Saturday, January 25, 2020
US Army Rotc Program History Essay
US Army Rotc Program History Essay The U.S. Army ROTC which stands for Reserve Officers Training Corps is by far the best of the leadership courses throughout the country and is part of most colleges curriculum. The learning involves such practices which enables you to understand what it required to lead others, take up missions and motivate your fellow mates as an active Officer of the Army. Once graduated, the cadet earns the position of a Second Lieutenant and would be part of the Active Army, Army National Guard or the Army Reserve and become a discoverer for lifetime. The United States Armed Forces and numerous other national militaries, specially the countries having firm historic ties with the United States have implemented Reserve Officers Training Corps programs. Philippines implemented this in 1912 while Korea started ROTC in 1963. The ROTC contributes to all departments of the U.S. Armed forces except for U.S. Coast Guards. All in all it contributes towards 56% of the whole U.S. Army out of which; 11% are to US Marines, 41% to US Air Force and 20% of US Navy. The combined figures for the ROTC contribution of active duty officers towards the United States Department of Defense accounts to 39% which is a notable figure. Philippines ROTC Alumni Association acknowledges that 75% of the officer corps for Armed Forces in Philippines adds up from ROTC programs. Except for the US Coast Guard each of the U.S. Armed Forces offers keen scholarships to ROTC participant students on merit basis. They even offer scholarships in exchange for periods of active military service. For instance, students who opt for an Army ROTC scholarship agree to dispense a four year period of military service with the Army after college. Army and Airforce ROTC students are cited as cadets where Naval ROTC students are called midshipmen as these terms concur with their particular services in the military academy that they carry out. US Navy and US Marine Corps both are licensed by the Naval ROTC program whereas the Coast Guard guarantor only the JROTC program. Army ROTC squads are orchestrated into companies, battalions and brigades. Similarly, Air Force ROTC units are divided into wings, squads or wings just like the active Air Force. Naval ROTC units are carved up as naval battalions. Usually, naval ROTC units are formed into Naval battalions but having the Navy educatees in sections and divisions like a ship, and the Marines in a different company is only exercised when an ROTC unit has ample amount of members to justify an extra division. Senior Army leaders are keen of the idea that perception is actually reality. Black representation and resultant progress in the combat arms branches of the US Army is deplorably lacking. Recruiting blacks into combat arms is diminutive whereas the Black combat arms officers who elevate on higher leadership and command positions at battalion and brigade command level or higher are relics at best. This is also historic fact that the selected few Blacks for senior operational commands at the battalion or division level are generally placed out of view from the American public and the African American youth without fail. Figures say that across the past thirty years only two of nine black men were taken upto command Army Divisions and that also they have been intended to do so in Conus. It is a fact that Black men and women can derive aspiration in pursuance of a given career, by seeing someone of their own ethnicity in placements of high authority, but Black Battalion Commanders have a lways remained persona non grata in percepts of the Black youth. The US army in turn lays no significant emphasis on dealing with the impact of black combat officers. Charles C. Moskos states that Blacks occupy more management positions in the military than in any other sector of American society. The incorporation of Blacks into the Army is a sensational story worth simulating; the Army figures show that Blacks do not take parts equally all around career fields. Especially Blacks are under-represented in the combat arms; the circumstance can be named as occupational segregation. U.S. Armys leaders and authorities are touched on about the low count of Black officers functioning in the combat arms for two causes. First, the low count of Blacks in the combat arms cuts down the diverseness and perhaps the believability of the U.S. Armys authority. Second, it proves to be unmanageable for Blacks to achieve appropriate internal representation among general officers because 72% of the U.S. Armys generals are picked out from the combat arms. Three-quarters of all Black officers are licensed by ROTC whereas majority of them are licensed by HBCUs (Historically Black College and Universities). Researches reveal that there were two leading factors that influenced the assignments of Black cadets and those were cadet performance as well as attitude towards service. As a result, black HBCU cadets compete appropriately in on-campus ROTC scores but are indisposed when it comes to Advanced Camp. Black cadets were less probable to regard the Army as fair and had a most negative perceptual experience about the combat arms branches. Moreover, Black cadets are also deficient when it comes to combat arms mentors to cater for the needed motivation, tutorship and counseling. The US Army must set out to extenuate these factors and inverse the under-representation of Black military officers in combat arms. Thus, to enhance the internal representation of Black officers, the Army must coach HBCU cadets to do a cut above at Advanced Camp and prepare HBCU cadets for the needs and unparalleled culture of the Army and furthermore, delegate more