Topical Service Learning Reflection #3

My experiences at the Cohn Adult Learning Center have demonstrated that discourses are apprenticeships that produce meta-knowledge for one's primary discourse.

In the "Literacy, Discourse, and Linguistics: Introduction and What is Literacy?", Gee asserts that discourses are the enculturation into social practices via apprenticeships with members of dominant groups. My sessions at the learning center support this notion because my interactions with my students would symbolize a type of literacy training. I, a member of the American dominant group, taught my students how to interact with American culture. Similarly, my students, members of foreign dominant groups, tutored me in their respective cultures. As such, the learning center incorporates social practices into its literacy development program to actively immerse its students into American society. This immersion ameliorates the students' lives because said students learn to function as natives.

Additionally, Gee proposes that learning another discourse produces insights into one's primary discourse. He states that this meta-knowledge clarifies one's previously acquired knowledge. My experiences at the training session for the Cohn center affirm Gee's idea. While tutoring at the Cohn center, I learned multiple techniques that taught me meta-knowledge about the English language. Accordingly, I gained insights into my primary discourse because I acquired knowledge about my primary discourse's fundamental aspects, syllabification and pronunciation. As a result, I discovered the importance of the human tongue in linguistics and developed a rudimentary method for elocution. My meta-knowledge enabled me to instruct my students appropriately and elucidate American discourse during our sessions.

From my experiences at the Cohn center, I have witnessed that discourses are apprenticeships that produce meta-knowledge for one's primary discourse.

Topical Service Learning Reflection #2

While tutoring at the learning center, I observed how space influences one's attention and schedule.

The limited space at the learning center requires individuals to look beyond their daily lives. As such, students and tutors have to book appointments to participate at the learning center. Said students and tutors learn how to plan around rush hour traffic, work schedules, and unexpected obstacles.

In America, many situations require scheduling to optimize the conditions of social meetings (i.e. job interviews, restaurant dining, equipment repair, et cetera) due to time and spatial restrictions. As individuals perform this folkway at the learning center, they practice time management and improve their social interaction with others in American society. Thus, I witnessed how spatial limitations socially affect one agenda.

Additionally, the learning center arranges its desks in a manner that prevents students and tutors from distractions. Tall barriers deter wandering eyes and thwart forecast predictions.

The learning center's arrangement of space forces its students to concentrate and accomplish each lesson's objectives. To me, the Cohn center's spatial positioning demonstrated said center's attempts to create an advantageous learning environment rid of distractions. Therefore, I realized how spatial arrangement can prevent distractions to the learning process.

My experiences at the learning center taught me how space influences one's attention and schedule. From my observations, I have learned how spatial arrangements try to incorporate optimization techniques.

Transcription of "Epic Etude in G-Minor"

Screenshot of My Digital Storyboard

Topical Service Learning Reflection #1

After conducting research and tutoring, I found that my formative literacy experiences and my sessions at the Cohn Adult Learning Center were enlightening and satisfying.

From my interviews with Belmont songwriters, I learned techniques to write songs. Belmont songwriters tend to isolate themselves from others while they write songs. They prefer to write in insulate spaces because there are fewer distractions and their thoughts are not influenced by others' judgements. The correspondence between their insular predispositions and my preliminary attempts at songwriting gave me immense satisfaction. It was pleasing to know that my initial spatial reaction to the songwriting process was the technique that Belmont songwriters employed. Additionally, Belmont songwriters have multiple ways to overcome writer's block. While some choose to use a stream of consciousness, others like to take a break and revisit their work later. I could not find an universal tactic that Belmont songwriters employed because each songwriter had his/her preferred method of tackling his/her writer's block. Although there was no unifying theme in respect to writer's block, I was satisfied by the songwriters' answers because their divergence demonstrated the individuality of songwriting.

