive understanding and edifying of every component, so that alignment is maintained in the components. Additionally, moral competence is enhanced throughout a person’s life and is reflected in the behavior (Lewis, 1985). In business organizations, the environment should be characterized by responsibility, integrity, forgiveness, and compassion. These are moral intelligence applications in real life.
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https://studyhippo.com/moral-development-paper/
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Unethical behavior appears to be pervasive in most organizations. For example, between 47% and 81% of workers around the world saw, in recent times, coworkers engaging in unethical behavior . These unethical behaviors are estimated to cost organizations around the globe more than $4.5 trillions per year.
Although we have our preferred ways of doing things, we tend to act within certain boundaries or ranges of ethical behavior. At work, the environment that surrounds us is the invisible hand that shapes how ethical or unethical we actually behave. Indeed, despite our unique characteristics, unethical behavior tends to rise under certain work environments. For example, large scale studies show that if you work in a place with a weak ethical culture that pressures you to bend the rules, the instances of unethical behavior more than double. People often behave unethically not because they have a faulty character, but because they have a faulty work environment that could be improved. Not always, but frequently.
These scientific findings do not legitimize nor justify unethical behavior. They simply tell us that there are some work environments and practices that have ethical costs. In this article, we will understand why some work environments and practices cause unethical behavior, and discuss tested ways to tackle the issue.
Table of contents
- Work environments that cause unethical behavior
- Intense performance pressure
- Strong socialization programs that increase your identification and loyalty with the organization
- Role conflict
- Competition
- The ethical culture of the organization
- How to prevent unethical behavior in your workplace
- Structural approaches to prevent unethical behavior
- Remove available justifications for unethical behaviour
- Give people training on how to deliberate and time to do it
- Focus on the process and on learning goals
- Implement monitoring systems that maintain freedom of choice
- Values-based approaches to prevent unethical behavior
- Conclusion
- References and further reading
Work environments that cause unethical behavior
Intense performance pressure
One of the most established findings in social sciences is that having difficult, yet attainable, goals enhances our performance compared to being told to do our best, having no goals, or setting easy ones. This sounds helpful and harmless enough, but some organizations have pushed goal-setting to a detrimental level.
For instance, many managers keep challenging people with ever more difficult performance goals once the previous ones have been achieved. The caveat is that increasing performance goals consecutively or having, by default, demanding goals to achieve can enhance both performance and unethical behavior .
Being requested to systematically perform at your peak is demanding and consumes substantial personal resources – for example your energy and focus. You end up with the job done. But you also end up exhausted. When you find yourself fatigued or with limited resources, your capacity to identify an ethical issue, regulate your behavior, and engage in complex ethical reasoning is limited. As a consequence, the possibility of engaging in unethical behavior goes up.
Intense performance pressures can also activate a preventive mindset in some people. That is, when goals are extremely difficult to achieve or expectations too high, some may engage in risky behaviors to prevent goal failure and the associated negative consequences . Among those risky behaviors are unethical and illegal behaviors.
Also, when we focus on high performance goals too much we can become shielded from other aspects of the situation, particularly ethical ones. A shielding focus helps you allocate your cognitive and motivational resources to the goals you want to achieve. However, it can also blind you to the ethical implications of your behaviors.
Intense time pressure to achieve a goal can also increase unethical behavior. Research indicates that in tempting situations, where we can easily lie or deceive others, our automatic and immediate response is to serve our own interests and engage in unethical behavior. We can overcome this tendency by deliberating about the right thing to do, remembering our moral values, talking to others about ethical options, establishing an action plan, and implementing it . This process takes time and requires resources. When we lack the time to engage in this time consuming process, we are left with our more automatic tendency to behave unethically.
Intense and fast-paced cultures with constant demanding goals tend to boost performance but also have ethical costs. If you feel worn down by consecutive high performance goals and unable to cope with all the requests of your job, you may be (unwillingly) pressured by your workplace to behave unethically.
Strong socialization programs that increase your identification and loyalty with the organization
To ensure that you are fully adjusted to the company, most organizations have strong socialization programs in place. If you are new to a job, it is common to have the guidance of a company’s trusted mentor, or to attend training sessions on the day-to-day operations of the company. If you have been with the organization for a while, team building exercises, after work parties, and peer support systems are common ways to consolidate your relationship with the company.
These practices are important because they help you understand what you are supposed to do in the company, increase your confidence in your own ability and competence to do the job, create the foundations for other people to accept and integrate you, and enhance your commitment, loyalty, and identification with the organization. These programs also have several ethical-related benefits. For example, when you are committed to and identified with your company you tend to cooperate more with others, instead of intentionally undermining your colleagues to achieve personal gains.
The downside of some of these programs is that they can leave you over-identified with the company. You may end up seeing the successes of the company as your own, and take criticisms or praises to the company personally. In some cases your own identity as a person and the identity of the company become one. In our years of consulting, we have seen multiple instances of over-identification: a company logo tattooed in the leg of an employee, and a worker never requesting reimbursements for work-related expenses are some examples that come to mind.
When you identify strongly with an organization you may engage in unethical behaviors with the intent of “helping” the company. For example, you may choose to disregard your personal ethical standards if you believe that cutting some corners benefits the company. You may also withhold negative information about how a project really goes if that can help the company to make an important sale. You may even cover up important ethical violations from your company, such as over-billing clients or privacy breaches, if you believe that disclosing that information could hurt the company.
These examples illustrate why over-identification frequently leads to unethical actions. When identification becomes too strong, you have easy access to a series of dysfunctional justifications to “help” the organization with unethical actions. These justifications are particularly problematic because they attenuate the natural distress we feel when we compromise ethical values, leaving us even more prone to unethical behavior.
Research also shows that you are more likely to derail ethically when, on top of being overly identified with your company, you also believe that your “loyalty” will be reciprocated in kind or with favors. For example, you may believe that if you cover up unethical behaviors from your company, they will help you out if you have a difficult personal issue or will put you upfront for a promotion.
Role conflict
We all have multiple roles in our personal lives and at work that are important to fulfill. For example, at work we want to do our share of work, support colleagues when they need help, and ensure that we are polite and responsive to the people with whom we speak. In our personal lives we may want to be good friends, or helpful community members.
In many instances we can fulfill these roles harmoniously. However, we sometimes find ourselves in situations where the demands of one of our roles hinder the fulfillment of another role. In such cases, we face a conflict between roles.
You might experience role conflict when you miss the birthday party of your partner because of an emergency at work; or when your job asks you to achieve incompatible goals, such as thoroughly answering customers’ queries while at the same time reducing time spent with customers. You might also face role conflict when your personal moral standards clash with a work request (for example, selling a toxic stock); or when the values of your job are at odds with the values of your profession – for example, while physicians should use the most accurate and safe methods available to diagnose and treat patients (professional role), hospitals may ask them to use outdated procedures or materials due to financial constraints (employee role).
These and other sources of role conflict are a significant source of strain for most of us. When we experience anxiety, tension, or other forms of strain, our defense system kicks in and we look for ways to cope with the undesirable experience. Some coping strategies to deal with role conflict are more ethical than others . For example, when you experience role conflict you can choose one role over the other, or you can compromise and do a little bit of both roles. Both options are ethical if your choice or compromise is legitimate and is communicated to the people involved. However, you can also do neither role and simply avoid the issue, or you can do one role and say that you also did the other (by lying or misreporting, for example) – both questionable approaches from an ethical standpoint.
The unethical pathway to deal with role conflict has a further perverse twist due to the illusions it creates. Specifically, by doing one thing and reporting that you also have done another you are creating the illusion, in yourself and others, that you are extremely competent at work. Although this protective approach might reduce strain in the short term, it tends to become an additional source of strain in the long run, as the consequences of the unethical behavior start to pile up.
Competition
Both stiff competition and no competition have the potential to increase unethical behavior. When there is no (or weak) competition, there may be the temptation to engage in abusive and unethical practices . For example, people and companies might deviously eliminate any potential form of competition, make large profits that are not balanced out by the market or by other professionals in the company, or even lie about their dominant status to avoid audits, regulations, and public judgments.
However, it is rare to be in a position without substantial competition and, in some cases, resources are so scarce that competition becomes stiff. Although competition motivates people to go the extra mile and work harder, and firms to innovate and improve quality; it also increases unethical and dishonest behavior. For example, competition tends to increase firms’ engagement in illegal activities and tax evasion, as well as employees’ use of deception, unethical negotiation tactics, and performance over-reporting .
Competition can increase unethical behavior for many reasons. First, the more competitive an environment is, the more effort will be required to gather the resources needed to achieve a goal. If people feel that the company does not provide them with legitimate resources and training to succeed in a competitive environment, they may start looking for any strategy (ethical or unethical) that might balance things out. Those who are starting out may feel entitled to cheat because they feel the environment is not supporting their development; and experts may feel tempted to cheat to have a small advantage in a ruthless competition.
Second, highly competitive environments can enhance unethical behavior because we can perceive them as a threat. When people are under threat, they tend to defend themselves by, for example, prioritizing their own interests in detriment of ethical considerations. Being aware of this is particularly important given that we perceive many things as a threat in competitive environments. For example, companies often adopt practices known to be threatening (tournaments for promotions, revenue generation prizes, sales competitions). As another example, an organizational change or transition (such as a CEO change or a redundancy analysis) can threat your current position, your power, your goals, your family’s sustainability, and even how competent you see yourself (for example, if you have to learn something in an area you do not excel). Large scale studies show that observed unethical behavior more than doubles when companies start implementing substantial changes.
Third, fierce competition can frustrate your innate psychological needs, leading to dysfunctional compensations. For example, people who are at risk of exclusion tend to engage in unethical behavior that benefits the company just to be accepted again. Similarly, when people are very loyal and committed to their company, external competition presses them to cheat in order to help the company. Finally, when the psychological need of competence and mastery is frustrated, many protect their feelings of competence by over-reporting performance.
The ethical culture of the organization
Most companies have a set of beliefs, values, and assumptions that guide how ethically things are done around there. That is, in a nutshell, the ethical culture of the company . It taps into multiple aspects that can be more or less visible – while leaders’ ethical behaviors are pretty visible to everyone; the ethical values, ideologies, and aspirations can be a bit more difficult to spot and understand; and unconscious ethical assumptions are even more difficult to decipher.
These different aspects of an ethical culture are deeply intertwined and we tend to derive information about the deep-rooted aspects from the more visible ones. For example, a leader who thinks that “it is a tough world out there” (mostly a hidden assumption) may set highly competitive goals to avoid loafing and often declare “everyone for himself” (actual behaviors and visible values).
Ethical climate, leadership, language used, and codes of conduct are aspects of the company culture that have important ethical ramifications.
Ethical climate
Ethical climate is, in part, a manifestation of culture and reflects what most company members believe correct behavior is. As such, as long as you share that belief, when you face an issue with ethical ramifications, the ethical climate of your company influences the paths you consider and what you end up doing.
Until now, researchers have uncovered three major types of ethical climates: egoistic, benevolent, and principled. In egoistic climates, self-interest prevails over ethical considerations and the impact unethical behavior might have on others. In benevolent climates there is a deep care about most company’s stakeholders, including collaborators, clients, and the broad community. In principled climates, people truly believe in the importance of following the company’s ethical procedures and standards. Based on these descriptions, it should come at no surprise that multiple studies have found that egoistic climates open the door to unethical behavior, and that benevolent and principled climates foster ethical conduct.
Principled and benevolent climates can also stimulate unethical behavior when taken too far. We have already seen that a deep care and identification with the company might lead to unethical behavior intended to help the company.
Principled ethical climates ensure that everyone follows guidelines, rules, and procedures in the workplace. However, complying with the standards of a principled ethical climate does not guarantee ethical excellence. It is just a starting point to achieve a moral minimum and, in many cases, it is done simply to avoid sanctions and for self-protection. For virtuous and ethical behavior, you also benefit from reflecting and understanding the intent behind the rules. Only then you can consistently transcend egoistic motives and do what is best for everyone. Unfortunately, we have seen many companies unintentionally undermining the benefits of the ethical climate they worked so hard to achieve. Practices like not providing a rationale for a new policy, and amending policies without giving time for people to reflect and consider the consequences of those changes, pressure people to blindly follow procedures.
Leadership
The behaviors we all have at work are not innocuous, particularly those from people in leadership positions. Due to their formal position, leaders are under constant scrutiny. Employees look at them for clues on what is right and wrong, and in many instances replicate what they do. You may find yourself looking for leadership clues on what is ethically sound on aspects like :
- What do leaders pay attention to on a daily basis (only performance goals, or performance goals and ethical goals);
- How do leaders react in a crisis (ethically or bending the rules);
- To whom and how leaders allocate resources (to the ones engaging in questionable practices or to those who are playing by the book);
- To what extent leaders themselves display the ethical behavior they are asking from employees, or whether there is a double standard;
- To what extent leaders blindly follow procedures, or whether they make sure they also understand and accomplish the intent underlying those procedures;
- To what extent leaders are prudent on their decisions, reflecting on the ethical ramifications of their decisions, or whether they act impulsively and without care for ethical and moral standards;
- To what extent leaders’ decisions are based on formal guidelines and explicit policies or on personal preferences and favors.