Black officers into combat arms branches to allow for more mentors for Black cadets and officers in the time to come. Equal opportunity was not constantly interpreted as it is today. Formerly Army directives allowed for segregation. Ever since the desegregation of the Armed Forces, the Army has efficaciously broadened their ranks as the Army acts as mannequin for other organizations to follow up on. The Blacks comprise 29% of the total Army and just 11% of all Army officers. Nonetheless, a more closelipped look at Army officer statistics points that some inequalities have existence. Nowadays, the argument is not about adequate remuneration and intervention. But the main concern is the statistical distribution of Black officers amongst the Army. The amount of Black officers in combat arms offsets of the Army is minuscule, while the amount of Black officers engaging non-combat arms emplacements is heavy and developing unevenly. A deliberate study of the demographics by vocational specialty suggests that most Black officers in the Army are based in combat support and combat military service support branches. Various considerations add to making the uneven distribution. One of the causes is the rate of progression of Black officers with their white counterparts. Counterpointing causes arise from circumstances that are present outside the Army and result from the aftermaths of sociable and ethnical determines. Nevertheless, the failure to access Black officers into the Armys combat arms occupations is a serious institutional concern. Several studies in recent years have attempted to shed some light on this issue. A good example of inequality between combat and non-combat departments is exemplified by Army Infantry demographics which says that the percentage of Blacks in the Infantry has dropped a great deal from 30% in 1980 to 15% presently, while the count of Blacks in logistics units nowadays often are more than 50%. In 1999, only one Black cadet was accessed into the Infantry by the United States Military Academy. Reports suggest that Black American students rate the grandness of earning high financial gain and contributing to society (Walpole, Bauer, Gibson, Kanyi, Toliver, 2002). Another study by Morgan Teng and Anderson (2001) about Black American community college students depicts that job protection, a good starting income, self-reliance, and a crucial position are more crucial to Black American students comparably to White students. In addition, a crave of serving others and the society is also a significant motif in Black American culture. Nevertheless, some researches endure that particularly looks into differences of opinion amongst Black American and White educatees concerning the dominance of future income, future position, college attendance and vocational choices. Moreover, Black American persons proceed to go through high values of educational shortfalls, employment stagnancy, and impoverishment in the United States of America (Hargrove and Pope-Davis, 2001). Altogether we hope is that looking into the influence of future income, status and stimulating a difference in community will lead to significances favorable in assisting Black American students in finishing high school, going to college, and arriving at a career choice. Researches depict that a Black cadets entrà ©e into combat arms offsets is ascertained into a prominent part by two components: cadet functioning and cadet mental attitude towards service. African HBCU cadets contend befittingly with other cadets when it pertains to on-campus ROTC grades but they perform badly at Advanced Camp. A cadets performance is most importantly a derivative of the personal attitude towards service. The Army needs to lay complete and prompt attention to training HBCU cadets better. Conditioning plus formulation on campus starts with attaining a satisfactory GPA. Secondly, the ROTC cell must be knowledgeable adequately to render quality conditioning for HBCU cadets. Conditioning must be concentrated on the vital performance areas the cadet is assessed at camp such as traits like management, navigation, and APFT. The program must also ascertain that HBCU Cadets incur coaching to gear them up for the shift in organizational surroundings they will come upon at Advanced Camp. The HBCU Cadets need to have early experiences in adjusting to a more structured organizational stage setting. The cadets must learn to adjust ahead of the time when he arrives at Advanced Camp. ROTC plans have in the past times carried on speciated conditioning and training to prepare cadets for functioning in various environments. This particular training had better be reevaluated for its value and re-established. Cadets can suffer from culture shock during the early days of the camp if they are not trained or carried along without this kind of preparation or training. Squad leaders and contrivers must supervise internal representation. Discouraging to leaders and contrivers will be the extended dialogue over distinguishing the suitable military representation levels of citizen groupings. The demand for plentiful figures of quality staff personnel within the Army necessitates belief on all demographic and societal sections of America. Suitable action in reception to statistic trends is essential to preserve and amend the force. The Army ought to enhance the count of Black combat arms officers teaching Black cadets. Standard Black combat arms officers capable to provide a positive example to cadets will extremely aid in impeding vocational separatism of Blacks in non-combat arms offshoots. The occupancy of thes e eminent officers will also encourage mentoring of cadets that will amend the mental attitude cadets possess of the Army and ROTC.