My students at the Cohn Adult Learning Center taught me how to help others. While I tried to formulate a teaching approach, I learned that I needed to adapt said approach to each student because a generic method would not account for my students' unique circumstances. Thus, my experiences at the learning center demonstrated the necessity of paying attention to the particular aspects of my students and incorporating said aspects into my teaching approach. I felt satisfaction when my students proficiency improved after I refined my method based on each student's particulars.

While my formative literacy experiences and my sessions at the Cohn Adult Learning Center taught me different lessons, I experienced satisfaction throughout my learning process.

Dear Friend Post Re: Ethnographic Paper

Dear Dad,

I'm writing an ethnographic paper about Belmont Songwriters for my Third-Year Writing class. In my paper, I will try to concentrate on the songwriting process, writer's block, and the ways in which songwriters connect with their audiences. I have already interviewed several songwriters at Belmont and have made several attempts at songwriting to gain further insight into the songwriting culture.

I think I have finally found something that challenges me mentally and yields tremendous satisfaction. I hope you can support my endeavors while I tread in uncertain waters.

I love you and I always will.

Your Son,
McLean

Service Learning Visit #4 (Hour 7)

On Thursday, I arrived at the Cohn Adult Learning Center for my last appointment. As I walked up the stairs of the school, I reflected on the different sessions and experiences with my students. I realized that while I could try to formulate a teaching approach, said approach would not apply to all students. One's system must adapt to the unique circumstances of one's students.

As I reviewed the lesson plan, my new student arrived and we began our session (his name will be Fred). Initially, Fred and I conversed about education. Fred told me about his elementary and secondary education in Mexico. After high school, he studied photography and became a professional photographer for ceremonial occasions (i.e. weddings, funerals, quinceanearas, et cetera).

The beginning of our lesson started with vocabulary terms regarding classroom objects (i.e. map, flag, pledge, et cetera). Fred was a brilliant individual; he could create elaborate examples using the provided terms. The only aspect of Fred's literacy that need improvement was his pronunciation, but he quickly corrected his verbal errors after some guidance. We finished the lesson plan early, and I asked Fred about his profession as a photographer. He told me about traveling to stunning locations for his clients' events. As he told me his stories, we chuckled over the priceless shenanigans of his experiences.

After Fred left, I filled out the paper work for the Cohn Center and walked down the stairs of the school. I opened the front door and sat on the curb. As I waited for my ride, I thought of my students who taught me how to help others. They taught me how to be a better person.

I will never forget their stories.

Service Learning Visit #3 (Hours 5 and 6)

The following Tuesday, I came back to the Cohn Center to tutor another individual. I no longer felt nervous about tutoring students because I had developed a system that produced successful results. I reviewed the lesson plan for my new student and organized the provided learning materials in a streamline manner. Shortly afterwards, my new student arrived and we began our lesson (her name will be Abby).

Our lesson started with a discussion regarding our work experience. Abby told me about her previous jobs in her native country and her position at one of the embassy consulates in Nashville. At the consulate, she collects data for regulatory agencies and tries to create relationships with new immigrants. While I could tell that she was an intelligent woman, Abby had some difficulty completing her sentences due to her lack of English vocabulary.

In the first hour, I tried to teach Abby words relating to work experience (i.e. resume, internship, manager, et cetera). Abby struggled to understand and pronounce each word, so we repeated the exercise until she learned the material. During our repetitions, I could see that Abby was becoming a little frustrated, and I decided a break might be helpful.

I walked in the hallways of the school thinking I might accidentally brainstorm new approaches, but I returned empty-handed. Returning to the session, I set a goal to complete the lesson plan. Surprisingly, Abby improved significantly and we finished the lesson. To conclude our session, we discussed the torrential rain outside. It was a tempestuous storm and we could hear the downpour from our seats. I asked her if she had an umbrella; she smiled and replied, "No." We both laughed.

I was surprised by the differences between the two portions of our session. One might think that the break helped Abby, but the changes in Abby's proficiency were too dramatic. I supposed that teaching was an interactive activity, instead of a static plan. Thus, one could only enjoy the fruits of education if one actively participated in the process. Sometimes one might plant seeds, and other times one might harvest giant pumpkins. One can only admire growth and try to analyze it sources.