Based on the information extracted from leaders’ ethically-relevant behaviors, people get a picture of the company’s ethical culture and start following its prescriptions on the procedures, policies, and practices to be followed. For example, it is well established that when leaders behave egoistically and unethically, they promote unethical behavior in the workplace . By focusing mainly on their own interests, unethical leaders stimulate the perception that the company emphasizes self-interest and end up encouraging people to make decisions based on their own self-interest. Self-interest becomes the cultural value, self-interested decisions the norm, and the ethical consequences of such decisions secondary, if not irrelevant.
In the video below, Professor Edward Freeman shares some additional ways on how to contribute to an ethical culture as a leader:
Language
The language used in each organization is also part of its culture and a reflection of it. The language we use creates our reality, molds what we see, and can both limit and expand our ethical options.
In some instances, people and organizations, directly or indirectly, legitimize questionable practices by using euphemistic language that sanitizes unethical behaviors and practices . For example, instead of “massive layoff” you may hear “right-sizing” or “redundancy reduction”. Instead of “we used the profitable years’ surpluses to balance earnings during this tough year” you hear “we relied on our cookie jar reserve”. Euphemisms turn an ethical issue into an ordinary business practice, disguise the reasons for the unethical behavior, and make the identification of the ethical issue less likely.
Even worst, ethically sanitized language can gradually erode your own ethical standards . When you use euphemistic language, unethical behavior is not framed as an ethical issue and it can go unnoticed under your ethical radar. As a consequence, you may begin to consistently engage in unethical behaviors, without intention or even awareness. However, when you use language that describes the unethical behavior accurately, your ethical radar is more likely to be triggered and you are more likely to do well. After all, the large proportion of us wants to behave ethically and to put forward our best behavior.
Codes of conduct
Culture can also promote ethical or unethical behaviors via formal codes of conduct. When present and enforced, codes of conduct specifically highlight appropriate and inappropriate behavior. These codes tend to work relatively well because most of us judge what is right or wrong based on the expectations of others and on explicit policies and rules. Very few people develop a reliable, universal and consistent code of ethical principles that guide their behavior and that focuses on respecting both their rights and the rights of others. Thus, for the majority of us, an explicit code of conduct that is actually embraced and implemented by everyone in the company pushes us away from behaving unethically.
However, these codes of conduct can become detrimental. For example, a well-written code of conduct that is not consistently enforced can actually enhance unethical behavior. By not enforcing a code of conduct, you are basically giving people a step-by-step guide on how to engage in unethical behavior.
The formal codes can also backfire when the different aspects of the ethical culture of the company are not fully aligned. For example, large scale surveys indicate that people report more than ever the unethical behaviors they see – that is, they comply with the formal codes most organizations have nowadays. However, these surveys also show that retaliation against those who report misconduct doubled in recent years, which suggests that while compliance with ethical codes may be increasing, non-compliance seems to be increasing as well. This misalignment creates a tension between what is written and what is actually done that weakens both the ethical culture of the company and our will to comply with the formal code.
How to prevent unethical behavior in your workplace
Pressures from your workplace, or those that you put on yourself, and many motivation-enhancing practices can make you derail and engage in cheating, lying, deceiving, and other forms of unethical behavior. Researchers have identified two complementary approaches to prevent unethical behavior in the workplace: structural and values-based approaches.
Structural approaches seek to improve companies’ practices in order to reduce the likelihood of unethical behavior and boost ethical action. Values-based approaches are the reminders and actions we can all put in place to reduce unethical behavior and improve the probability of ethical virtue.
Below is a list of simple but evidence-based strategies that have been shown to prevent unethical behavior and stimulate ethical excellence.
Structural approaches to prevent unethical behavior
Remove available justifications for unethical behavior
Large scale studies indicate that having a reasonable justification to behave unethically is the strongest factor leading people towards unethical behavior. This happens because when justifications for unethical behavior are available, most of us can maintain our honest person image and see our conduct as less severe or even rightful. Extreme performance pressure, excessive time pressure, conflict between roles at work, as well as having an unethical leader, a culture were unethical behavior is rewarded or ignored, and stiff competition are examples of organizational structures that people frequently use to justify their own unethical behavior.
To remove the availability of these justifications companies can, for example:
- Eliminate specific role activities or redesign work roles so that they stop clashing;
- Provide the necessary resources to achieve a goal (for example, time and budget);
- Establish, with the participation of those doing the work, reasonable time frames to finish a task;
- Provide the necessary training to those starting out so they can feel supported;
- Provide training on moral reasoning and ethical virtue to leaders and to those with leadership potential/aspirations;
- Develop and enforce a code of ethical conduct, explaining why the code is in place and the reasons behind updates, while also giving the necessary time for people to reflect on and understand the nuances of the code;
- Develop and implement a set of clear and reasonable rules for promotions and pay raises, focused both on performance expectations and ethical conduct;
- Put in place systems that foster an ethical climate and culture, such as easy to follow protocols to confidentially report unethical and illegal behavior (and ensure the system is not being unethically used to harm employees – for example by relying on multiple reports);
- Identify and remove conflicts of interest in the execution of a task;
- Align company practices with professional and occupational ethical standards.
Give people training on how to deliberate and time to do it
By reducing the time you have available to ponder about ethical issues, companies with a fast-paced culture end up evoking your more automatic responses of self-interested unethical behavior .
In the real world, allocating time for systematic contemplation of ethical issues is unfeasible for many companies. Nevertheless, most can easily put systems in place that can foster ethical reflection and support ethical decisions. For example, your company can instill a “sleep over it” policy for consequential decisions and ensure that decisions with ethical ramifications are analyzed, debated, and approved by multiple members of staff. Training on ethical decision-making and ethical leadership also tends to reduce the incidences of unethical behavior at work. As such, it tends to be a beneficial practice that most companies can adopt.
Focus on the process and on learning goals
Unethical behavior increases when companies are focused on performance goals (ask people to do better than others). The level of unethical behavior gets particularly high when companies give feedback based on employees’ performance rankings and performance goals are difficult to achieve.
However, when companies ask people to continue learning, to keep improving professionally, and to be better than before (learning goals), unethical behavior is reduced drastically (even when goals are difficult) . Learning goals and opportunities tell you that success is measured both by results and by the ways it was achieved, and direct your attention towards the work to be done, not the end result to be achieved.
In our consulting experience, we have also noticed that, in some cases, an excessive focus on learning goals can lead people to lose focus and engage in unproductive work. Further, a former MBA student, already with a strong learning orientation, mentioned that improving his skills was a professional and moral duty to him. He felt that setting learning goals with the company was sometimes counterproductive, as he often would perceive them as patronizing and even below his own standards. Although these exceptions are unlikely to have unethical consequences, keep these nuances in mind so you can fine-tune your company’s practices.
Implement monitoring systems that maintain freedom of choice
Monitoring people at work is another approach that tends to reduce unethical behavior in the workplace. This happens because monitoring systems (recording calls and video surveillance, for example) signal that unethical behavior will be detected and wrongdoers held accountable. However, some monitoring and surveillance systems are so invasive that they end up backfiring.
As human beings, we intrinsically value autonomy and freedom of choice. When we sense that we are being controlled by a monitoring system, we tend to lose our sense of autonomy and start complying only when the system is watching us. Yet, when we keep our freedom of choice and are simply reminded to be our best selves, the majority of us ends up complying with the formal regulations. Not everyone, but many. We have seen many companies achieving this with something as simple as having the ethical values of the company hanging around the company facilities. Other companies remind staff members of their values by allocating time to discuss the ethical paths to difficult decisions.
Invasive monitoring systems can also reduce how much you take ethical considerations into account at work. When your calls are recorded or your email checked by monitoring systems, you receive signals of mistrust and are leaded to think about the costs and benefits of each decision you make. If your decisions are aligned with the procedures being monitored you are rewarded, if not, you are penalized. In fact, research shows that monitoring systems make you think less about the right thing to do (ethical considerations) and more about the costs and benefits of what you do (business and profit considerations). When you think mainly about averting penalties and collecting rewards, you reflect less upon how ethical your decisions are, and the possibility of unethical behavior rises.
Monitoring and surveillance systems, thus, need to be carefully planned. The successful ones tend to not only create the right conditions for ethical behavior (communicate ethical values, and motivate ethical reflection, for example) but also allow freedom of choice. Many companies have come up with very simple, yet effective, monitoring systems. For example, some companies reimburse work-related expenses with a per-diem allowance, instead of requesting a report of expenses. A reasonable per-diem allowance reduces the possibility of unethical behavior (you cannot over-report) and gives you freedom to make your own decisions within the budget.
If you want to know more about the structural approaches you can put in place in your company to prevent unethical behavior, watch the following interview to Francesca Gino, a Harvard Professor:
Values-based approaches to prevent unethical behavior
We have seen how important it is to work in environments that are filled with approaches boosting ethical virtue and devoid of the ones that enhance unethical behavior. However, not all of us work in such environments. Fortunately, you do not have to fall prey to an environment that adopts practices with ethical costs. You can also be the architect of a more ethical conduct at work by adopting a few reminders and practices yourself.
Proactively seek ethical examples
Faulty company cultures send the message that success is more important than the means used to obtain it and, as a consequence, increase the risk of unethical behavior. Nevertheless, even when the culture of your company falls behind your ethical expectations, you can proactively search for and learn from ethical examples.
For instance, you can identify ethical role models inside the organization and familiarize yourself with the practices they adopt. Also, it is typical for an organization to have multiple sub-cultures. You can get in touch with and learn from those that are both productive and ethical.
Become a member of multiple social groups
Too much organizational identification can lead to wrongdoing with the intention to help the company.
If you feel you are excessively identified with your company, try to slowly but steadily build other pillars for your identity. Since your identity is substantially derived from your memberships to social groups, if you are over-identified with your company you can develop new memberships to balance things out. For example, start connecting with people and bringing new friends into your life who do not work in your company, recover a hobby that you loved or find a new one, or find a skill that you personally would like to master and work on it.
These activities build more pillars that can sustain you as an ethical person when you have tough calls in your organization. For example, being part of multiple groups exposes you to other ethical considerations that a single membership can shield you from. In fact, research shows that identifying with multiple groups is an important source of meaning, resilience, support, and well-being.
Frame issues at work as ethical issues
The way you frame issues at work has important ethical implications. Researchers have started to document the effects of framing on unethical behavior, and discovered that some of them are subtle.
For instance, researchers found that a 75% chance of losing a commission leads to more unethical behavior than a 25% chance of gaining a commission. This means that when faced with the exact same issue at work, you are more likely to behave unethically if you look at it as a loss instead of as a gain. This happens because humans are particularly sensitive to losses and try to avoid them as much as possible, sometimes engaging in unethical practices to do so. Also, when you make a “business” decision you are more likely to behave unethically, compared to when you make an “ethical” or a “community” decision. What this means is that by looking at an issue with ethical lens, you bring to your attention information that would otherwise be hidden and you have the opportunity to act upon it.
What these examples tell you is that the simple technique of reframing an issue can make you avert unethical behavior and push you towards ethical choices. This happens even when the initial framing that was presented to you had the potential to make you derail ethically.
Increase your self-awareness
By being aware of the practices that can sway you into doing something you do not want to do or something that will eventually hurt your company, you are already a step ahead of unethical behavior.
Nevertheless, you can take a step further to avert unethical behavior by increasing your self-awareness. Truly self-aware people clearly understand themselves (private self-awareness), how others see them (public self-awareness), and their environment (awareness of surroundings) . This means that self-aware people balance and reflect on multiple pieces of information. For example, they:
- Understand and act according to their own ethical values, beliefs, and aspirations;
- Understand their strengths and weaknesses, as well as the range of their knowledge and talents;
- Reflect on how their cognitive processes and emotional reactions affect their decisions with ethical consequences;
- Manage their emotional reactions and cognitive biases at work, so that ethical behavior is more likely;
- Understand their impact on others and, as such, show their values and beliefs consistently and accurately;
- Identify the pressures and practices at work that can make them derail ethically;
- Look for the more hidden and unsuspected causes of unethical behavior that may be in place at work.
Given this, it comes at no surprise that research indicates that the more self-aware you are, the more you make sound decisions, show self-control when tempted to behave unethically, show ethical strength in face of difficulty and pressures to bend the rules, and take restorative measures to compensate for previous unethical behavior.
Self-awareness seems a lot of work, particularly if you are not naturally inclined to practice it. However, research uncovered simple things you can easily apply to boost your self-awareness and ethical behavior. For example, looking at a mirror tends to make you more self-aware and less likely to derail ethically. If you are not sure about the ethical implications of something you are about to do, try to look at a mirror and ask yourself “is this the right thing to do?” or “is this aligned with my values?”.
