Since Early College High School Was Founded In The Year

Since Early College High School was founded in the year 2006, the school and its students have always been at disadvantage. The school has lacked several opportunities such sports, scholarship opportunities, etc. However, a topic that has been the spotlight of discussion amongst students over the course of eleven years has been the lack of extracurricular activities. This problem does not only affect students, but it rather affects faculty members as well. Although there has been a slow but gradual increase in solving this problem, this change has come forth at a lengthy rate. It has been 11 years since change has been prompted, and although the current students are benefiting from this change, there have been several generations of†¦show more content†¦I conducted an interview with Dr. Martinez, the current principal of Early College High School explained that many of clubs that the school creates have become co-curricular activities or â€Å"classes† for two reasons : it easier to fund and to find a coordinator. Up until our interview, I was not aware of this process. However, I have witnessed this first hand as soccer was once an actual school sport, but it eventually became a class. Furthermore, Dr. Martinez noted that it is easier to get an extracurricular activity approved through either CCC or OCC than the school’s own district. Although the students do get to take part in an activity they have some interest in, it is rather considered a class rather than an extracurricular rather than an actual class. 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Summary Of Ruth Gomberg Munoz s Labor And Legality

Ruth Gomberg-Muà ±oz’s, Labor and Legality is a book written on the Mexican immigrant network in the U.S. She centers it on the Lions, a group of Mexican men from Leon, Mexico that all share their lives and help explain the many networks and strategies that are used in order to excel and gain happiness. There have been many different sorts of misconceptions about immigrants, and in recent years about undocumented immigrants from Mexico. The U.S. has made a sort of war on illegal immigrants and has made it a seemingly high priority in the media and in politics. Therefore, many Americans have been mislead and ill-informed about the history of immigrants/undocumented immigrants. Gomberg-Muà ±oz’s Labor and Legality helps set us straight. She unveils undocumented immigrants for the people that they are instead of the criminals that the media leads many to believe. Although she doesn’t have a wide range of participants for her study, I believe that she addresses man y of the misconceptions and just plain ignorance that American people have of people that are undocumented; why stereotypes are supported by the people themselves, why politicians include stronger illegal immigration laws, and everything in between. Many of her topics reveal a sort of colonialism that the U.S. practices on Mexico; the exploitation of undocumented peoples to the benefit of the U.S. through economics, hypocritical laws and campaigns, and the racist and prejudice consequences. In America, Mexico is

Technologies for Digital Media Business Transmission

Question: Discuss about the Technologies for Digital Media of Business Transmission. Answer: Calculate the total number of bits in this GOP. I1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12 P13 P14 P15 57648 11488 5208 3760 2608 1984 1320 840 1144 648 448 800 932 856 880 Total number of bits = 90564 bits Knowing that the 15 frames in Table 1 should be transmitted in 0.5s, what is the required bit rate (in bits/s) to successfully transmit the GOP of Table 1 within the required time limit? Required bit rate = What can you conclude concerning the transmission of this sequence over the link between BS1 and the mobile user in Fig. 1 (be reminded that the data rate over that link is 100 kbits/s)? The required data rate is 176.883kbps which is greater than the available data rate of 100kbps. Hence data can not be transmitted within the time frame of 0.5 seconds over the link between the BS1 and the mobile user. Description 1 I1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12 P13 P14 P15 28704 8024 3400 2352 1720 1344 720 592 640 352 128 392 608 480 424 Description 2 I1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12 P13 P14 P15 28944 3464 1808 1408 888 640 600 248 504 296 320 408 324 376 456 Calculate the total number of bits in the GOP of D1 (Table 2). Total number of bits in the GOP of D1 = 49880 bits Knowing that the 15 frames in Table 2 should be transmitted in 0.5s, what is the required bit rate (in bits/s) to successfully transmit the GOP of Table 2 within the required time limit? Required bit rate to transmit GOP of Table 2 = Calculate the total number of bits in the GOP of D2 (Table 3). Total number of bits in the GOP of D2 = 40684 bits Knowing that the 15 frames in Table 3 should be transmitted in 0.5s, what is the required bit rate (in bits/s) to successfully transmit the GOP of Table 3 within the required time limit? Required bit rate to transmit GOP of Table 2 = What can you conclude concerning the transmission of the video sequence, after splitting it into two descriptions, knowing that the achievable data rate over the link between BS1 and the mobile user is 100 kbits/s, and the achievable data rate over the link between BS2 and the mobile user is 95 kbits/s? After splitting the video sequence into two descriptions, the required bit rate of 97.4kbps and 79.kbps for D1 and D2 are less than the available data rate of 100Kbps for the link between BS1 and mobile, and 95kbps for the link between BS2 and mobile respectively. Hence the data can be transmitted successfully within the time frame of 0.5 seconds over the available links. Assuming a simple form of encryption that consists of performing a XOR operation with the Key: Perform ECB encryption for plaintext Blocks 1, 2, and 3. Key 1 0 1 0 1 0 1 0 Plaintext Block1 1 1 1 0 0 1 1 0 Plaintext Block2 1 0 0 0 1 0 0 1 Plaintext Block3 1 1 1 0 0 1 1 0 XOR operation is performed between the plaintext and the key to encrypt the data and produce the ciphertext. Ciphertext Block1 0 1 0 0 1 1 0 0 Ciphertext Block2 0 0 1 0 0 0 1 1 Ciphertext Block3 0 1 0 0 1 1 0 0 What can you remark, especially concerning Blocks 1 and 3? Same data is encrypted as same ciphertext with the key. Hence the Electronic Code Book encryption is deterministic. Hence, with a small number of trial and errors, the plain text can be predicted from the ciphertext. Perform CBC encryption for plaintext Blocks 1, 2, and 3. XOR operation is performed between the Initialization Vector (IV), the key and the Plaintext Block1. This will result in the Ciphertext Block1. Then, XOR operation is performed between the Ciphertext Block1, Plaintext Block2 and the key. This will result in the Ciphertext Block2. Similarly, the Ciphertex Block2, Plaintext Block3 and the key are XORed to generate the Ciphertext Block3. The advantage of Cipher Block Chaining (CBC) encryption is that changing the initialization vector results in different ciphertext for identical messages. Initialization Vector 1 0 0 0 0 0 0 1 Key 1 0 1 0 1 0 1 0 Plaintext Block1 1 1 1 0 0 1 1 0 Plaintext Block2 1 0 0 0 1 0 0 1 Plaintext Block3 1 1 1 0 0 1 1 0 Ciphertext Block1 1 1 0 0 1 1 0 1 Ciphertext Block2 1 1 1 0 1 1 1 0 Ciphertext Block3 1 0 1 0 0 0 1 0 What can you conclude, especially in comparison with the ECB results? Block1 and Block3 are identical data for which the Electronic Code Book (ECB) encryption produces identical Ciphertexts. But for the identical blocks, the Cipher Block Chaining (CBC) encryption produces different Ciphertexts depending upon the Initialization Vector. Hence, it is difficult for the attacker to recover the Plaintext. The disadvantage of CBC is that the error, if any too gets propagated to few further blocks due to chaining effect.