Service Learning Visit #2 (Hours 3 and 4)

Two days later, I returned to Cohn Adult Learning Center for another appointment. I walked up the stairs and entered the learning center. After reviewing the lesson plan, I felt excited to tutor another person. My student arrived and we began our session (her name will be Jane).

To begin our lesson, Jane and I discussed our families and daily lives. Jane described her son and his interest in cartoons. Every morning, Jane and her son go downstairs and watch the shenanigans of "Tom and Jerry." While she recounted this habitual event, Jane's reminiscing tone indicated that her morning routine with her son was a bonding moment.

In the first hour, I tried to teach Jane about vocabulary terms regarding agreement and disagreement (e.g. annoyed, rapport, relationship, et cetera). Jane had some difficulties trying to understand and pronounce the words, so I tried to connect the lesson's material to her morning routine. I used animated facial expressions and body language to demonstrate the meanings of the specified vocabulary. Jane's comprehension of the terms improved and we decided to take a break.

After our break, we practiced pronunciation. We experienced some complications, so I decided to use the approach I created with Nate. As we experimented with my technique, Jane's pronunciation became defined and her face started to adorn a large smile. We attempted to complete the lesson, but we were unable to finish all of the remaining sections. Satisfied with Jane's progress, I chose to end the session and assigned no homework.

Following Jane's departure, I filled out the information sheet in the tutor folder. I handed my folder to the secretary at the main desk and observed her putting the folder into a filing cabinet. As I walked out of the learning center, my mind thought of the many folders in the filing cabinet. Each folder represented a unique individual willing to learn and improve, yet each folder was identical. While I waited for my ride, I wondered about the psychological implications of singular objects on the learning process.

Service Learning Visit #1 (Hours 1 and 2)

While walking into the Cohn Adult Learning Center, I felt nervous and uncomfortable. I had not mastered the techniques taught in the training session and, as a result, I feared that I would be a horrible tutor. Even with these apprehensions, I decided to make my way to the learning center on the third floor.

My early arrival allowed me to read over the lesson plan before my student arrived at the learning center. As I finished my reading, my student arrived and we started our session (his name will be Nate). We first discussed our respective heritages, hobbies, and daily life. Nate told me about his fascination with soccer and his journey from Japan to work at the Bridgestone factory in Clarksville.

In the first hour, I tried to teach Nate words relating to preparation (e.g. ready, clean-shaven, organization, et cetera). Nate was a brilliant individual, but he had some slight problems with pronunciation. After some attempts to aid his enunciation, I decided to instruct Nate to watch my mouth (in particular, my lips and tongue) and imitate my movements. His pronunciation improved and we took a short break.

During the second hour, we continued to complete the lesson plan. We started with a picture and described its settings and characters using the terms we had studied earlier. Nate finished the exercise and cruised through the remainder of the lesson. Ending early, I asked Nate if he had any questions about American culture. He asked me if I could help his voice inflection while asking questions. I told him to raise the pitch of his voice towards the end of his questions. We proceeded to practice. After several recitations, Nate enhanced his phrasing tremendously.

I assigned Nate some vocabulary terms to study for his next session and we concluded our session. He shook my hand and flashed a wonderful smile. I sat back down at my desk and filled out the paper work in the tutor folder. As I left the learning center, I felt a warming satisfaction. I realized that my earlier fears were unjustified, and that I could make an small impact on illiteracy in Nashville.

Revision of Strongest Body Point

To learn more about the songwriting process, I decided to write my own songs and compare my modus operandi with my peers. I supposed that my attempt at songwriting would provide valuable insights and further immersion into the subculture of Belmont songwriters.