Friday, January 17, 2020
Film Analysis: The Bird Cage Essay
In the year 1996, Mike Nichols decided to produce and direct the film version of the highly successful 1978 stage play La Cage Aux Follies. Geared towards the western tastes of the American audience, he called the movie The Bird Cage and presented the public with a hilarious yet informative movie about a gay man who fathers a son after an affair with a woman. The film showcases the brilliant talent of Robin Williams as Armand Goldman, father to Val Goldman as portrayed by Dan Futterman. Nathan Lane flawlessly essays the role of Albert Goldman, the â€Å"wife†involved in the homosexual relationship with Armand. Christine Baranski plays Katherine Archer, the biological mother of Val who had a one night stand with the openly gay Armand.            The movie gives us a glimpse into the reality that gay bashing and fear of homosexuals is really an unfounded fear that society insists on propagating rather than understanding that just because a person is homosexual, it does not mean he stops being a real live person. Any homophobic person who views the movie must do so while making the effort to keep an open mind about the topic. The reality is that there is nothing to fear from these people. They, just like any normal person continuously struggles for acceptance and they are normal functioning human beings. They are not an illness, nor a curse from god. Since Val was raised in a homosexual household, he is quite comfortable with his father and â€Å"stepmother†because they function as a family unit. Proving therefore that the dynamics of a family exists regardless of whether the child is raised in a same sex or normal couple household. To Val, there is nothing strange about his family and he is highly confident of his sexuality. His beliefs about how normal his household is get shaken the day he gets engaged to Barbara Keeley ( Calista Flockhart), the daughter of Senator Kevin Keeley, founder of the Coalition for Moral Order, as the name of the organization implies, the good senator would never approve of his daughter marrying a man raised in a homosexual household. In an effort to gain the approval of the senator for their engagement, Val must convince Armand to pretend to be a straight heterosexual for just one night and pretend to be a man with Katherine at his side.            As the night progresses and the best laid plans of Val begin to unravel and his secret threatens to become exposed with the arrival of his â€Å"grandmother†, who is really Albert Goldman in drag, Val realizes how unique his confusing family really is and that it does not matter if he was raised by 2 homosexuals. He eventually comes clean and everything works out in the end.            The Bird Cage is a movie that carries with it a very serious message regarding homophobia and the society that at the time could still be considered intolerant of gay partnerships. Indeed a lot has changed in the past 11 years since this movie was created. At the time the movie was filmed, Director Nichols was setting out to inform the viewing public about the misconceptions and myths about homosexuality by encouraging the homophobic viewer to become more tolerant of the alternative sex while understanding that they too have a place and bring a balance to the world we live in.            In an in independent review by James Berardinelli back in 1996, he praised the film for its creativity and humor in dealing with such a delicate topic as a child raised in a same sex family. Something which at the time was only whispered about. Mr. Berardinelli commented that â€Å"The Birdcage rivals A Midwinter’s Tale for the funniest movie released thus far in 1996. In fact, the film is so boisterously entertaining that it’s easy for the unsuspecting viewer not to realize that there’s a message here. The structure of The Birdcage is designed to show us that there isn’t much difference between conservatives and liberals or straight and gay people. Nichols’ picture preaches tolerance and understanding, but neatly camouflages such themes beneath gaudy sets, colorful costumes, and unrestrained humor. The script has a few lulls, and there are times when it doesn’t make a lot of sense, but there are few better ways to spend a chilly winter evening than peering through the bars of The Birdcage.†           These days, homosexual relationships have begun to receive a certain amount of tolerance and acceptance by society. Although, society still frowns upon allowing a homosexual or, for that matter, lesbian couple to raise a child in a same sex household fearing that such a set up would confuse the child and encourage the child to follow the lifestyle he was immersed in all his life causing the child to become a homosexual, lesbian, or have a certain type of sexual abnormality about the child.            