Affirming to yourself the ethical values you endorse has also been shown to make you more self-aware and ethical at work. Thus, make sure you have set your ethical values and that you can easily remind yourself of them (keep them in a place where you can review them frequently, for example). Also, when you are pressured to behave unethically, you can take a step back and reflect on your previous ethical achievements at work, or in other life areas. This reminds you of your best behavior and musters in you the courage to face the ethical issue.
Despite all the benefits of self-awareness, it is important to note that it also has some dysfunctions. When overdone self-awareness can, for example, make you feel depressed, alienated, ruminative, obsessively worried about mundane experiences, unmotivated, and overly critical of your behavior. So, if you are taking self-awareness too far, try to temporarily distract yourself with something you enjoy doing, and focus on what you can do now to address the issue that is troubling you and to ensure it won’t happen again.
Here’s a video, from Professor Alexander Wagner (University of Zurich), on the importance of being aware of our values to dodge unethical behaviour at work:
Conclusion
Performance goals and time pressure, strong socialization programs leaving people over-identified with the company, conflict between one’s roles, excessive and no competition, and an unethical company culture are potent causes of unethical behavior in the workplace.
Thus, an effective way to prevent unethical behavior at work is to implement a series of structural changes in your company’s environment (practices, culture, climate, leadership).
If you are not fortunate enough to work in an ethically friendly environment, you can still avert unethical behavior by adopting simple but effective practices, like seeking other ethical models and improving your self-awareness.
Facing some sort of workplace environment or practice that puts you in danger of drifting ethically is almost an inevitable by-product of working. Hopefully, the information and tools we discussed in this article can give you a head start on environments and practices pushing you towards unethical behavior.
As always, we thank you for trusting your time with ManagingLifeAtWork.com. Until next time, keep behaving ethically at work.
References and further reading
- ^ a b Ethics & Compliance Initiative. (2018). “Global business ethics survey – 2018“. Ethics & Compliance Initiative.
- ^ Ratsula, N., Romberg, A., and Kvamme, H. (2019). “Nordic business ethics survey 2019” (p. 37). Nordic Business Ethics Network.
- ^ Association of Certified Fraud Examiners. (2020). “Report to the nations – 2020 – Global study on occupational fraud and abuse“. Association of Certified Fraud Examiners.
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- ^ a b Ethics & Compliance Initiative. (2020). “Global Business Ethics Survey – 2020“. Ethics & Compliance Initiative.
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- ^ Schweitzer, M. E., Ordóñez, L., and Douma, B. (2004). “Goal setting as a motivator of unethical behavior“. Academy of Management Journal, 47, 422–432.
- ^ a b Welsh, D. T., and Ordóñez, L. D. (2014). “The dark side of consecutive high performance goals: Linking goal setting, depletion, and unethical behavior“. Organizational Behavior and Human Decision Processes, 123, 79–89.
- ^ Gino, F., Schweitzer, M. E., Mead, N. L., and Ariely, D. (2011). “Unable to resist temptation: How self-control depletion promotes unethical behavior“. Organizational Behavior and Human Decision Processes, 115, 191–203.
- ^ Mishina, Y., and Dykes, B. J. (2010). “Why “good” firms do bad things: The effects of high aspirations, high expectations, and prominence on the incidence of corporate illegality“. Academy of Management Journal, 53, 701–722.
- ^ a b c Welsh, D., Bush, J., Thiel, C., and Bonner, J. (2019). “Reconceptualizing goal setting’s dark side: The ethical consequences of learning versus outcome goals“. Organizational Behavior and Human Decision Processes, 150, 14–27.
- ^ a b Moore, C., and Gino, F. (2013). “Ethically adrift: How others pull our moral compass from true North, and how we can fix it“. Research in Organizational Behavior, 33, 53–77.
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- ^ a b Shalvi, S., Eldar, O., and Bereby-Meyer, Y. (2012). “Honesty requires time (and lack of justifications)“. Psychological Science, 23, 1264–1270.
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https://managinglifeatwork.com/work-environments-that-cause-unethical-behavior-and-what-to-do-about-it/
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Nonprofits & Ethics Codes
Do nonprofit organizations need there own code of ethics? Maybe, indeed it is not uncommon for nonprofits to develop a code tailored to their needs. Consider the Children’s Board of Hillsborough County (CBHC), Florida. The CBHC experienced an executive leadership crisis triggered by $500,000 in no-bid contracts that went to people with connections to the CBHC, accusations of low morale among employees that included a culture of retribution, and media charges of a bloated agency that was saddled by high administrative overhead costs. Enter the fix—former Tampa Mayor Pam Iorio was hired as the Interim CEO who quickly set about downsizing the workforce and drafting a code of ethics. The code was adopted on January 24, 2013.
Here are selected features: (The full code is online at http://www.childrensboard.org/#!code-of-ethics/c172l)
I. Statement of Ethical Standards that calls for employees to “uphold the law, safeguard the public’s money, be held accountable for a job well done, regard public service as an honor . . . and always place our mission of bettering the lives of the children in Hillsborough County in the forefront of our daily work and decision making.”
II. Asserts Children’s Board employees must never: (10 items)
Be untruthful.
Use public employment for private gain.
Show disrespect to any member of the public.
Lack impartiality.
Discriminate against or harass anyone.
III. Prohibits employees from (15 items)
Accepting gifts in the performance of official duties.
Wrongfully and intentionally destroying a public record.
Divulging any information other than public information . . . to gain personal advantage.
Borrowing or lending money to any employee.
Making sexual advances, requests for sexual favors . . . or engaging in verbal or physical conduct of a sexual nature including, for example, sexual jokes or gestures regardless of whether such conduct is consensual.
Having close personal relationships with subordinate personnel.
IV. Procurement (5 items)
The Children’s Board will spend the taxpayer’s money wisely.
All procurement will be done competitively and fairly as required by the adopted procurement procedures.
No employee shall engage in communications with bidders or bidders outside of the procurement process on the subject of a pending procurement.
V. Employment (9 items)
Hiring will be done on the basis of qualifications and experience without discrimination of any kind.
Relatives of an existing Children’s Board staff or Board member will not be hired.
Supervisors and employees are prohibited from taking any retaliatory personnel action against a fellow employee for disclosing an activity of the Children’s Board that is in violation of a law.
Any employee who knowingly files a false complaint against a fellow employee will be subject to disciplinary action up to and including termination.
Employees must sign a document acknowledging that they have received the code and agree to comply with its requirements.
The reader should note that a statement of values with an emphasis on–integrity, excellence, teamwork, and respect–accompanies the code.
Questions to Ponder:
1. Is this code sufficiently inclusive? Does it omit anything significant? Is it too specific? Why or why not?
2. Will it encourage ethical behavior and discourage unethical behavior?
3. Could it produce a “gotcha” organizational culture or encourage gaming the rules? Why or why not?
4. Would you like or dislike working in an organization with this code? Why or why not?
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http://blog.ethicalgovnow.org/?p=226
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This Code of Business Conduct and Ethics covers a wide range of business practices and procedures. It does not cover every issue that may arise but it sets out basic principles to guide all employees of NEMAURA MEDICAL INC. (the “Company”). All of our officers, directors and employees must conduct themselves accordingly and seek to avoid even the appearance of improper behavior. The code should also be provided to and followed by the Company’s agents and representatives, including consultants.
Those who violate standards in this Code will be subject to disciplinary action, up to and including termination of employment. If you are in a situation that you believe may violate or lead to a violation of this Code, follow the guidelines described in Section 14 of this Code.
Obey the law, both in letter and in spirit, is the foundation on which our ethical standards are built. All employees must respect and obey the laws of the cities, states and countries in which we operate. Although not all employees are expected to know the details of these laws, it is important to know enough about them to determine when to seek advice from supervisors, managers or other appropriate personnel.
A “conflict of interest” exists when a person’s private interests interferes in any way with the interests of the Company. A conflict situation can arise when an employee, officer or director takes actions or has interests that may make it difficult to perform his or her Company work objectively and efficiently. Conflicts of interest may also arise when an employee, officer or director, or members of his or her family, receives improper personal benefits as a result of his or her position in the Company. Loans to, or guarantees of obligations of, employees and their family members may create conflicts of interest.
It is almost always a conflict of interest for a Company employee to work simultaneously for a competitor, customer or supplier. You are not allowed to work for a competitor as a consultant or board member. The best policy is to avoid any direct or indirect business connection with our customers, suppliers or competitors, except on our behalf. Conflicts of interest are prohibited as a matter of Company policy, except under guidelines approved by our Board of Directors. Conflicts of interest may not always be clear-cut, so if you have a question, you should consult with higher levels of management. Any employee, officer or director who becomes aware of a conflict or potential conflict should bring it to the attention of a supervisor, manager or other appropriate personnel or consult with the procedures described in Section 14 of this Code.
Employees who have access to confidential information are not permitted to use or share that information for stock trading purposes or for any other purpose except the conduct of our business. All non-public information about the Company should be considered confidential information. To use non-public information for persona financial benefit or to “tip” others who might make an investment decision on the basis of this information is not only unethical but also illegal.
Employees, officer and directors are prohibited from taking for themselves personally, opportunities that are discovered through the use of corporate property, information or position without the consent of the Board of Directors. No employee may use corporate property, information or position for improper personal gain and no employee may compete with the Company, directly or indirectly.
We seek to outperform our competition fairly and honestly. Stealing proprietary information, possessing trade secret information that was obtained without the owner’s consent, or inducing such disclosures by past or present employees of other companies is prohibited. Each officer, director and employee should respect the rights of and deal fairly with the Company’s customers, suppliers, competitors and employees. No employee should take unfair advantage of anyone through manipulation, concealment, abuse of privileged information, misrepresentation of material facts, or any other intentional unfair-dealing practice.
The purpose of business entertainment and gifts in a commercial setting is to create good will and sound working relationships, not to gain unfair advantage with customers. No gift, or entertainment should ever be offered, given, provided or accepted by any Company employee, family member of an employee or agent, unless it (a) is not in cash, (b) is consistent with customary business practices, (c) is not excessive in value, (d) cannot be construed as a bribe or payoff and (e) does not violate any laws or regulations. Please discuss with your supervisor any gifts or proposed gifts that you are not certain are appropriate.
The diversity of the Company’s employees is a tremendous asset. We are firmly committed to providing equal opportunity in all respects aspects of employment and will not tolerate illegal discrimination or harassment of any kind. Examples include derogatory comments based on racial or ethnic characteristics and unwelcome sexual advances.
Violence and threatening behavior are not permitted. Employees should report to work in condition to perform their duties, free from the influence of illegal drugs or alcohol. The use of alcohol and/or illegal drugs in the workplace will not be tolerated.
Many employees regularly use business expense accounts, which must be documented and recorded accurately. If you are not sure whether a certain expense is legitimate, ask your supervisor or the Company’s controller or chief financial officer.
All of the Company’s books, records, accounts and financial statements must be maintained in reasonable detail, must appropriately reflect the Company’s transactions and must conform to both applicable legal requirements and to the Company’s systems of accounting and internal controls. Unrecorded or “off the books” funds or assets should not be maintained unless permitted by applicable laws or regulations.
Business records and communications often become public, and we should avoid exaggeration, derogatory remarks, guesswork or inappropriate characterizations of people and companies that can be misunderstood. This applies equally to e-mail, internal memos and formal reports. Records should always be retained or destroyed according to the Company’s record retention policies. In accordance with these policies, in the event of litigation or governmental investigation please consultant your supervisor. All e-mail communications are the property of the Company and employees, officers and directors should not expect that Company or personal e-mail communications are private. All e-mails are the property of the Company. No employee, officer or director shall use Company computers, including access to the internet, for personal or non-Company business.
Employees must maintain the confidentiality of confidential information entrusted to them by the Company or its customers, except when disclosure is required by laws or regulations. Confidential information includes all non-public information that might be of use to competitors, or harmful to the Company or its customers, if disclosed. It also includes information that suppliers and customers have entrusted to us. The obligation to preserve confidential information continues even after employment ends. In connection with this obligation, employees, officers and directors may be required to execute confidentiality agreements confirming their agreement to be bound not to disclose confidential information. If you are uncertain whether particular information is confidential or non-public, please consult your supervisor.
All officers, directors and employees should endeavor to protect the Company’s assets and ensure their efficient use. Theft, carelessness and waste have a direct impact on the Company’s profitability. Any suspected incident of fraud or theft should be immediately reported for investigation. Company equipment should not be used for non-Company business.
The obligation of officers, directors and employees to protect the Company’s assets includes it proprietary information. Proprietary information includes intellectual property such as trade secrets, patents, trademarks and copyrights, as well as business, marketing and service plans, engineering and manufacturing ideas, designs, databases, records, salary information and any unpublished financial data and reports. Unauthorized use or distribution of this information would violate Company policy. It could also be illegal and result in civil or even criminal penalties.