The first song I wrote was entitled, “Why Did You Leave.” My inspiration sprouted from life’s uncontrollable circumstances in which people are torn apart. After I selected my topic, I chose to use my song as an informal address that would act as a catharsis. I predicted that my song would resonate with individuals because many people have been brutally hurt by their lovers’ destined departures. As I began to write, I tried to envisage an object that would flee upon individuals' perception of its presence. I thought of the wind and I began to write. My lyrics flowed continuously as if they were solely produced by the mere tactile stimulation of paper and pencil. As I concluded my song, I thought of confused souls who are left with unanswered questions; thus, I decided to end my song with two questions: "Where did you go? Why did you leave?"


Two days after my initial writing session, I recorded the background track and listened to said track as I read my song aloud. After practicing my song a few times, I made alterations to my lyrics to create better flow and refine my expression. I later recorded my spoken word track and distributed said track to Bandcamp, Facebook, YouTube, and TuneCore.


The second song I wrote was entitled, “Sympathetic Oscillation.” In this song, I ruminated on the perspective of a individual whose geographical location produced perennial rendezvous with its lover. During my initial writing session, I brainstormed terms in the physical vernacular that I could incorporate into my song. I thought of words that related to sound and space: bodies, gravitate, orbits, curves, ellipses, transients, resonation, harmonics, overtones, stereo, and oscillation. After my brainstorm, my mind fixated on the image of two intersecting sine waves oscillating between their maximum and minimum points. I decided to use oscillation as my theme because it accurately reflected the situation I was attempting to describe.

Draft of Strongest Section of Paper

To learn more about the songwriting process, I decided to write my own songs and compare my modus operandi with my peers. I chose to write my own songs because I believed that my attempt at songwriting would provide valuable insights and further immersion into the subculture of Belmont songwriters.

The first song I wrote was entitled, “Why Did You Leave.” My inspiration sprouted from life’s uncontrollable circumstances in which people are torn apart. I decided to marinate on the aforementioned concept because I thought people could connect with life’s obstinate mutilation of individuals’ social conditions. After I selected the topic for my song, I ventured to the deep recesses of my mind and tried to create a title for my song. In the midst of avid concentration, I had a revelation to use the song as an informal address from a confused, deserted person to their undestined, desired lover that would provide some type of relief to the amorous confusion. I asserted that my song’s format would resonate with individuals because many people have been brutally hurt by their lovers’ unexplained departures and yearn for closure.

As I began to write, my mind fixated on the idea of an instantaneous object that would flee upon others' perception of its presence; I chose the wind. From that instance in my songwriting process, my lyrics started to flow continuously as if they were solely produced by the mere tactile stimulation of paper and pencil. As I concluded my song, I thought of the confused souls who are left with unanswered questions regarding their desired lovers. Thus, I decided to conclude my song with two questions that I thought said confused souls would have: "Where did you go? Why did you leave?"

Two days after my initial writing session, I recorded the backing track for my song and listened to the backing track as I read my song aloud. After practicing my song a few times, I made alterations to my lyrics to produce better flow and refine my expression.

The second song I wrote was entitled, “Sympathetic Oscillation.” In this song, I chose to ruminate on the perennial nature of love. Throughout my life, I have experienced long-distance relationships resulting in sporadic encounters which bring about sudden, overwhelming rushes of love. While the physical proximity of the two souls may influence their love for one another, their rendezvous produces enough satisfaction to commit to their relationship.

Museum-Type Websites

After my perusal of the internet, I found some helpful resources for research at the Songwriters Hall of Fame and Bruin Publishing.

(Songwriter's Hall of Fame: http://www.songwritershalloffame.org/exhibits/era )

(Bruin Publishing: http://www.bruinpublishing.com/about/ )

These two websites will aid my ethnographic study because they include information regarding songwriters and the exploitation of their works. From that information, I will be able to obtain more leads that relate to the songwriting process and Belmont songwriters.

Songwriting Culture Terms

- Lead Sheet: A piece of compositional music that can dictate the musical notes, rhythm, melodic line, chords, lyrics, and various sections of a song.

- Demo: The first recording of a song that is pitched to music publishers, artists, entertainment industry officials, etc. It usually contains a rendition of the song by the songwriter.