In a normal family, a mother or father is identified by his sexuality. Therefore there is no way to tell who is which in a homosexual family right? Wrong. When you ask a gay couple who is the mother or father in the situation, they will always have a ready answer. This is because one of them seems to be born with the motherly instinct activated. Although it is believed that a child raised in a homosexual household will never experience the mother/father, husband/wife, mother/father relationships, he will however have exposure to the same through relatives in the family who belong to the standard definition of a family.            In the movie, Val realizes towards the end that he has 2 mothers who love him very much. One who gave him life, and the other, a man who, just like his mother has only his best interest at heart. Both persons only wanting to see him happy throughout his life. There is no real gender perception in terms of who is the mother or father role because the dynamic that describes either parent is the same, a person who loves and cares for the child and only wants the best for him or her. Why does that kind of relationship work? Parenthood requires one to be selfless and put the interest of the child ahead of your own. It does not matter if the child comes from a normal parent, one parent, or homosexual parent family, the guiding objective of parenting remains the same.            As evidenced by this movie and actual real life homosexual families, just because one is raised in a homosexual household does not make that person gay. According to the United Families International, there is no truth to the gay gene and therefore it cannot be considered genetic. The organizations explanation goes on to say that â€Å" Homosexuality is not a genetically encoded condition. Contrary to media hype, there is no conclusive or compelling empirical evidence showing any absolute biological, genetic, or hormonal causation for homosexuality. Homosexual activist and molecular biologist Dean Hamer’s study claiming the existence of a homosexual gene has been scientifically discredited. Studies that claim to prove homosexuality is genetic have been purposefully designed from a homosexual advocacy perspective and seek to convince society that homosexuality is innate, psychologically normal, and thus socially desirable. â€Å" As for the possibility of a genetic disposition towards homosexuality the organization claims that ; â€Å" There may be a possibility of the existence of a genetic predisposition toward homosexuality, which is far different from causation. But even this possibility is far from scientifically proven. Predisposition toward something does not mean that it is inevitable, or that such a predisposition cannot or should not be resisted and overcome.†Comparing the predisposition to homosexuality to alcoholism, it is further stated that â€Å" Some people may have a predisposition to alcoholism, yet we do not affirm their disposition, but rather treat their condition and help them change. Current evidence suggests that environmental, familial, and personal influences contribute significantly to the development of homosexual tendencies. Seventy years of therapeutic counseling and case studies show a remarkable consistency concerning the origins of the homosexual impulse as an uncompleted gender identity seeking after its own sex to replace what was not fully developed in childhood†           As for the social issues a child raised in a homosexual household faces, I will agree with those who say that they face a rougher time in the real world than the children from regular parent households. This is mainly because children are by nature mean and love to tease each other without realizing how it emotionally affects their fellow child. This however should only serve to help strengthen the child’s personality as well as help him to further understand how different his or her own family is from everyone else. But, that does not make him any less of a human being nor should it prevent him or her from enjoying childhood. Val was practically raised in a same sex household and he grew up to become a responsible, caring, and understanding individual. Something that cannot often be said even for children raised in normal parent households.            A child comes to this world as a blank slate. It is the parents of the child who write on that slate and determine what a child’s value system will be based upon. A child learns his values in life by the example and reinforcement of his parents. It is up to the parent to teach their child the value of tolerance and acceptance of something that is deemed different in our society such as homosexuality and the fact there will be a few kids here and there whom he or she may mingle with who comes from such an upbringing. Therefore, how comfortable and confident a child will be about his sexual orientation, as well as how he accepts those of a highly different gender than his or hers solely depends upon how the parents explain the moral value of treating each sex fairly while highlighting the need for tolerance and understanding of such people.            