The Role of Women in the Musical Life of the 19th Century free essay sample

The Romantic Imagination (2103 QCM) Semester 2, 2012 Convenor – Mr. Stephen Emmerson The role of women in the musical life of the 19th century. Due: 4 October 2012 The 19th century was an era of change. There were lots of progression in technology, science, and philosophy that gradually turned European society away from the past centuries. Women’s status in the 19th century Europe also changed. Many of the 19th century women were able to have a profession as they received higher and wider education, and also allowed to have more participation in society. In the musical life of 19th century Europe, numbers of women were able to perform and compose as good and men. However, their opportunities were still limited by tradition. Therefore, the role of the 19th century women as performers and composers was not equal to men, as can be seen in the case of Fanny Hansel, a sibling of the well known composer Felix Mendelssohn. We will write a custom essay sample on The Role of Women in the Musical Life of the 19th Century or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page At the beginning of the 19th century, the numbers of female amateur musicians rose due to the increasingly prosperity of the middle classes. According to Reich (1991), most women from well-to-do families had an opportunity to learn to play the piano or sing in order to improve their marriage opportunities as well as to provide entertainment. However, the influence of the Enlightenment philosophy from the past century indicated that women should only be educated to become a wife and a mother, preventing the early 19th century women from taking music as a profession (Halstead, 1997). In the same way, Fanny Mendelssohn, the eldest child of a wealthy converted Jewish family in 19th century Germany was given piano lessons from a young age by her mother, then continued to study with several famous pianists until she became an excellent pianist. At the age of thirteen she demonstrated her amazing musical memory by playing all preludes from the first book of Bach’s Well -Tempered Clavier by heart (Tillard, 1996). Fanny was given musical composition lessons by Carl Friedrich Zelter in 1818 along with her brother, Felix. The two siblings learned to write songs with piano accompaniment, fugues, and chamber music. Even though their parents were proud of their progress in musical composition, only Felix was encouraged to take music as a profession. Fanny’s father stated in a letter which he wrote in 1820 that she must perform and compose only for leisure. Therefore, Fanny and Felix started to concentrate on different forms of music. The table from The Mendelssohns (Cooper amp; Prandi, 2002, p. 242) shows that from 1820 Felix started to pay more attention to instrumental works, as he composed four piano sonatas, two piano quartets, and two violin sonatas during 1820 to 1823. On the other hand, Fanny concentrated on Lied, a German art song which was popular in the 19th century (Orrey amp; Warrack). From 1821 to 1823 she composed only two piano sonatas, one piano quartet and a movement of a violin sonata. During the 19th century, women were not allowed to compose some forms of music. Music form was divided into feminine genre and masculine genre. Sophisticated and large scale compositions such as sonatas and symphonies belong to the masculine genre and were not considered suitable for women. The acceptable genres of music for women were music for domestic entertainment such as a short piano piece, a vocal pieces with piano accompaniment, and chamber music (Martin, 2004). In addition, the music composed by women was considered a part of leisure activity. Therefore, they were rarely published and performed in the public. Like other women of her time, Fanny composed only feminine genre music. Among 500 of her compositions, around 300 of them are Lied, over 100 are piano pieces, 30 choral works, 6 chamber music, 4 cantatas, and 1 oratorio (Sirota, 1981). Her only instrumental work is the overture in C major which she composed in 1830. On the other hand, Felix’s compositions are in various forms, from a large scale work such as opera, symphony, concerto to Lied and keyboard solo pieces. The style of Felix and Fanny was very similar, mainly because they studied with the same teacher, and grew up in the same environment. Moreover, they often exchanged musical opinions, and critiqued each other’s music when they grew up. Many historians say that Fanny was inspired by Felix, but some of their works show that they were inspired by each others. Between November 1839 to May 1840 Fanny was traveling in Italy. A year later she composed Il Saltarello romano, a piano piece which was inspired by her traveling experience. However, it contains a rhythmic pattern, and a motif which is reminiscent of the last movement