The Unites States Foreign Corrupt Practices Act prohibits giving anything of value, directly or indirectly, to officials of foreign governments or foreign political candidates in order to obtain or retain business. It is strictly prohibited to make illegal payments to government officials of any country.
In addition, the U. S. government has a number of laws and regulations regarding business gratuities that may be accepted by U. S. government personnel. The promise, offer or delivery to an official or employee of the U. S. government of a gist, favor or other gratuity in violation of these rules would not only violate Company policy, but could also be a criminal offense. State and local governments, as well as foreign governments, may have similar rules.
Any waiver of the provisions of this Code may be made only by the Board of Directors and will be promptly disclosed as required by law or stock exchange rule or regulation.
Any employee may submit a good faith concern regarding questionable accounting or auditing matters without fear of dismissal or retaliation of any kind.
Make sure you have all the facts. In order to reach the rights solutions, we must be as fully informed as possible.
Ask yourself, what specifically am I being asked to do – does it seem unethical or improper? This will enable you to focus on the specific question you are faced with, and the alternatives you have. Use your judgment and common sense; if something seems unethical or improper, it probably is.
Discuss the problem with your supervisor. This is the basic guidance for all situations. In many cases, your supervisor will be more knowledgeable about the question, and will appreciate being brought into the decision-making process. Keep in mind that it is your supervisor’s responsibility to help solve problems. If your supervisor does not or cannot remedy the situation, or you are uncomfortable bringing the problem to the attention of your supervisor, bring the issue to the attention of the human resources supervisor, or to an officer of the Company.
You may report ethical violations in confidence and without fear of retaliation. If your situation requires that your identity be kept secret, your anonymity will be protected. The Company does not permit retaliation of any kind for good faith reports of ethical violations.
Always ask first – act later. If you are unsure of what to do in any situation, seek guidance before your act.
Code of ethics for the chief executive officer and senior financial officers of nemaura medical inc.
The CEO and senior financial officers are responsible for full, fair, accurate, timely and understandable disclosure in the periodic reports and other filings required to be made by the Company with the Securities and Exchange Commission. Accordingly, it is the responsibility of the CEO and each senior financial officer promptly to bring to the attention of the Board of Directors any material information of which he or she may become aware that affects the disclosures made by the Company in its public filings or otherwise impairs the ability of the Company to make full, fair, accurate, timely and understandable public disclosures.
The CEO and each senior financial officer shall promptly bring to the attention of the Company’s Audit Committee any information he or she may have concerning (a) significant deficiencies in the design or operation of internal controls which could adversely affect the Company’s ability to record, process, summarize and report financial data or (b) any fraud, whether or not material, that involves management or other employees who have a significant role in the Company’s financial reporting, disclosures or internal controls.
The CEO and each senior financial officer shall promptly bring to the attention of the Board of Directors and the Audit Committee any information he or she may have concerning any violation of the Company’s Code of Business Conduct and Ethics, including any actual or apparent conflicts of interest between personal and professional relationships, involving management or other employees who have a significant rule in the Company’s financial reporting, disclosures or internal controls.
The CEO and each senior financial officer shall promptly bring to the attention of the Board of Directors and Audit Committee any information he or she may have concerning evidence of a material violation of the securities or other laws, rules or regulations applicable to the Company and the operation of its business, by the Company or any agent thereof, or of violation of the Code of Business Conduct and Ethics or of these additional procedures.
The Board of Directors shall determine, or designate appropriate persons to determine, appropriate actions to be taken in the event of violations of the Code of Business Conduct and Ethics of these additional procedures by the CEO and the Company’s senior financial officers. Such actions shall be reasonably designed to deter wrongdoing and to promote accountability for adherence to the Code of Business Conduct and Ethics and to these additional procedures, and shall include written notices to the individual involved that the Board has determined that there has been a violation, censure by the Board, demotion or reassignment of the individual involved, suspension with or without pay or benefits (as determined by the Board) and termination of the individual’s employment.
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https://nemauramedical.com/code-of-business-conduct-and-ethics/
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Fraud refers to a deceptive act committed by people with an aim of producing a personal or financial gain from such an act. The situation at hand presents various elements of frauds committed by employees of the company. First, the situation presents an element of embezzlement fraud that occurs within the company. Embezzlement is the use of unethical methods to misuse the funds of a company. The expense reimbursement policy of the company clearly states that, the responsibility of expenses such as lunch is the responsibility of an employee except for lunches with clients and potential recruiters. However, employee defile this policy by taking lunches at the expense of the company on their personal grounds and cheating that they were in a business transaction of the company (Taylor 324).
In addition, forgery is another fraud that may arise due to the provisions of this situation. Since employees take lunch when they are out for their personal businesses, the receipting of the lunches may bring in the element of fraud. For the approval of the lunch receipts, they should have a signature and a stamp from the hotel that provided the services to the employee. As a result, employees may be forced to forge the signatures and the stamping of the hotel in order to justify themselves. Forging amounts to unethical misconduct and is one among many other types of frauds.
Finally, the situation also brings about conspiracy within the lunch transaction between the employees and the hotel offering the service. Since the policy supports lunches for employees when performing business transactions with clients, employees may conspire with the hotel management in order to receive receipt for the transaction that involves business clients when actually no business transaction took place. Such conspiracy is against the law and amounts to fraud.
Work Cited
Taylor, John. Forensic Accounting. Harlow: Financial Times/ Prentice Hall, 2011. Print.
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We, the Board of Directors of the Western Veterinary Conference (“Corporation”), adopt this Code of Ethics as policy to guide the directors, officers, and employees of the Corporation and its subsidiaries regarding the ethical standards that we expect these individuals to follow in their personal and business conduct. It is our intent to conduct our business according to the highest ethical standards to merit the complete confidence and trust of our customers, stakeholders, and the general public. The Corporation’s directors, officers, and employees must assume responsibility for their personal and business conduct so that it does not harm the Corporation’s reputation as a responsible and ethical not-for-profit organization.
We expect the directors, officers, and employees (collectively referred to as “insiders”) of the Corporation and its subsidiaries to fully comply with the requirements of applicable laws and regulations. We expect the Corporation’s insiders to used good judgment and high ethical standards in their personal and business conduct. In addition, we expect those individuals not to engage in illegal, dishonest, questionable, or unethical conduct or behavior that may even appear as such.
Each insider is responsible for being familiar with the Code of Ethics. Executive officers shall be responsible for appropriately advising the Corporation’s employees about the requirements of the Code of Ethics and monitoring subordinate staff for compliance.
A conflict of interest is defined as an insider’s involvement in outside businesses that might either conflict with the insider’s duty to the Corporation or adversely affect the individual’s judgment in the performance of his or her responsibilities. Our policy prohibits Corporate insiders from engaging in personal conduct that will conflict with the interests of the Corporation. In addition, we believe it is important to avoid even the appearance of a conflict of interest as this may damage the Corporation’s reputation.
Insiders and their immediate family shall not solicit, accept, or retain a personal benefit from any customer, any individual or organization doing or seeking to do business with the Corporation, or any other individual or organization based on a relationship with the Corporation. A personal benefit shall include any type of gift, gratuity, favor, service, loan, legacy (except from a relative), fee, compensation, or anything of monetary value. Certain exceptions to this general rule may be acceptable if there is not, and there appears not to be, a reasonable likelihood of improper influence on the insider’s performance of his or her duties for the Corporation.
Any insider receiving a personal benefit, other than for the exceptions listed above, must report the benefit to the company’s Chief Executive Officer (CEO) or other appropriate official as provided in the “Reporting Requirements” section of this Policy.
Political Contributions
The Corporation is prohibited from making a contribution or expenditure in any federal, state, local, or professional organization’s election.
Civic & Charitable Activities
Insiders may participate in nonprofit social, civic, or philanthropic activities. Any insider should obtain prior permission from the Corporation’s CEO or other appropriate official in order to represent the Corporation as a part of such activities.
Outside Employment
We discourage full-time corporate officers and employees from holding outside employment. A written request should be submitted to the CEO for prior approval in those cases where the officer or the employee believes it is justified. The CEO may not approve any outside employment or activity that might:
Purchases of Corporate Assets
Insiders are not permitted to sell or purchase assets to or from the Corporation without obtaining prior approval of the CEO or Board of Directors.
Dealings with Competitors
Insiders must observe fair and ethical conduct in dealing with our competitors. We believe that it is inappropriate and unethical for our insiders to make disparaging remarks concerning our competitors. Our strategy is to emphasize the quality of our products and services.
Dealings with Auditors
Directors, officers, and employees are required to cooperate fully with the auditing staff. We expect our directors, officers, and employees to answer honestly and openly all questions asked by the auditors. Directors, officers, and employees are prohibited from destroying any documents that may be necessary for any investigation by a federal or state governmental agency, or the auditors.
Falsification of Books & Records
Our policy is to create records and accounts that accurately reflect the institution’s condition. Any officer or employee falsifying any books, records, or documents of the institution shall be dismissed from employment and prosecution recommended accordingly.
Prior Approval of Speeches & Statements
The CEO or other appropriate official must approve in advance any public statements, speeches, or interviews made on behalf of the Corporation or its subsidiaries.
Reporting Requirements
Insiders must use good judgment in deciding which corporate official to ask for prior approval or give required reports involving violations or apparent irregularities to laws, regulations, or corporate policies. In the vast majority of cases, the insider should request prior approval and report information to the CEO. In cases involving the CEO, the insider should obtain approval from, or report the information to, the Chairman of the Audit Committee. If both the CEO and the Chairman of the Audit Committee are involved, the insider should use good judgment in determining whether prior approval needs to be obtained from, or the information needs to be reported to, the full Board of Directors or one of the other executive officers of the Corporation. All insiders and directors have reviewed and signed the Corporation’s Code of Ethics.
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http://dev2.wvc.org/about-wvc-2/code-of-ethics/
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Lehman Brothers (LEH) was a multinational monetary utility organization (Mawutor,2014). The company was the fourth substantial investment bank in the USA, doing business in investment banking, equity, and fixed-income sales and trading. The company also had research, investment administration, private equity, and private banking operations (Fleming & Sarkar, 2014). Lehman operated for approximately 158 years since its establishment in 1850. In 2008, the company filed for bankruptcy, which was the beginning of its collapse (Wiggins et al., 2014). The company filed for Chapter 11 bankruptcy safeguarding due to an enormous exit by most of its customers, drastic losses in its stock, and the devaluation of assets by credit rating organizations. All these were mainly influenced by Lehman’s engagement in the subprime mortgage crisis and the exposure to liquid assets (Chadha, 2016). The company’s bankruptcy is substantial in USA history. It equally played a role in the global financial crisis witnessed in the late 2000s, with its peak being in 2008 (Bredart, 2014). Its stock price plummeted by approximately 70% 0f its value in early September alone. By mid-September 2008, it had lost $4 billion attempting to dispose of its shares in one of its subsidiaries (Mawutor, 2014). To explain the various causes of the collapse of the business, numerous economic analysts have established a series of academic and significant arguments aimed at identifying the actual causes of the destruction. Some other analysts have carried out a series of investigations mainly to account for the company’s failure. Much of the blame has been on the administration’s failure, led by the chief executive officer (CEO) Dick Flud. The company’s administration failed to observe corporate governance principles effectively. To add up to the body of apprehension, the results in this paper reveal the diversity of aspects starting from dubious accounting practices, unethical administration practices, over outlay in perilous unsecured outlays, and laxity on the part regulators. The paper also reveals that external auditors also played a significant part in the collapse by not identifying the financial statement malpractices by the Lehman administrators. Importantly, policy formulators like the Security and Exchange Commission (SEC) should initiate stringent policies to address Lehman’s failure to prevent future occurrences. This report intends to investigate and review the activities and transactions that led to the loss of the Lehman Brothers. The paper will address how failure in the business’s corporate governance led to its collapse. Mainly, the discussion will focus on board, executive compensation, financial reporting, and shareholders’ rights elements of corporate governance and how they led to ye collapse of Lehman Brothers.
Board
The board of directors of Lehman’s Brothers was composed of ten independent members (Maria & Singh, 2021). The directors and the council formed four committees. The committees incorporated audit, nominating corporate governance, finance and risk, and the compensation and benefits committee (Chadha, 2016). Following the necessities of the United States Securities and Exchange Commission, one of the audit committee members was a financial expert. The company’s board has been substantially blamed for the company’s failure (Kumar & Baag, n.d). The committee always had poor oversights and strategies that could not help the company when it started facing financial issues that made it bankrupt in 2008. Notably, the board had high leverage high-peril-taking enterprise blueprint supported by minimal equity (Adu-Gyamfi, 2015). For instance, the company took its leverage ratio up to approximately 30 times its equity. The board also initiated the company into a culture of aggressive growth blueprint that mainly paid attention to complex and multiplex monetary and fiscal products like subprime, derivatives, and commercial real estate vends. However, the board failed to carry out the deleveraging blueprint in 2007 when the real estate vends slowed down (Luo, 2021).