- Advance: Prepayment of royalties. Once an advance is recouped, the receiver of the advance can begin to accrue royalties based on the exploitation of his/her work.

- Writer's Nights: These are performances at venues that showcase songwriters and their songs. Usually multiple writers take turns performing their works.

- Harry Fox Agency: Licensing agent that issues mechanical licenses to users of a songwriter's material.

- Copyright: This entity protects the use of copyrightable material. A work is protected by copyright when it is original and fixed in a tangible form. A copyright protects a copyright owner's rights regarding reproduction, distribution, derivative works, public performance, public display, and public performance via digital transmission.

- eCO: Electronic Copyright Office.

Coherence and Cohesion Revision

BEFORE:

I will never forget the first time I was captivated by a song. I was twelve years old, frustrated with the world around me. Passionate for the pursuit of knowledge, I could not connect with my peers because they did not receive the same amount of satisfaction from learning. Discouraged, I ostracized myself from my surroundings because I could not cope with the world.

One day in the midst of my seclusion, I watched a silent movie that used background music to convey the words, actions, and emotions of the various characters. Throughout the movie, I experienced intense physiological reactions that invigorated my being. I could not look away from the screen; I was consumed by the movie.

Afterwards, I realized that the underlying music of the movie was the catalyst of my reaction. The music brought me so much pleasure that I forgot about my frustration; I became lost in the wonder of music. I was no longer disappointed because I had found my sanctuary from the world around me.

While my self-reliance taught me many things, economics showed me the need to work together. The cooperation of separate entities brings about advances in the quality of life that would not be possible by individual effort. Thus, I wish to become a songwriter someday so that I can attempt to captivate others in the mystery of music and enhance their quality of life.

Well, that's a nice notion, but how does one captivate others and enhance their quality of life through songwriting? As an outsider to the songwriting culture, I am unaware of the processes and techniques songwriters use to write songs. Although the previous statement is true, I studied the classical, baroque, and romantic styles of music in elementary, middle, and high school. Interested by the mystique of music, I leaped at the chance to play in a jazz band which taught me how to improvise and analyze musical styles. Improvisation led me to composition because it made me cognizant of the structure of a song, the importance of dynamics, and complex music theory. I may be an outsider, but I am aware of some of the rules.

One may think that I already know how to write songs and my study of the songwriting culture is unnecessary; I disagree completely. As previously mentioned, cooperation with others brings about insights that would not be possible through individual effort. Thus, I hope my study of songwriters at Belmont University will produce a greater understanding of the songwriting process, writer’s block, and the captivating nature of songs.

AFTER:

I will never forget the first time I was captivated by a song. I was twelve years old, frustrated with the world around me. While I was passionate for the pursuit of knowledge, my peers did not receive the same amount of satisfaction from learning. Discouraged, I ostracized myself from my surroundings because I could not cope with the world.

One day in the midst of my seclusion, I watched a silent movie that used background music to convey the words, actions, and emotions of the various characters. The music created intense physiological reactions that invigorated my being. I could not look away from the screen; I was consumed by the movie.

It was only afterwards that I realized that the movie's underlying music was the catalyst of my reaction. The music brought me so much pleasure that I forgot about my frustration; I became lost in the wonder of music. I was no longer disappointed because I had found my sanctuary. Thus, I wish to become a songwriter someday so that I can attempt to captivate others in the mystery of music and provide refuge to troubled souls.

As an outsider to the songwriting culture, I am unaware of the processes and techniques songwriters use to write songs. Although the previous statement is true, I studied the classical, baroque, and romantic styles of music in elementary, middle, and high school. Interested by the mystique of music, I leaped at the chance to play in a jazz band and, as a result, learned how to analyze musical styles and improvise. Improvisation led me to composition because it made me cognizant of the structure of a song, the importance of dynamics, and complex music theory. I may be an outsider, but I am aware of some of the rules.