To illustrate the point about the value system of a child, one only has to view how well adjusted Val was brought up by both his straight mother, gay father and his partner to see that any value system an adult has in place was developed during his childhood. He was taught the value of tolerance and understanding from the minute he could walk and it made a huge difference in regards to how he accepted people in his life when he became an adult. According to Lois Clark, who compiled the Ohio State University Fact Sheet, communicating with children can help develop their sense of values. Simply put, Ms. Clark indicates that â€Å"When talking to children, it is important to tell them what acceptable behavior is and why it is acceptable. Simply telling a child not to do something does not teach the child anything except he should not do that particular thing. By explaining the reasoning behind the request, the child can learn.†This method of child rearing, wherein the parent will have the opportunity to explain about sexual differences to the child can prove to be a valuable part of a child’s value system in today’s day and age where homosexuality and lesbianism are slowly becoming an accepted part of society. Work Cited Berardinelli, James. (1996). The Bird Cage: A Film Review. Retrieved July 25, 2007 from http://www.reelviews.net/movies/b/birdcage.html Clark, Lois. Topic for Teen Parents. Retrieved July 28, 2007 from http://ohioline.osu.edu/hyg-Fact/5000/5233.html Dannon Marcello, Imperato Michele, Machlis, Niel, Mike Nichols. Mike Nichols. (1996) The Bird Cage. USA: United Artists. United Families International. (2003). Myth and Reality about Homosexuality–Sexual Orientation Section, Guide to Family Issues. Retrieved July 26, 2007 from http://www.freerepublic.com/focus/f-news/1034938/posts Â
Thursday, January 9, 2020
Wednesday, January 1, 2020
Example Music Essay - Free Essay Example
Sample details Pages: 6 Words: 1898 Downloads: 2 Date added: 2017/06/26 Category Music Essay Type Research paper Did you like this example? Describe the development of the keyboard concerto from c.1710-1790, and assess why the form became so popular with both composers and public. This essay explores the developmentof the keyboard concerto during the 18th century considering itsprecursors, social and economic context and the advent of the piano. Byexploring the work of key composers during the 18th century, it willbe shown how musical and social shifts created an environment in whichenduring, popular and technically adventurous piano concertos could emerge. Early Concertos Concertos are typically defined asinstrumental works where a smaller group (in a concerto grosso) or soloist (ina solo concerto) contrasts against the sonority of a larger grouping. Thistechnique was used in orchestration during the 17th century in workssuch as canzonas (Grout 1988: 473), with the concerto form emerging towards theend of the 17th century. Possibly the most influential composers ofearly concertos were Corelli, Torelli and Vivaldi. Wellesz and Sternfield(1973: 435) trace the emergence of the early concerto form through these threecomposers. Corellis twelve Opus 6 concertigrossi were written at the end of the 17th century using a structureconsisting of a somewhat random alternation of slow and fast movements.Movements were ritornello-based (a ritornello is like a refrain), withalternating tutti and concertino passages showing limited decoration orexploration of thematic material. Torelli, composing at the turn ofthe century, wrote concerti grossi and solo concer ti. He established the threemovement (fast-slow-fast) structure that was widely adopted. Torelli alsoexplored the use of contrasting thematic elements within concertos andincreased the complexity of solo lines. Vivaldi, writing in the early 18thcentury, refined the form, with more exploration of thematic contrasts,although Kolneder (1986b: 307-8) argues that Vivaldis material is perhapsbetter described as motifs than themes. Although these three composers werekey to the emergence of the concerto form, their instrumentation focused onstrings. Vivaldi wrote some flute and bassoon concerti, and orchestras wouldtypically include a continuo keyboard part, but the first composers to use solokeyboard in concertos were Bach, Handel and Babel. Don’t waste time! Our writers will create an original "Example Music Essay" essay for you Create order The First Keyboard Concertos There is debate over which piece ofmusic qualifies as the first keyboard concerto. Handel wrote the first organconcertos, with a set of six published in 1738, but used a concerto-likestructure very much earlier, in his cantata Il trionfo del tempo e deldisinganno of 1707, contrasting the organ with the orchestra in a ritornellostructure. Bachs Brandenburg Concerto no. 5,composed around 1720, is widely held to be the first harpsichord concerto, anddevelops the concept of the virtuoso soloist, featuring an extensive soloharpsichord cadenza towards the end of the first movement. However, recent research suggeststhat, even