The Lehman’s board of directors’ responsibilities were the oversight of an advisory to the organization (Lumar & Baag, n.d). They led the company to take excessive debts and did not create a diversified product portfolio. The board of directors did not also monitor its blueprint and peril administration more carefully (Adu-Gyamfi, 2015). Notably, all of the major causes of Lehman’s failures are traced back to the dysfunction of the board of directors and the agency issue. The agency problem always arises when an agent, a company director, does not act in the best interest of a principal, the shareholder (Karim, 2021). Wiggins et al. (2014) say that when the principal chooses to work through their people, and its appeal relies on others, this is always subject to an agency issue.
Eight out of the ten directors of Lehman Brothers met the independence standards of the NYSE in 2006 (Fleming & Sarkar, 2014). Still, they did not have the economic prowess and thus failed to reliably monitor Lehman. For instance, the finance and peril committee had only two annual meetings while the compensation committee met more times, approximately eight, than the committee in charge of auditing (Mawutor, 2014). The audit committee had seven yearly conferences. Additionally, the company did not have any current CEOs of major public corporations, and former CEOs were well in retirement (Bredart, 2014). As such, the board did not comprehend the multiplexity and severity of the fiscal vends well enough to minimize and stop the challenges when the financial vends slowed down. The inability of the directors on the board to effectively deal with the economic issues that the company faced is an indication that they did not act in the best interest of the shareholders (Fleming and Sarkar, 2014). They equally did not exercise fully the duty that they owed to Lehman. They did not act in good faith in exercising their oversight responsibilities and duties only in the best interest of the Lehman shareholders (Chadha, 2016).
It is always challenging to raise doubts when an organization’s fiscal and monetary performance has been robust (Maria & Singh, 2021). Notably, this is always the case because it is reliable to analyze the executives’ capacities for running the enterprise, whose purpose is always to maximize the returns. Fuld, the CEO, embodied Lehman’s colossal success (Mawutor, 2014). During his tenure, the company’s revenues and profits augmented 600%, from $3 billion in 1994 to $ billion in 2006 (Bredart, 2014). Kumar & Baag (n.d) say that because of this augmentation and growth of the company’s revenue, a culture was created where the workers could not ask questions and raise concerns. The directors equally failed to challenge Fuld (Wiggins et al., 2014). Thus, the executives like Fuld became principals in the board of directors, and the board of directors became executives’ agents, not shareholders. Therefore, there was an agency issue between Lehman’s shareholders and directors due to this reversed association (Luo, 2021).
Executive Compensation
Executive compensation refers to the economic packages that are always explicitly created for the members of the executive administration teams (Luo, 2021). The main aim of executive compensation is always to motivate the teams to work in the best interest of the shareholders. Executive compensation is always composed of financial payments and other non-financial benefits that executives get from their employing firm for their services (Kumar & Baag, n.d). The amount is always designed to help retain the executives in the bad times due to the adverse vend and spectral factors. In most cases, the cost of executive pay should be limited to the extent that shareholder wealth is not affected (Maria & Sing, 2021). However, the wealth should be maximized. Sadly, this was not the case for Lehman Brothers. According to Mawutor (2014) ‘s report, the executives and directors at the company led by the CEO did not consider this factor. They only sought to have themselves maximumly benefit from the finances and funds at the organization without considering the business’s financial operations. The top executive teams at Lehman cashed out substantial amounts of performance-based compensation between 2000 to 2008 (Maria & Singh, 2021). The company executives cashed out significant amounts of bonus compensation that were not clawed back when the company collapsed. The executives also pocketed large quantities from the sale of shares (Fleming & Sarkar, 2014). The Lehman Brothers derived cash flows of approximately $1 billion from cash bonuses and equity sales in the eight years from 2000 to 2008.
Lehman Brothers derived cash flows of about $1.4 billion and $1 billion, respectively, from cash bonuses and equity sales from 2000 to 2008 (Adu-Gyamfi, 2015). In the eight years, the executives at Lehman Brothers received aggregate salaries of $18 million. However, the wages were independent of performance (Maria & Singh, 2021). They also got a considerable amount of performance-based cash bonuses during the same period. The executives received approximately $61 million in performance-based bonuses (Karim, 2021). The company offered its top executives substantial rewards following the bank’s high earnings and stock price increases. These doings by the executives led to a web of conflicts of interest (Luo, 2021). The pay to the directors was relatively excess. The company’s CEO was considered the highest-paid executive (Wiggins et al., 2014). According to research, Fuld had paid himself an aggregate of $300 million in pay bonuses in the eight years, making him among the USA’s highest-paid CEOs (Chadha, 2016). Despite the company’s challenges before its bankruptcy and collapse, the executives continued to increase their bonuses. The increase was one of the significant factors that further jeopardized the company’s operations (Mawutor, 2014). However, they used funds that they would otherwise use to pay for the numerous debts that the company had as their bonuses. Equally, as much as their salaries were based on the performance that they offered the company, they were relatively high (Wiggins et al., 2014). These were unethical actions by the executives, and thus, many experts blamed them for the company’s collapse.
Financial Reporting and Auditing
Financial reporting and auditing are essential aspects of any organization (Kumar & Baag, n.d). The two elements help in determining the financial position of an organization. Financial reporting indicates profits and losses, if any, in the operations of a business within a particular period (Mawutor, 2014). Through financial reporting, the company can put in place effective strategies to improve its operations and boost returns, thus guaranteeing the continuity of the business. However, for an organization to realize this, they need to have a financial and auditing committee with adequate monetary prowess (Fleming & Sankar, 2014). However, this was not the case for Lehman Brothers. The company’s executives in charge of the finance committee had limited expertise in financial reporting (Wiggins et al., 2014). As a result, the company received unqualified audit reports, which contributed to its collapse. Audit failures occurred because the directors in charge of the financial and risk management committee led to severe distortions in the financial reporting not indicated in the audit reports (Chadha, 2016). Thus, the auditors always made serious errors while conducting the audit.
Through its board of directors and executives, its management violated its corporate governance responsibility by conducting numerous unethical behaviors (Bredart, 2014). Notably, the financial and risk committee employed a repurchase deal to manipulate the organization’s financial statement. The company’s balance sheet in June 2008 was fabricated with window-dressing mechanisms, which are often known as Repos 105 (Mawutor, 2014). The outcome was the elimination of $50 billion in commitment from their financial statement. Despite the unethical employment of Repo 105 by Lehman, it is always legal for banks to take part in Repo 105 transactions. Significantly, banks have historically utilized repurchase to administrate their short-term cash liquidity (Adu-Gyamfi, 2015). It always incorporates the pledging of the government bonds or some short-term low peril equipment in return for the term funds. To support their unethical performances and operations, Lehman failed to utilize effective and appropriate accounting systems to report Repos 105 (Kumaar & Baag, n.d). The company did not disclose it to the government, investors, creditors, and its board of directors. It performed this act by getting a federal bond from another bank utilizing one of its unique units in the USA (Mawutor, 2014). Before the preidentified dates for settlement for the end of the quarter, Lehman’s particular unit then transferred these bonds to their affiliates in London. The London affiliates then moved the bonds to another bank for cash while pledging to purchase them at a relatively higher rate (Mawutor, 2014). Notably, this was supposed to be 105% of the price. The affiliates then transferred the cash they got to the Lehman Brothers in the US to pay off a substantial aggregate of liabilities (Kumar & Baag, n.d). Critically, this minimized the company’s weaknesses to indicate healthier quarterly reports and influencing corresponding rations, the confidence of the investor’s regulators, and the general public (Mawutor, 2014). Before the subsequent quarter, Lehman then borrowed extra at other lending institutions to purchase back the securities from their London affiliates at 105% of the original price. After the practice, the financial statement reverted to its original unhealthy state (Mawutor, 2014). Sadly, this made Lehman be in a worse-off situation since the company’s financial position looked good, effective, and healthy in the eyes of the regulators and the state. Such practices led to financial statement fraud, which is one significant factor in the company’s collapse (Maria & Singh, 2021). The company’s external auditors cannot be exonerated from such a heinous crime; this indicates that unethical behaviors and failure in its corporate governance led to its bankruptcy and loss (Mawutor, 2014).
Shareholders Rights
There was also a failure in the observance of shareholders’ rights by the organization (Mawutor, 2014). The company did not observe corporate governance principles regarding the shareholder’s rights. The organization failed to believe in and follow the fundamental rights of the shareholders (Kumar & Baag, n.d). Lehman brothers denied the shareholders the liberty to express their fundamental rights. The CEO helping it augment its profits warranted the executives and employees’ fear of asking questions and raising their concerns, just as previously stated (Luo, 2021). The CEO was at the center of formulating all resolutions without fully incorporating the shareholders. The shareholders did not fully participate in the matters of the organization (Karim, 2021). By Flud, together with other executives in the organization, not fully involving the stakeholders in the operations and activities of the organization, they failed to recognize their legal, moral, and civic obligations, which should be fulfilled according to the principle of corporate governance. As earlier indicated, the executives, particularly those in the finance and risk management department, conducted fraud in the organization’s financial statement (Chadha, 2016); this was meant to suggest that the organization was in a good and healthy position, which was not the case in an absolute sense. Notably, this was one instance of denying the shareholders their right to know the actual situation and operations of the firm (Bradart, 2014). They had a right to comprehend all these since they had invested in the company. When Dick Fuld was voted in as a CEO in 2005, he had 87% of the investors’ support (Luo, 2021). However, after some time, mainly when the company was declared bankrupt and on the verge of collapsing, people started raising concerns about how many shareholders and investors reelected him into the position. People also questioned whether the shareholders effectively executed their voting rights (Karim, 2021). Also, the idea of Flud being at the heart of all business decisions minimized the effort of the stakeholders to make significant changes in the organization that would at least guarantee that the organization did not collapse. However, after learning of its state, the shareholders were no longer in a position to revive the company (Muwator, 2014). They instead had to exit, incurring lots of losses.
Conclusion
The Lehman Brothers was a banking institution thriving for decades since its establishment. However, due to management ad unethical corporate governance, the company collapsed in 2008 after being declared bankrupt. Its collapse led to a considerable financial crisis in the USA and even around the globe. Notably, many people have blamed the failure and bankruptcy of the company on improper corporate management by its directors and executives. Majorly, Dick Fuld, the CEO, took considerable blame because he saw the company in a terrible state. The board of directors led the company into taking excessive debts without effective measures on how they were going to settle the debts. Equally, the panel comprised directors in the finance and risk management committee who did not have adequate prowess and expertise in monetary matters. The committee members failed to find effective measures to advise the CEO and other directors on the practical steps to properly manage the company’s finances. Also, the executives had substantial amounts of bonuses basing their reason that the company had been making profits. The money that would otherwise have been used to repay the debts and cater to other business operations was used to pay bonuses to the executives. Between 2000 to 2008, Fuld earned a substantial amount of compensation and even performance-based income, making him among the highest-paid CEOs in the USA. Although the executives had performance-based payments, they were way too high. They acted in such a manner that indicated that they did not have the effective performance and operation of the business at heart. Employees and other directors feared raising their concerns and asking questions about the business process because Fuld had seen the company making substantial profits. Thus, the employees and the directors feared challenging him.
Notably, after the collapse of the business, Fuld was ranked among the worst-performing CEOs and has highly been blamed for the company’s failure. The company did not also meet the legal rights of the shareholders. Having the financial and risk management committee commit fraud on the financial statement was a denial of the rights of the shareholders to comprehend the economic and general performance and position of the business. The committee sought to show that the company was good and had healthy operations and performance, which was not the case. Generally, Lehman Brothers failed in its corporate governance. If the CEO, directors, and other executives had acted according to the principles of effective corporate governance, the company would not have collapsed. Also, if Fuld and other directors pocketed a reasonable number of bonuses and salaries, the business would have enough funds to cater to its operations and pay the numerous debts. The employees and shareholders would also have been allowed to air their concerns, challenge the administration, and propose effective changes, guaranteeing that the business operated effectively.