One may think that I already know how to write songs and my study of the songwriting culture is unnecessary. I disagree completely because attempts to understand and cooperate with others brings about insights that would not be possible through individual effort. Thus, I hope my study of songwriters at Belmont University will produce a greater understanding of the songwriting process, writer’s block, and the captivating nature of songs.

Voice in Text: The Aeneid

http://employees.oneonta.edu/farberas/arth/ARTH209/vergil_excerpt.html

In the Aeneid, Virgil uses voicing to develop credibility and create connections with his readers.

By using a third-person omniscient point of view, Virgil establishes credibility because of his knowledge of characters' dialogue, thoughts, and sentiments.

In some instances, Virgil uses a first-person point of view which enables readers to be in the midst of the action. This point of view transports readers into the scene where they are consumed by epic battles and illustrative settings.

Additionally, Virgil embeds historical elements of Greco-Roman society throughout the Aeneid. Virgil's usage of temporal and cultural ideas demonstrates his work's assimilation of Greco-Roman culture and qualifies the circumstances surrounding his tale.

Exploration of Subculture via Transcribed Outsider Interview

Me: What do you think songwriters do?

Interviewee: Well, they obviously write songs. I imagine that they use songs to represent their lives. They probably also play musical instruments and perform at venues.

Me: What interests you about songwriting?

Interviewee: I'm interested in creating songs that "spill my guts." Unfortunately, I feel as though I need to improve my writing before I can create songs. I'm also quite nervous about running out of inspiration for my songwriting.

Me: What are some of your favorite songs that incite powerful emotional responses? Why?

Interviewee: Some of my favorite songs are excerpts from Mozart, Puccini, and Strauss because I'm a Classical Voice Major [at Belmont University]. I'm also a big fan of Adele's songs because of her ability to make audiences connect with her material and her musicality.

Me: How long do you think it takes to write a song?

Interviewee: I don't really know. I've heard of some people writing songs in ten minutes, while others take a day or two. I suppose it depends on the writer and their mood.

Me: Have you ever written a song?

Interviewee: I did write a song when I was younger. It was inspired by the end of a relationship.

Me: How did it make you feel afterwards?

Interviewee: I felt accomplished because of the effort I put forth to create the song. It provided with me with reflection and closure.

Introduction for My Ethnographic Study

I will never forget the first time I was captivated by a song. I was twelve years old, frustrated with the world around me. Passionate for the pursuit of knowledge, I could not connect with my peers because they did not receive the same amount of satisfaction from learning. Discouraged, I ostracized myself from my surroundings because I could not cope with the world.

One day in the midst of my seclusion, I watched a silent movie that used background music to convey the words, actions, and emotions of the various characters. Throughout the movie, I experienced intense physiological reactions that invigorated my being. I could not look away from the screen; I was consumed by the movie.

Afterwards, I realized that the underlying music of the movie was the catalyst of my reaction. The music brought me so much pleasure that I forgot about my frustration; I became lost in the wonder of music. I was no longer disappointed because I had found my sanctuary from the world around me.

While my self-reliance taught me many things, economics showed me the need to work together. The cooperation of separate entities brings about advances in the quality of life that would not be possible by individual effort. Thus, I wish to become a songwriter someday so that I can attempt to captivate others in the mystery of music and enhance their quality of life.

Well, that's a nice notion, but how does one captivate others and enhance their quality of life through songwriting? As an outsider to the songwriting culture, I am unaware of the processes and techniques songwriters use to write songs. Although the previous statement is true, I studied the classical, baroque, and romantic styles of music in elementary, middle, and high school. Interested by the mystique of music, I leaped at the chance to play in a jazz band which taught me how to improvise and analyze musical styles. Improvisation led me to composition because it made me cognizant of the structure of a song, the importance of dynamics, and complex music theory. I may be an outsider, but I am aware of some of the rules.

One may think that I already know how to write songs and my study of the songwriting culture is unnecessary; I disagree completely. As previously mentioned, cooperation with others brings about insights that would not be possible through individual effort. Thus, I hope my study of songwriters at Belmont University will produce a greater understanding of the songwriting process, writer’s block, and the captivating nature of songs.