of Felix’s Italian Symphony, composed in 1833. Therefore, it is possible that Fanny was also inspired by her brother’s symphony (Cooper amp; Prandi, 2002). On the other hand, Felix’s Andante in G major Op. 62 No. 1 from Songs Without Words Book 5 composed in 1844 is very similar to Fanny’s Andante in G major Op. No. 1 composed in 1836. These two Andante have very similar openings which consisted of an anacrusis followed by a dominant seventh, then resolved down. Moreover, it is obvious that Felix’s Andante has a similar melodic structure to Fanny’s. Even through the Mendelssohn sibling’s composition style were very similar, there are some characteristic in Fanny’s composition which are different from her brother’s. Fanny’s style of composition is considered not as expressive as Felix’s, but it is much more sophisticated, and has a freer range and form (Cooper amp; Prandi, 2002). All of Fanny’s compositions were performed only in her private concert that was held at her house every weekend, while Felix’s compositions were performed in many countries all over Europe. Felix started publishing his work in 1822 when he was a teenager, but Fanny was forbidden by her father to get her compositions published because of the social status problem. â€Å"For an upper-class 19th century woman, receiving money for musical activities meant compromising her social position, and Fanny’s social position was made more precarious by her status as a converted Jew† (Kimber, 2002, p. 18). However, Fanny published some of her works under her brother’s name. Later in 1846, she started published her compositions under her own name after she received approval from Felix, but most of her works were published by her family after her death. Women in the 19th century were allowed to play only some instruments such as piano and harp. They were not encour aged to play instruments such as the organ which was associate with religious practice, or percussion and some wind instruments which required movement to play them were considered unfeminine (Reich, 1991). In the late 19th century, women violinists, cellists, and flutists became much more acceptable, but they were not allowed to join the orchestra. Some women pianists could perform in public, for example, Clara Schumann who was born into a musical family, and had been performing since she was a girl. On the other hand, in Fanny’s case, the social status of her family prevented her from doing all public activities (Glickman amp; Schleifer, 2003). The only time that Fanny performed in public was at a charity concert held on 27 February 1838 when she played the piano concerto in G minor composed by her brother. While Felix traveled, conducted and gave concerts all over Europe, Fanny could only perform in the Sunday music salon which her father formed in 1823. However, Fanny’s role in her house concert was not only as a pianist. Besides playing piano, she also arranged concert programs on her own. Various types of music were performed in her concerts. The list from her diary written on 28 October 1833 shows her plan for the next concerts which included the works of Bach, Mozart, Beethoven, her brother Felix, and others contemporary composers (Tillard, 1996). Fanny also worked as a conductor when choral works were included in the programs. Moreover, many large scale works such as opera, cantata, and oratorio were occasionally performed. In 1831 Fanny composed a cantata that contained a choral ensemble and a full orchestra with wind instruments which she rehearsed and conducted on her own. From the mid of the 19th century many conservatories in Europe expanded opportunities for women to take classes in musical performance and composition. For example, the Leipzig conservatory which had thirty three male and eleven female students in the first class opened in 1843. However, male and female students studied in different classes, and received different instruction. It was acceptable for women to become private music teachers. Women could be employed as a professor in some conservatories such as the Paris Conservatoire, but they were able to teach only female students, while male professors could teach both male and female students (Glickman amp; Schleifer, 2003). To conclude, women in the 19th century had an opportunity to receive a musical education until many of them could perform and compose as well as men. However, the tradition which strictly separated men and women’s roles, and excluded women from public activities prevented them from a full musical career. Fanny Mendelssohn is an obvious example of the life of most of 19th century women composers and performers whose opportunities were limited under the frame of male dominated tradition, and society’s rules. Nevertheless, their legacy which remains until the present day proved that 19th century women could have served an equal role in musical careers as men.