References
Mawutor, J. K. M. (2014). The failure of Lehman Brothers: causes, preventive measures, and recommendations. Research Journal of Finance and Accounting, 5(4). https://dx.doi.org/10.2139/ssrn.2156006
Fleming, M. J., & Sarkar, A. (2014). The failure resolution of Lehman Brothers. Economic Policy Review, Forthcoming. Fleming, Michael J., and Sarkar, Asani, The Failure Resolution of Lehman Brothers (March 31, 2014). https://ssrn.com/abstract=2422433
Wiggins, R., Piontek, T., & Metrick, A. (2014). The Lehman brother’s bankruptcy a: overview. Yale program on a financial stability case study. http://dx.doi.org/10.2139/ssrn.2588531
Chadha, P. (2016). What Caused the Failure of Lehman Brothers? Could it have been Prevented? How? Recommendations for Going Forward. Int J Account Res S, 1, 2. 10.4172/2472-114X.S1-002
Brédart, X. (2014). Financial Distress and Corporate Governance around Lehman Brothers Bankruptcy. International Business Research, 7(5), 1. http://dx.doi.org/10.5539/ibr.v7n5p1
Karim, M. M. A. (2021). Failure of Lehman Brothers. Journal of Finance and Investment Analysis, 10(4). https://doi.org/10.47260/jfia/1041
Adu-Gyamfi, M. (2015). The Analysis of the Collapse of Lehman Brothers. http://dx.doi.org/10.2139/ssrn.2771615
Maria, A. V., & Singh, K. D. (2021). Decoding Corporate Governance and Insolvency Related Issues in India. In Facets of Corporate Governance and Corporate Social Responsibility in India (pp. 69-83). Springer, Singapore. https://link.springer.com/chapter/10.1007/978-981-33-4076-3_5
Kumar, S., & Baag, P. K. Ethics Erosion in Capital Market: Lehman Brothers’ Case Study of Repo 105. https://web.archive.org/web/20220113173111id_/http://www.aims-international.org/aims18/18ACD/pdf/A1872-Final.pdf
Luo, S. (2021). Global Financial Crisis: A Lehman Brothers Case Study. https://webofproceedings.org/proceedings_series/ESSP/EIEMSS%202021/ZZZZ_SC011.pdf
Xu, H. (2021). Corporate Governance Crisis Caused by Lack of Business Ethics. Exchange, 2, 3.
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https://samples.freshessays.com/lehman-brothers-leh-paper.html
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Campbell Furniture & Manufacturing Corporation’s bankruptcy announcement sent shock waves through the furniture industry. Employee paychecks and benefits ended abruptly. Investors lost assets, and suppliers and distributors lost millions of dollars in business. Competitors hinted that the furniture giant was guilty of financial data manipulation.
A spokesman from McKinsey & Co—preferred consultant for many Fortune 500 companies— attributed the bankruptcy to the company’s inability to navigate the obstacles inherent to a third-generation family-owned company. Critics of the corporation pointed to lack of drive and commitment by the board and CEO, outdated technology, and jealousy and infighting among family members.
In the early 1900’s, Martin and David Campbell founded a cottage industry that mushroomed into the leading producer of quality furniture in the United States. When Martin’s son Grady took over as CEO, the company was financially sound. Within months of the leadership change, Grady and the board voted against implementing cutting-edge computer systems. Predictable consequences ensued. Without updated technology, the company was unable to compete in a highly competitive and fast-growing industry. Production faltered and the work forces’ enthusiasm wavered.
Grady’s son James faced insurmountable odds when he became CEO. Long overdue technology was immediately implemented. Despite the corporation’s increased production and distribution capabilities, the financial hemorrhaging continued. Campbell’s iconic leadership in the furniture industry ended. After teetering precariously close to financial ruin for almost a year, the company filed bankruptcy. Over 10,000 employees lost jobs, and hundreds of retirees lost benefits.
Within weeks of the bankruptcy announcement, the names of fledgling companies sub-planted the Campbell name on the business pages of newspapers and magazines. On a personal level, the names of family members disappeared from the society gossip columns. Fissures in the family’s rock-solid foundation surfaced. Family members struggled to regain their footing and to reclaim their place in society.
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https://www.inkitt.com/stories/drama/142440
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Source: Chris Isidore / CNN Money
NEW YORK – American Airlines told its unions Wednesday it plans to cut 13,000 jobs from the staff of 88,000 at the nation’s No. 3 airline.
The cuts will fall most heavily on the airline’s maintenance operations, which will lose 4,600 jobs. More than 4,000 additional ground worker jobs will be eliminated, as will 2,300 flight attendant jobs.
Management will be reduced by 1,400 employees, with the most narrow cut coming among pilots, which will only see a reduction of 400.
Thomas Horton, CEO of American Air parent AMR Corp. (AAMRQ), said in a letter to American employees, “We will end this journey with many fewer people. But we will also preserve tens of thousands of jobs that would have been lost if we had not embarked on this path.”
The airline and its unions will now negotiate over the company’s cost-cutting plans, but management can seek to have the bankruptcy court impose the changes if it can’t win concessions at the bargaining table.
To read this article in its entirety visit CNN.
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http://rolandmartinreports.com/blog/2012/02/american-airlines-plans-to-cut-13000-jobs/
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What are problem-solving skills? Have you known how to show Problem Solving Skills Examples in Resume?
At the point when bosses talk about problem-solving skills, they are regularly alluding to the capacity to deal with troublesome or unexpected circumstances in the working environment just as perplexing business challenges. Organizations depend on individuals who can evaluate the two sorts of circumstances and tranquility identify solutions. Problem-solving skills are qualities that empower you to do that. Problem-solving skills are esteemed by managers. Besides, they are profoundly valuable in different everyday issues like relationship building and daily decision making.
Image source: rawpixel.com
What are problem-solving skills?
Problem-solving skills help you decide the source of an issue and locate a compelling solution. Problem-solving is frequently recognized as its very own separate skill. However, there are other related skills that add to this capacity.
Problem-solving skills examples to put in resume
To deal with a problem viably, you will probably utilize a couple of various skills. Here are a couple of instances of skills you may utilize when dealing with a problem:
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Research
Researching is a basic skill identified with problem-solving. As a problem solver, you should have the ability to recognize the reason for the problem and comprehend it completely. You can start to collect more information about an issue by conceptualizing with other colleagues, counseling progressively experienced associates or getting information through online research or courses.
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Analysis
This is the initial step to dealing with any problem to break down the circumstance. Your explanatory abilities will enable you to understand problems and adequately come up with solutions. You will likewise need explanatory abilities during research to help recognize compelling and incapable solutions.
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Decision-making
Ultimately, you should settle on a choice about how to solve problems that emerge. Now and again (and with industry experience), you might have the ability to make on a choice rapidly. Strong research and analytical abilities can help individuals who have less involvement in their field. There may likewise be times when it is fitting to require some investment to craft a solution or raise the problem to somebody progressively fit for settling it.
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Communication
When distinguishing potential solutions, you should realize how to impart the issue to other people. You will likewise need to realize what correspondence channels are the most fitting when looking for help. When you discover a solution, communicating it will clearly help lessen any disarray and make executing a solution simpler.
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Dependability
Dependability is one of the most significant aptitudes for problem-solvers. Solving problems in a convenient way is necessary. Bosses profoundly esteem people they can trust to both identify, and after that, execute solutions as quick and viably as possible.
How to enhance your such skills
There are a few methods you can use to improve your problem-solving skills. Regardless of whether you are looking for an occupation or right now working, improving your problem-solving skills and related capacities will help make you a strong candidate and employee.
Obtain increasingly specialized learning in your field. Contingent upon your industry, it might be simpler to tackle problems if you have a solid working specialized knowledge. You can progressively specialized knowledge through extra coursework, training, or practice.
Search out chances to problem solve. By placing yourself into new circumstances, you are bound to be presented to chances to problem solve. You may discover there are chances to volunteer for new projects in your present job, in another group or outside the working environment for another organization.
Do practice issues. Practice and pretend can be helpful tools when figuring out how to build up your problem-solving skills. You can discover proficient practice books for your industry and problem-solving skills situations on the web. Practice how you may deal with those problems and decide whether your potential solutions are feasible.
For instance, in customer service, you may discover a situation like, “How might you handle an irate client?” or “How would you react when a client requests a discount?” Practice how you may deal with these or different situations regular in your industry. This can enable you to call upon solutions immediately when they emerge at work.
See how others problem-solve understand. You may have colleagues who are talented problem solvers. Seeing how those associates tackle problems can enable you to improve your own abilities. If conceivable, solicit one from your increasingly experienced associates if you can watch their strategies. Posing pertinent inquiries can be useful in applying them in your very own job.
How to highlight such skills in resume
Showcasing your problem-solving skills examples in resume and cover letter can help bosses rapidly see how you may be of value to their group. You should seriously mull over just showcasing problem-solving skills examples in resume if it is especially important in the position you are applying for. Client service, engineering, and board positions, for instance, would be great candidates for including problem-solving capacities.
Where to put Problem-solving skills in resume?
Actually, you can highlight your problem-solving skills examples in resume in a few areas: The “skills” section and the “achievements” section. And by giving explicit instances of problem-solving “experience” section.
In the “skills” section, you might need to list key problem-solving skills that you have, rather than basically noting down the more nonexclusive term “problem-solving.” For instance, you could list explicit specialized skills you have that would enable you to deal with problems or soft skills related to problem-solving, for example, your research capacities or decision-making talents.
Keep in mind, stories are incredible. Remember explicit instances of times you tackled a problem. This is valuable on your resume yet will likewise enable you to respond to inquiries examines like, “Tell me regarding a period you overcame a hindrance.”
Problem-solving skills for cover letter
Your cover letter is likewise a superb chance to expound on your problem-solving aptitudes. Here, you can give a short case of a period you tackled a problem effectively. On the other hand, you may distinguish a test that this potential business is looking to comprehend and clarify how you would address it.
For instance, if a job posting refers to that the organization is searching for somebody to help improve their social media presence, you can find key ways you may help in expanding awareness of the brand through different online social networking platforms.
Your problem-solving skills will be an advantage to you in each progression of your vocation. From resume to application, interview to work obligations, the capacity to tackle problems adequately as they emerge will make you a profitable resource at work, and a profoundly-looked-for candidate.
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https://oppshares.com/problem-solving-skills-examples-in-resume/
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Techtronic Industries North America, Inc. Machine Technician 1 in Greenwood, Mississippi
The Machine Technician 1 is responsible for manufacturing product by operating and maintaining equipment and processes that provide optimum customer service. This position is reserved for Machine Technicians at the entry level. Also responsible for enhancing the department's safety, quality and productivity as well as assisting Facilitator as required.
This position will be responsible for knowing and implementing all area specific compliance issues, including safety, quality, environmental, and MT/plant policies. This position will contribute to team efforts by participating in continuous improvement projects as required. This position will also require working with maintenance to complete monthly PM's.
Duties and Responsibilities
- Adhere to all safety requirements in the work area
- Housekeeping- follow all house keeping policies and schedules.
- Understand and demonstrate how to use all gagues in the cell.
- Undestand tolerances and how to make offsets on the machine to stay in spec.
- Utilze quality tools in the cell ie SPC, OEE, etc.
- Operate a minimum of one machine in the department efficiently (85% or better)
- Perform set up (change overs) following procedures in a timely manner.
- Troubleshoot equipment, including automated operations, controls, and sensors.
- Assist maintenance department in preventative maintenance responsibilities. Participate in updates of preventative maintenance schedules.
- Complete routine equipment and product inspections and complete required documentation.
- Troubleshoot and perform minor equipment repairs. Provide feedback to Maintenance and Supervisor as needed.
- Inform supervisor or Department Manager about processes or equipment requiring attention.
- Recommend and participate in completion of continuous improvement projects specifically designed to improve processes, productivity and quality, especially those related to corrective actions.
- Complete other duties as assigned by the manager/supervisor, including working other shifts as necessary.
- Adhere to 5S in the department
Knowledge, Skills and Abilities
- Must demonstrate good written and oral communication skills
- Able to interpret technical data, including drawings and OMS.
- Must be proficient in the use of common inspection and test equipment.
- Excellent problem-solving and analytical skills required.
Education and Experience Requirements
- High School or GED diploma required.
Technical Certification in a Mechanical, Electrical, Automation prefered
Minimum of 1-2 years of experience in maintenance, mechanical, or technical field at MT or similar employer.
Physical and Weight Lifting Demands
The physical and weight lifting demands described here are representative of those that must be met by an employee to successfully perform the essential functions of this job. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential functions.
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https://ttigroupna.jobs/greenwood-ms/machine-technician-1/4C9B08BB09634B9AAB4FDF2E480BF4BA/job/?vs=28
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While it’s safe to say that the majority of Clarkies went home or ventured to sandy beaches as a respite from studying and shivering here in Central Massachusetts, dozens of students participated in organized activities that allowed them to stay active, exercising their problem-solving skills and helping others during Spring Break.
The Clark University LEEP Center sponsored a LEEP Civic Challenge in partnership with the National Science Foundation-funded Art of Science Learning as one Alternative Spring Break option. This challenge allowed interested Clark undergraduate and graduate students to enhance their creativity, collaboration, problem-solving skills and capacities as they worked in teams to find creative opportunities and provide innovative solutions to a public health issue.
“It was remarkable to watch students from many disciplines and departments engaging with the arts while learning about some of the most complex STEM challenges. They worked collaboratively to sharpen their abilities to make a difference in the community of which they are a part,” said Clark Associate Provost and Dean of Research Nancy Budwig, who helped organize the opportunity.