Examples of Space and Materials affecting Culture in "Guns, Germs, and Steel"

Pizarro's seizure of Cajamarca impressed me because it showed how materials (i.e. horses and guns) had indirect cultural implications (i.e. biological genocide) as they traveled through space. Thus, it was not the materials that caused cultural consequences, but the indirect repercussions of said materials' uses in certain spaces.

Additionally, I was amused by the Spaniards being surprised by their own victory because they assumed their superiority in military positioning and technology had brought about the end of their conquest. Instead of accurately depicting their military campaigns, European colonists asserted their dominance in historical writings.

Observation of a Cultural Artifact

I think that my observation of cultural artifacts, such as incomplete songs or songwriting sessions, will bring about the questions I want to answer for my research project. These questions will aid my research project by concentrating my investigation of the songwriting process and writer's block.

How do you have to think in college?

From my experiences, high school tends to emphasize the quantitative aspects of education. While these aspects develop one's ability to process material at a literal level, one has to learn to analyze the qualitative aspects of education to succeed in college. The superficiality of life fails to account for the elements that indirectly influence the world.

After two years of collegiate education, I have learned to examine materials for their substance and style. Thus, I believe that college attempts to teach one to look beyond the literal because reflection and analysis produce worth.

The Subcultures of Musicians, Songwriters, Producers, Mastering Engineers, and Publishers

As a budding Music Business student, I would be interested in studying the subcultures of musicians, songwriters, producers, mastering engineers, and publishers.

I would like to observe the practices of musicians and songwriters in recording and writing sessions so that I can see how professionals conduct themselves and apply that knowledge to my future experiences. As an amateur musician and songwriter, any type of guidance from experienced musicians and songwriters would be valuable information.

Similarly, I would like to study producers and mastering engineers because I hope to attain those titles in my lifetime. Through observations of the recording and mastering processes, I would attempt to learn production and mastering techniques and their appropriate applications. My effort would hopefully provide me with experience to suggest creative solutions to problems in an efficient and effective manner during recording and writing sessions.

Finally, I would like to examine publishers because I hope to create my own publishing company. By observing publishers, I would learn the creative, business, and legal logistics of the music business. This observation would supply me with priceless information that I could apply to my future occupational endeavors and personal aspirations.

Youtube Video with Multiple Discourses

Spanish Lesson in Reverse Psychology: http://www.youtube.com/watch?v=GpqsypjIyVQ

From the reading, discourses are forms of life which integrate words, acts, values, beliefs, attitudes, social identities, gestures, glances, body positions, and clothes. Additionally, discourses are mastered by the enculturation into social practices through interaction with people who have already mastered the discourses. Sometimes conflicts and tension come about due to differences when integrating the aforementioned forms of life.

In this video, there are multiple discourses taking place between a father and his son. These discourses take place due to the child's desire to use the car and the father's insistence on walking.

Due to their disagreement, the father and son use words, gestures, attitudes, and body positions in their discourses. The son gestures his predilection for driving by pointing his finger at the car. Both individuals use the tone of their words to convey their attitudes about their disagreement. The son's tone indicates his innocent contention. The father's tone responds authoritatively and uses a brilliant strategy to manipulate his child. Finally, the body positioning of the father and child reveal their preferred courses of action, driving and walking.

Literacy and Culture

To me, literacy is the ability to manipulate the fundamental aspects of some "thing" to clearly demonstrate or communicate a desired idea to others. Literacy allows fluid interaction with others due to effective and efficient reactions. As such, literacy requires understanding and the ability to transfer understanding to others.

Culture is the result of the interaction of ideas, beliefs, experiences, and physical objects. Thus, culture exists as long as interaction occurs amongst the four divisions of culture.

Alternatively, one can view culture as the knowledge of humanity and its expressions. From this knowledge, we develop seemingly innate social protocol that is in a state of constant refinement; it exists, but it lacks definition. To acquire definition, one must become literate.