earlier than this, William Babel was writing concerted movements forharpsichord. The dates of composition are uncertain, but appear to be at leastas early as 1718, and possibly 5 or 6 years prior to that (Holman 2003). Handels work, in addition todeveloping the keyboard concerto, provides interesting insights into the natureof performance and developments in amateur music-making at the time. Handel hadmoved to London, where he spent most of his adult life, in 1712, establishinghimself as something of a celebrity. Initially finding success withItalian-style opera, the wane in the popularity of the form caused him toswitch to oratorios. The virtuoso castrati, who had played a major role inopera, were not appropriate for oratorios, where virtuoso performance wasconsidered not to be in the spirit of the work. By composing organ concerti tobe performed alongside the oratorios, Handel preserved an element of virtuosoperformance popular with audiences, and as one of the leading organists of hisday, he was able to showcase his skills through these works.. As the English organ had nopedals, music written for it transferred easily to the harpsichord, andHandels publisher could promote his second set of organ concerti as forharpsichord or organ, broadening its appeal (Rochester 1997). Mid-Century Developments The popularity of the Baroqueconcerto may have hindered the development of the concerto form. Wellesz andSternfield argue that even such original composers as Sammartini and C.P.E.Bach could not rid their minds of Baroque preconceptions. (1973: 434) C P E Bach regularly used theBaroque structure, with a number of tuttis punctuating solo passages in theritornello style, but was innovative in other respects: his device of runningone movement into another is more often associated with 19th centurymusic. Wellesz and Sternfield establishthree main elements where there is a clear differentiation in style betweenClassical and Baroque concerto forms: tonality, form and co-ordination ofmusical elements (1973: 435-6). Classical concerto style developsthe concept of opposing tonalities, placing tonic and dominant against each other,while the Baroque style, though often using modulation, maintains morestability. In the Baroque concerto, expositionand development are often combined, while in the Classical era there is clearerdemarcation, pointing towards sonata rather than ritornello form. The Baroque form entwinescontrapuntal elements over a more independent bassline, while the Classicalform prefers all elements including harmony, melody, orchestration and rhythm- to be held together within the same overall plan. Also key to the development of thekeyboard concerto was the emergence of the piano. The prototype instrument wasdeveloped by Bartolomeo Cristofori in the final years of the 17thcentury and called the gravicembalo con piano e forte, meaning harpsichord withsoft and loud, although the dulcimer, where strings are hit by hammers, wasmore of an inspiration than the plucked harpsichord. This gave scope to developa keyboard instrument with greater dynamic versatility. However, composers wereinitially sceptical. In 1736, Gottfried Silbermann invited J S Bach to try oneof his instruments. Bach was critical, but Silbermann worked to improve hispiano, an d Bach subsequently acted as an intermediary in its sales. The new instrument also foundsuccess in Britain. During the 18th century, Britain, and especiallyLondon, was cosmopolitan: Handel had had great success, and records show thatmany musicians from the continent made Britain home. Britain offered an environmentof relative political stability compared with many areas of Europe. There was akeen appreciation of music among the upper classes, and a growing middle classwith money to spend on leisure pursuits including music. However, in 1740 there was only onepiano in the country. In 1756, the Seven Years War resulted in an exodus fromSaxony to Britain, and their numbers included a group of harpsichord makers,one of whom, Zumpe, began to make pianos and invented the square piano. It hadadvantages over the harpsichord and other types of piano which were a similarshape to the harpsichord. It was quicker and cheaper to manufacture, andremained popular until the middle of the next century. Johann Christian Bach, son of J Sand younger brother of C P E, arrived in London in 1762. He developed a rangeof commercial interests, and became Zumpes London agent, providing anincentive to write material to show the instrument to its best advantage. Hehad other business interests too: on arrival in London in 1762, he sharedlodgings with Carl Abel, also a German composer. They developed a partnershiprunning subscription concerts, which proved hugely popular until after J CBachs death in 1782, and had a stake in the Hanover Square Rooms, which theyused as a venue for their concerts. Johann Christian had been a pupilof his older brother Carl Philip Emmanuel, but it was the younger brother whowas the more influential on the development