Approximately twenty-five students participated in the LEEP Civic Challenge. Monica Marrone ’16, a biology major, was part of a group that focused on creating a STEM-based solution to help tackle the problem of obesity in Worcester.
“The process involved various creative and informative experiences such as using models to visually explore our ideas or listening to experts lecture about the problems,” said Marrone.
Marrone’s team ultimately created a technology-based invention that could be used in grocery stores to help close the information gap between the customer and food products; this invention helps to convey a particular item’s nutritional information to members of the at-risk population before purchase.
Eliana Hadjiandreou ’16, a psychology major, said that participating in the LEEP Civic Challenge provided her with a unique perspective on how art and science can be intertwined.
“I had a chance to understand innovation through practice, hone problem-solving skills, and make new friends,” she said. Including the word “challenge” in the title of the opportunity was fitting, however. “Coming up with a truly innovative idea is tough. Our team would have terrific ideas, only to realize soon after a Google search that someone else out there had the same notion and even acted on it. This made the task of innovating all the more challenging,” said Hadjiandreou. “Nevertheless, we realized that small tweaks to already-existing solutions could still bring about innovation and newness.”
“It was impressive to see how quickly the teams could work collaboratively to arrive at compelling solutions,” said Budwig.
In addition, over a dozen Clark University students recruited by Clark U Hillel joined four students from University of Vermont Hillel and traveled to Berlin, Germany to learn about Germany’s relationship with Jews and Judaism before and during the Holocaust and also about the Jewish community in Germany today.
Clark’s Community Engagement Office sponsored students who traveled to New York City and worked with Break A Difference, a Washington, D.C.-based organization that arranged for the group to volunteer at the Boys and Girls Club of Newark and at a food bank in Manhattan.
Ben Gardner ’12, coordinator of student programs & LEEP Center advisor, accompanied the group. In addition, seven members of Clark’s Global Student Embassy Club (GSE), a group affiliated with a non-profit organization in California that focuses on agricultural development and reforestation, traveled to Ecuador to participate in development projects around Bahía de Caráquez. The group was accompanied by Rich King, a doctoral candidate in biology.
The Clark team helped local schoolchildren plant hundreds of trees in an area that was once a thriving creek bed.
“We spent a few days camping on the beach in Bahía and several days learning about the culture and history of Ecuador in Quito,” said Celine Miranda ’17, vice president of the new student organization.
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https://clarknow.clarku.edu/2015/03/16/clarkies-pursue-opportunities-to-better-themselves-help-others-during-spring-break/
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is someone who has specific decision-making power over some part of a group and thus additional accountability and can help with prioritizing and planning activities in the project.
🏅
I think that a leader in the CHAOSS community is someone who helps advance the project by contributing directly and coordinating work with others. Leaders should regularly attend the weekly community meetings to report on the work of their respective working group.
Leadership sets the tone for the culture, values, and communication style for everyone else. I think a CHAOSS leader (whether it be informal or formal) should embody and foster empathy, compassion, and respect for everyone else working on the project, no matter in what capacity. I think that being an excellent communicator and having a passion for helping open source projects prioritize and measure their community's health is also helpful.
We are a volunteer-driven
organization which means the work within the CHAOSS community is focused around the creation of metrics and software which depend upon the contributions made by external individuals and communities. We need people to direct the vision of creation, planning, and architecture of new initiatives within the community in order to drive through the better objectives.
👥
The CHAOSS community has defined its different set of leadership roles under a specific set of community guidelines and governance policies.
Leadership that focuses on building amazing projects and good engineering teams across the community
Checklist
before becoming a Maintainer
✅
- Makes consistent contributions within the CHAOSS community
- Has the ability to commit directly to a project repository
- Holds knowledge of working groups, metrics, and software
- Attends community meetings
- Holds good knowledge in helping others achieve their goals
- Has knowledge of Git and GitHub
- Understands the workflow of the Issues and Pull Requests
Checklist
before becoming a Website Maintainer
✅
- Ability to troubleshoot website issues
- Strong attention to detail with an analytical mind and outstanding problem-solving skills
- Excellent content creation and writing skills.
Checklist
before becoming a Documentation Maintainer
✅
- Excellent written and communication skills in English
- Ability to translate highly technical information into easily understandable information for other community members and end-users
- Keeping the content across the repositories and other platforms updated
- Critical thinker and problem-solver
NOTE: Usually existing maintainers elevate others to become maintainers when they see it helpful for the project.
Leadership involved in the process of decision making within the community
Checklist
for becoming a Board Member and Decisions Maker
✅
- Long term and consistent contributor within the CHAOSS project
- Involved with the software or metric working groups
- Experience in a managerial/directorial position
- Holds knowledge and interest in the CHAOSS project
- Holds critical thinking and problem-solving abilities and can provide thoughtful input to the project
- Excellent Knowledge of performance evaluation techniques and key metrics
NOTE: New board members are nominated and voted into office by existing board members. Co-leads of the board are nominated and voted into office by existing board members.
Leadership that addresses every aspect of the community model
Checklist
for becoming the Community Manager
✅
- Prior technical community management experience
- Self-motivated with the ability to manage multiple competing priorities
- A growth mindset and an approach to new information and knowledge with curiosity
- A challenge seeker who desires and readily takes on new challenges and works towards solutions
- An understanding of how contemporary open source projects function
NOTE: The community manager is a paid position and is hired through a job-application process. Selected community members are asked to serve on the search committee to review applications, interview candidates, and make a recommendation.
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https://handbook.chaoss.community/community-handbook/about/path-to-leadership
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ANALYST,
DESIGNER,
& ARTIST
About
Brianna Lewis is a multifaceted analyst, designer, and artist with a passion for problem-solving through simplicity. Brianna's enthusiasm for simple digital user experiences stems from her dual background in visual communications and business analysis.
Brianna began her career as a Graphic and Web Designer, and has provided creative consulting to clients on a local to international scale; building strong digital presences to engage new customers and bring value to businesses.
Her growing fascination with User Experience and technology prompted a pivot to Financial Services Technology (FinTech).
Lewis is currently a Lead Business Analyst at JPMorgan Chase, supporting the Lending Innovations Roadmap. At Chase, she collaborates across Business, Technology and external Partner teams to assess product/customer needs and deliver IT solutions. Additionally, she leads a small team of Business Analysts.
Brianna holds two degrees: She earned a Masters of Business Administration (MBA) from Wilmington University, and a Bachelors of Fine Arts in Visual Communications from the University of Delaware. She plans to leverage both degrees and perspectives to inspire and influence creative business strategy and customer experience innovations.
Outside of the office, Brianna is an Artist. She enjoys all things creative, from drawing and painting, photography, and mixed media; to Do-It-Yourself (DIY) projects around the house. Brianna is an avid reader. Her other interests include writing and Real Estate. She resides in Delaware with her partner, Miles, and their Labradoodle, Lilo.
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https://www.lewisbrianna.com/about
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Direct Link is looking to recruit one driven Integration Specialist to our nationwide US sales team. Direct Link is a world leader in providing international package delivery solutions for e-commerce companies. In this role, you will be a vital part of a quickly expanding organization, in an industry that is experiencing massive sustained growth.
Main responsibilities:
- Develop/follow integration processes for vendor implementation and data processing flow using current tools and software.
- Work closely with Project/Account Managers on customer-specific initiatives that involve troubleshooting, support or integration development for custom modifications.
- Work independently to coordinate and solve highly complex technical data communication and integration issues.
- Design, test and implement customer-specific custom software modifications.
- Troubleshoot technical issues related to data transformation and flow.
- Analyze customer data specifications and provide gap analysis.
- Conduct Remote training sessions with customers on integrations modules.
- Create documentation for future reference, training and support purposes.
- Provide customers or internal teams with support on technical integration issues.
- Communicate with customers to clarify integration and implementation requirements.
Qualifications:
- Skilled knowledge and experience developing and maintaining data communication systems and architecture.
- Basic knowledge of XML, Java, and Shopify.
- Degree in a related field and/or industry certifications or equivalent work experience.
- Working knowledge of the Transportation Industry preferred.
- Working knowledge of Microsoft Office products, database operations, SQL.
- Experience mapping data structures.
- Demonstrated problem-solving skills to troubleshoot data flow processes.
- Must be able to handle multiple projects at a time and be very results-oriented.
- Must work well both independently and in a team environment. Must be a self-starter.
- Excellent verbal and written communication skills required.
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https://www.directlink.com/careers/integration-specialist-usa/
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Diy Photo Frame with Newspaper– DIY or “Do it yourself” is the method of building, modifying, or repairing things by oneself without the lecture to aid of professionals or official experts. Academic research has described DIY as behaviors where “individuals use raw and semi-raw materials and parts to produce, transform, or reconstruct material possessions, including those drawn from the natural environment (e.g., landscaping)”. DIY tricks can be triggered by various motivations back categorized as marketplace motivations (economic benefits, want of product availability, deficiency of product quality, obsession for customization), and identity gilding (craftsmanship, empowerment, community seeking, uniqueness).
71 Unique DIY Newspaper Craft Projects DIY & Crafts
The term “do-it-yourself” has been associated once consumers before at least 1912 primarily in the domain of home spread and maintenance activities. The phrase “do it yourself” had arrive into common usage (in tolerable English) by the 1950s, in quotation to the emergence of a trend of people work home improvement and various extra little craft and construction projects as both a creative-recreational and cost-saving activity.
You Might Also Like :
Here is an example project for diy photo frame with newspaper that you can attempt at house:
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https://www.ourvenice.org/25333/diy-photo-frame-with-newspaper.html
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Summary:
The Neighbourhood Group (TNG) is a multi-service agency that includes Central Neighbourhood House, Neighbourhood Link Support Services and St. Stephen’s Community House
General Description:
The Toronto South Local Immigration Partnership (TSLIP) is a community collaborative focused on developing and implementing local settlement strategies that coordinate and enhance service delivery to newcomers while promoting innovation and efficient use of resources. TSLIP is one of five Toronto region LIPs and works closely with its sister LIPs to further the integration of newcomers throughout Toronto and Canada. This position will support the objectives of the National LIP Secretariat, which seeks to foster collaboration among LIPs across Canada.
The position will support and promote community mobilization on social issues, as well as support community-based, action-oriented research on a variety of social issues involving the settlement of newcomers. Other responsibilities include analyzing public policy as it affects newcomers to Canada, facilitating meetings, as well as planning, designing, implementing, evaluating and coordinating LIP engagement with member agencies and community and government partners.
Responsibilities:
- Ensure effective facilitation of working group and other meetings (remote for the foreseeable future.)
- Involve stakeholders in the planning and implementation of working group projects
- Build and maintain positive relationships with TSLIP partners and other stakeholders
- Build and maintain positive relationships with LIPs across Canada
- Participate in Community Partner tables and events as appropriate
- Collaborate with the TSLIP Director, other LIPs, staff, students, partners and community members to achieve workplan goals and project deliverables
- Contribute to the development and implementation of performance measurement strategies to evaluate TSLIP and National LIP Secretariat projects
- Contribute to analysis and recommendations toward organizational and sector improvement
- Contribute to the generation of internal and external reports
- Participate in Project Staff team meetings
- Participate in the coordination and support of LIP meetings, including workshop days, Council Meetings, Executive Meetings and others.
- Interpret and apply TSLIP program policies and framework documents
Qualifications:
- Masters degree in relevant discipline, and 2-3 years’ experience working in community development, community based research, or combined equivalent of education and experience
- Understanding of the non-profit sector including experience with social impact strategic planning; preferred recent experience with the immigrant serving sector in Canada.
- Excellent facilitation and presentation skills
- Some experience with both primary and secondary research preferred
- Experience designing and implementing surveys and questionnaires and focus groups in a community based setting
- Experience working within an Anti-Oppressive framework and implementing anti-racism initiatives
- Demonstrated ability to produce clear, concise and effective tools, presentations, reports
- Creative and consultative approach to problem-solving, working with a high degree of proficiency, confidentiality, decision-making and problem-solving skills in order to identify appropriate solutions to address issues in the face of conflicting needs
- Strong communication skills with a wide range of people including people with lived experience, agency staff and volunteers, managers, government program representatives and others
Status: Regular Full-Time, CUPE 2289
Hours: 28 hrs / WEEK
Hourly rate: $29.53
Reports to: Director, Toronto South Local Immigration Partnership
How to apply:
Interested persons should send their resume with a covering letter to:
Email: [email protected]
TNG is committed to reflecting the communities we serve and to nurturing a respectful and inclusive work environment for all. We encourage qualified applicants of all ages, races, colours, ethnic origins, religions, abilities, gender identities, gender expression and sexual orientations to apply. Candidates invited for an interview are encouraged to inform Human Resources in confidence of their accommodation requirement.
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https://www.settlementatwork.org/jobs/coordinator-toronto-south-local-immigration-partnership-tslip
|
Senior Software Engineer
- Expired: over a month ago. Applications are no longer accepted.