of the concerto form, particularlywith regard to exposition themes. He often used a triadic primary theme andmore cantabile secondary theme, suggesting elements of sonata form, althoughritornello style is still evident. J C Bach wrot e around 40 keyboardconcertos between 1763 and 1777 (Grout 1987: 560). Midway, dating from 1770,are the Opus 7 concertos: Sei concerti per il cembalo o piano e forte (sixconcertos for harpsichord or piano). The title itself is significant.Harpsichord manufacture was still on the increase in the 1770s, but theinstrument was soon to be overtaken in popularity by the square piano, and Bachwas the first to use the instrument for public performance (Grout 1987: 562).Grout suggests that the E flat major concerto, no. 5 of the set, hassignificant structural similarities to Mozarts K488 (Piano Concerto No. 23 inA major), with a similar combination of Baroque ritornello structure and sonataform, contrasting keys and thematic material. While Johann Christians work goessome way to realising the Classical concerto form, it was Mozart who pushed theform forward to create a precedent for concerto composition in subsequentcenturies: Mozarts concertos are incomparable. Not even thesymphonies reveal such wealth of invention, such breadth and vigor ofconception, such insight and resource in the working out of musical ideas. Grout1987: 614 Mozarts Piano Concertos Mozarts move to Vienna fromSalzburg in 1781 heralds musical developments and reflects social changes. On 9May 1781, he wrote to his father I am no longer so unfortunate as to be inSalzburg service (Mersmann 1938: 161): he had been frustrated by the limitedopportunities of his employment at court. The joy of leaving Salzburg forVienna seems to have been musically inspiring, and the next few years wereprolific, not least in the composition of piano concertos: Mozart wrote 12between 1784 and 1786. The influence of J C Bach on Mozartwas significant. The two had met in London in 1764, when Mozart was still aboy. In 1772, Mozart created his first three piano concertos by rearrangingthree of J C Bachs sonatas. Beyond the concerto structure, the detail ofMozarts music suggests Bachs influence. His subtle ornamentation and cleveruse of suspensions and ambiguities of tonality also characterises J C Bachswork. Mozarts use of keys isparticularly innovative: in the first movement of the A major Piano ConcertoK488, the development section incorporates a passage of dialogue between thewinds and a larger grouping of piano and strings, modulating through E minor atbar 156, C major at bar 160, A minor at bar 164 and then through F major at bar166 to D minor at bar 168. The more obvious, related tonalities for a work in Amajor would be D and E major, the subdominant and dominant keys, and F# minor,the relative minor key. This type of harmonic device gives a strong sense ofdeparture from the safety and stability of the home key, making its eventualreturn in the recapitulation stronger and more satisfying. This passage also shows examples ofMozarts innovative orchestration: the small group-large group contrast ofearlier concertos becomes a three-way interchange, with piano, winds andstrings forming three groups which are united and contrasted in a range ofcombinations. Conclusion Mozarts innovations took thekeyboard concerto to a new level, and give some indication of why the formbecame so popular with composers and the public. For the composer, working patternswere changing, away from the often creatively restrictive nature of patronageto an environment of more freedom, with composers having more control ofperformances as events J C Bach is a particularly good example of this. Withmany composers also being gifted performers, who could attract audiences by wayof their virtuosity, the concerto offered scope to write exciting, challengingpassages within the context of a major work, giving their performances realimpact. Yet the economic reality was thatincome depended on the success of concerts and the ability to please a fickle audience.Mozart was clearly aware of the need to please a range of Viennese listeners,writing of his 3 concertos written for the 1782-3 season: There are passages here and there from whichconnoisseurs alone can derive satisfa ction, but they are written so that thenon-connoisseurs cannot fail to be pleased even if they dont know why.(Quoted by Steinberg 1998: 279) Taking the above into account, itis surely not insignificant that Mozarts piano concertos are, 200 years aftertheir composition, enjoyed by a huge audience and also highly regarded bymusicologists. The development of the keyboardconcerto in the 18th century demonstrates how changes in the sociallandscape and innovations in instrument technology planted the seeds of avibrant music industry. This helped set up the piano concerto to become anindispensable ingredient in the concert hall and a contributing factor in thephenomenon of the virtuoso in the 19th century and beyond.
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