SUMMARY: The role of the Senior Software Engineer is to work closely with the IT staff and users throughout the business to deliver robust software solutions designed to meet BlackHawk's business needs. The Sr. Software Engineer is responsible for designing, implementing and deploying new systems along with maintaining existing applications by performing bug fixes and implementing new features to satisfy changing business requirements.
ESSENTIAL DUTIES AND RESPONSIBILITIES
- Personally exhibits, recruits and coaches associates consistent with BlackHawk’s Core Behaviors
- Responsible for promoting culture of safety
- Design, develop and implement applications that support day-to-day operations.
- Provide innovative solutions to complex business problems
- Plan, develop and implement large-scale projects from conception to completion.
- Develop and architect lifecycle of projects working on different technologies and platforms.
- Interface with clients and gather business requirements and objectives.
- Translate clients’ business requirements and objectives into technical applications and solutions.
- Understand and evaluate complex data models.
- Design, develop and implement new integration.
- Execute system development and maintenance activities.
- Develop solutions to improvise performance and scalability of systems.
- Keep up to date on the newest technological innovations relevant to our software systems.
- Write product requirement documents, implement and tracks development timelines, and negotiates feature sets with the development leads and product teams
- May work with customers, end-users, and suppliers to design, troubleshoot, and enhance internal processes.
- Ensure standards, consistency, quality and compliance with regards to business systems and processes.
Other
- Occasional travel for acquisitions, implementations, deployments and operational management may be necessary.
- Perform other duties as assigned.
QUALIFICATIONS
Knowledge & Experience
- .NET 3.5, 4.6 depending on target
- .NET core 3.0 and higher
- ASP.Net MVC 5, WebAPI 2
- Angular JS, Angular 2
- AWS S3 is beneficial
- Full stack development experience.
- Basic SQL knowledge.
- Proven experience in overseeing the design, development, and implementation of software and hardware solutions, systems, or products.
- Extensive practical knowledge in importing data for use in report software, spreadsheets, graphs, and flow charts.
- Experience with data management.
- Experience documenting and maintaining configuration and process information.
- Experience analyzing and documenting scenarios and processes.
Personal Attributes
- Proven analytical and problem-solving abilities.
- Ability to effectively prioritize and execute tasks in a high-pressure environment.
- Can conform to shifting priorities, demands and timeliness through analytical and problem-solving capabilities.
- Keen attention to detail.
- Technology Savvy.
- Strong interpersonal and oral communication skills.
- Adept at reading, writing, and interpreting technical documentation and procedure manuals.
- Ability to conduct research into hardware and software issues and products as required.
- Ability to present ideas and solutions in user-friendly language.
- Unquestionable ethics and morals.
- Highly self-motivated and directed.
- Strong customer service orientation.
- High commitment to working within a team-oriented, respectful, collaborative environment.
EDUCATION and/or EXPERIENCE
- High school diploma or GED required
- Bachelor’s degree required; in related area preferred
- 5 years’ experience in a similar position required
CERTIFICATES, LICENSES, REGISTRATIONS
- None required.
WORK ENVIRONMENT
- Occasional evening and weekend work to meet deadlines.
- Occasional overnight travel to meet with internal and external customers.
- Sitting for extended periods of time.
- Employee is regularly required to speak and hear English, stand, walk, sit, use hand to finger, handle or feel objects, tools or controls; reach with hands and arms.
- Employee is required to use computer and other equipment.
- Lifting and transporting of moderately heavy objects up to 50 pounds, such as computers and peripherals.
- Specific vision abilities include close vision and the ability to clearly focus vision.
BENEFITS:
|
https://www.ziprecruiter.com/c/BlackHawk-Industrial/Job/Senior-Software-Engineer/-in-Roseland,NJ?jid=c480de1a2c03e751&lvk=Ab3JCSM59Udz6XgdSHGGqw.--ML9GfuewZ&tsid=152016386
|
Technical Competence:
- at least 2 to 4 years professional experience in programming (including scripting / coding), SQL and relational databases, and application development
- experience with UI Path and execution of few projects is a must
- programming and developing solutions (e.g. with VBA, .NET, C#, Java, Python)
- Understand the basics of database technologies (e.g. MsSQL, Oracle) and different systems interfaces
- Are familiar with best practices in project work and project management methodologies (experience in agile and lean approaches is considered an asset)
- degree in Engineering / Computer Science and / or relevent professional certificate(s)
- experience with process analysis, design, and implementation; business and technical requirements; problem-solving; and system(s) testing, including UAT and bug fixes
- basic understanding of Lean and Six Sigma process methodologies
Functional & Behavioral Skills:
- Self-motivated and can work with minimal direction/independently alone or as part of a small team
- Worked in a global organization with European stakeholders
- Demonstrate Critical and analytical thinking
- Flexible and collaborative and approach necessary
- Problem solvers, who are proactive and creative in finding solutions
- Strong quantitative skills with ability to successfully manage multiple tasks
- Very strong communication & stake holder management skills
- Positive attitude with quality mindset
- Ability to quickly learn and taking initiatives
Role and Responsibility:
- work with stakeholders and Senior developers/analysts to execute RPA initiatives by analyzing and designing process workflows; building, testing, and implementing RPA solutions; and ensuring quality of the system
- assist stakeholders and Program lead in the construction of Business Cases and opportunity identification efforts to support the further adoption of RPA solutions throughout the Procurement organization
- share experience and knowledge to assist in the development of recommendations and solutions that are in-line with industry best practices
- work with stakeholders and Program lead to ensure that all project documents are maintained and knowledge is transferred to clients throughout the engagement
- participate in trainings to enhance your skills and abilities in RPA, including tools and best practices
- support your Project lead in managing project timelines, quality, budgets as well as stakeholder relationships
- Participate in global projects with global team and influence to reach defined goals
Categories:
IT Jobs | RPA Jobs | Blue Prism | UiPath | Automation Anywhere | RPA Developer Jobs | Jobs in Chennai | Daily Jobs | Latest Jobs | Jobs in Chennai
Tags:
|
http://www.techtutorial.in/blue-prism-jobs/konecranes-hiring-rpa-blue-prism-developer/
|
Job Description:
Software Engineering LeadThe candidate chosen for this role will
work alongside team members in an agile environment and apply
technical, analytical and communication skills towards producing
and maintaining high quality database-driven web and Windows based
applications using Microsoft .Net technology stack. For this role
we need someone driven and willing to work in a fast-paced
environment and to mentor the junior developers when needed. As we
are in the process of migrating the processing elements to the
cloud computing environment, it is essential that candidates have
the knowledge of Cloud /Containerization/ CI-CD
pipeline.QUALIFICATIONS* 7+ years of Software Engineering
experience* BS Engineering/Computer Science or equivalent
experience requiredTECHNICAL SKILLS* Expertise in development
Windows, C#, Angular, Angular Cli, Typescript, Bootstrap, ADO .Net
and Entity Framework* Web services using REST and SOAP* MS SQL
Server 2008 R2 or newer* Experience with containerization tools
like Docker.* Experience building applications using Micro Services
architecture.* Experience designing and building applications for
AWS or Microsoft Azure platforms* Strong problem-solving skills and
ability to work independently.* Very strong sense of web security-
Role based access permission* Both public internet and intranet* IP
restrictions* Strong knowledge in industry best practices in
development* SOLID design principle* Test-driven development.*
Strong proficiency with data manipulation language including
optimization techniques.* Strong understanding of
normalized/dimensional data modeling principles.* Ability to design
and work with complex data models.* Strong knowledge of multiple
data storage subsystems.OTHER PROFESSIONAL SKILLS* Advanced
knowledge of software development methodologies (e.g., Agile,
Waterfall).* Ability to partner and lead internal and external
technology resources in solving complex business needs.* Strong
research skills.* Ability to write and review portions of detailed
specifications for the development of complex system components.*
Strong skills in setting, communicating, implementing, and
achieving business objectives and goals through the direct
management of others.* Strong problem-solving experience involving
leading teams in identifying, researching, and coordinating the
resources necessary to effectively troubleshoot/diagnose complex
project issues; prior success extracting/translating findings into
alternatives/solutions; and identifying risks/impacts and schedule
adjustments to facilitate management decision-making.* Strong
communication (verbal and written) and customer service skills.
Strong interpersonal, communication, and presentation skills
applicable to a wide audience including senior and executive
management, customers, etc., including diction/terminology and
presenting information in a concise and effective manner to
clients, management, and various departments using assorted
communication mediums* Strong organization/project planning, time
management, and change management skills across multiple functional
groups and departments, and strong delegation skills involving
prioritizing and reprioritizing projects and managing projects of
various size and complexity.* Strong experience with various
resource models such as Managed Services and/or Staff
Augmentation.* Strong knowledge in industry best practices in
external resource development.With over 45 billion public records,
LexisNexis Risk Solutions is a leading global provider of risk
management solutions. The Oklahoma City office has a
twenty-five-year history of retrieving certain public records from
over 10,000 originating government sources. We seek to achieve
maximum possible accuracy, in the most efficient manner possible,
from public record sources. Our role is to locate and identify
specific public records, then accurately retrieve this information
and place it into standardized databases. With well over 100
million records in our data repositories, we can then query,
transform, and fulfill this information to our customers as bulk
data. Our national network of suppliers stand ready to retrieve
specific public record information and document copies on
demand.
Keywords: LexisNexis Risk Solutions, Oklahoma City , Software Engineering Lead, IT / Software / Systems , Oklahoma City, Oklahoma
|
Click
here to apply!
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Didn't find what you're looking for? Search again!
|
https://www.oklahomacityrecruiter.com/it-software-systems-jobs/1635956377/software-engineering-lead
|
Join the Ansys Customer Excellence team to support our customers on all aspects of their real-world engineering simulation projects and integration of Ansys software(s) in their design workflows and grow Ansys’ business. You will use engineering knowledge to provide technical post-sales support, find solutions to a wide variety of technical challenges, and channel customer feedback to improve Ansys products. You will be a part of our positive, dynamic team of enthusiastic and passionate engineers striving to deliver the highest quality solutions to our customers, advancing your knowledge, experience, and your impact on the success of our customers and Ansys.
Key Duties and Responsibilities
- Apply engineering expertise and knowledge of electromagnetic simulation techniques (applications involving power electronics design, electric machines, actuators, and transformers for their electromagnetic performance) to provide the highest level of technical support to customers and Channel Partners, ensuring high-quality, timely customer service that results in improved customer satisfaction and productivity.
- Interact with customers to help diagnose issues, as well as research and find solutions to a wide variety of large-scope, complex problems
- Develop simulation best practices, solutions, FAQs for a knowledge base
- Develop and strengthen long-term relationships with customers.
- Develop technical expertise in one or more simulation areas
- Submit suggestions for product improvement, when needed. File defect reports and verify fixes adhering to defect reporting processes.
- Participate in application field testing of new releases to ensure that new features and workflows will address customer requirements
- Instruct training classes on the usage of ANSYS simulation products, as required
- Execute field marketing activities including technical presentations for marketing events, assist Sales and Presales efforts to grow ANSYS business based on the expertise and skill set requirements
- Participate in other strategic team and company initiatives, as needed
Minimum Education/Certification Requirements and Experience
- Ph.D., Masters or Bachelor’s degree in Electrical/Electronics Engineering
- Sound knowledge related to electromagnetic field theory, power electronics, and electric machines
- Demonstrated problem-solving skills and ability to implement numerical models to obtain practical engineering solutions to difficult problems
- Engaging personality, engineering curiosity, and willingness for continuous learning
- Ability to work independently, as well as with others in a diverse team environment
- Logical problem-solving, strong interpersonal and communication skills, fluent in writing and speaking English
- Strong organizational and time management skills, possesses a sense of urgency
- Projects a professional image and demonstrates business acumen, driven to succeed
- Interested in working with customers and willing to travel
Preferred Qualifications and Skills
- Ph.D. or MS/MTech degree preferred
- Experience in using commercial or in-house electromagnetics software for real-world industry-level applications
- A minimum of 2 years of experience in the use of relevant ANSYS software or other commercial software (can be obtained or partially obtained in a university setting)
- Experience of being part of the engineering product development cycle will be an added advantage
CULTURE AND VALUES
Culture and values are incredibly important to Ansys. They inform us of who we are, of how we act. Values aren’t posters hanging on a wall or about trite or glib slogans. They aren’t about rules and regulations. They can’t just be handed down the organization. They are shared beliefs – guideposts that we all follow when we’re facing a challenge or a decision. Our values tell us how we live our lives; how we approach our jobs. Our values are crucial for fostering a culture of winning for our company:
- Customer focus
- Results and Accountability
- Innovation
- Transparency and Integrity
- Mastery
- Inclusiveness
- Sense of urgency
- Collaboration and Teamwork
Apply for job
To view the job application please visit careers.ansys.com.
|
https://semiwiki.com/job/technical-support-engineer-ii-5/
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