Free Essays on Air Traffic Controller

Currently, the Federal Aviation Administration (FAA) is in the midst of developing and implementing a new automated air traffic control system that will allow controllers to more efficiently deal with the demands of increased air traffic. For example, computer will do some traditional air traffic controller tasks, like determining how far apart planes should be kept. Present separation standards call for a 2,000-foot vertical spacing between two aircraft operating above 29,000 feet and flying the same ground track. With the aid of new technologies, the FAA will be able to reduce this vertical separation standard to 1,000 feet. Improved communication between computers on airplanes and those on the ground also is making the controller’s job a little easier. At present controllers sit at consoles with green glowing screens that display radar images generated by a computer. In the future, controllers will work at a modern workstation computer that depicts air routes in full-color on a 20- by 20-inch screen. The controllers will select radio a channel simply by touching on-screen buttons instead of turning dials or switching switches. The new technology will also enable controllers to zoom in on selected corners of the air space that is their responsibility and get better images of moving traffic than is possible with today’s machines. The new automated air traffic control system is expected to become operational in several phases over the next 8 years. The FAA is also considering implementing a system called â€Å"free flight† which would give pilots much more freedom in operating their aircraft. The change will require new concepts of shared responsibility between controllers and pilots. Air traffic controllers will still be central to the safe operation of the system, but their responsibilities will eventually shift from controlling to monitoring flights. At present, controllers assign routes, altitudes, and speeds. Under the new s... Free Essays on Air Traffic Controller Free Essays on Air Traffic Controller Currently, the Federal Aviation Administration (FAA) is in the midst of developing and implementing a new automated air traffic control system that will allow controllers to more efficiently deal with the demands of increased air traffic. For example, computer will do some traditional air traffic controller tasks, like determining how far apart planes should be kept. Present separation standards call for a 2,000-foot vertical spacing between two aircraft operating above 29,000 feet and flying the same ground track. With the aid of new technologies, the FAA will be able to reduce this vertical separation standard to 1,000 feet. Improved communication between computers on airplanes and those on the ground also is making the controller’s job a little easier. At present controllers sit at consoles with green glowing screens that display radar images generated by a computer. In the future, controllers will work at a modern workstation computer that depicts air routes in full-color on a 20- by 20-inch screen. The controllers will select radio a channel simply by touching on-screen buttons instead of turning dials or switching switches. The new technology will also enable controllers to zoom in on selected corners of the air space that is their responsibility and get better images of moving traffic than is possible with today’s machines. The new automated air traffic control system is expected to become operational in several phases over the next 8 years. The FAA is also considering implementing a system called â€Å"free flight† which would give pilots much more freedom in operating their aircraft. The change will require new concepts of shared responsibility between controllers and pilots. Air traffic controllers will still be central to the safe operation of the system, but their responsibilities will eventually shift from controlling to monitoring flights. At present, controllers assign routes, altitudes, and speeds. Under the new s...

Jazz the Bebop Revolution Essays

Jazz the Bebop Revolution Essays Jazz the Bebop Revolution Paper Jazz the Bebop Revolution Paper Chapter 18: The Bebop Revolution: Charlie Parker and Dizzy Gillespie * Bebop is linked to Charlie Parker who presided at its beginning and during its rise to preeminence. During his lifetime the bebop style reached its highest level. * Bebop was developed by and for virtuosos. * Theories explaining why: Instrumentalists were seeking improvisitaional freedoms that they couldn’t find in the big bands; black musicians were reasserring their supremact; jazz was maturing. * Bebop drew small audiences to after hours clubs, primary in NYC harlem. It consisted of sophisticated chord structures, irregular melodies and flashing speed left uninitiated listeners befuddled. The Bebop Style * Produced 4 significant changes in musicians attitudes towards jazz and its performance. 1. ) It is required a greater understanding of jazz theory and called for virtuoso technique. 2. ) It introduced complex instrumental melodies and phrases to replace the simpler melodies of the big band era 3. ) It introduced increasingly complicated chords and rythms to the rythms section 4. It developed a cult of serious musicians who approached their music intellectually as well as emotionally. Technique * Jazz improvisation shifted from ornamenting an original melody to organizing new patterns of fast, active melodic lines. The patterns often ended up with an abrupt two note figure that suggested the word bebop of rebop. Bebop musicians developed theoretical relationships between distended chords and esoteric scales. Their theories justifies the use of notes that were previously considered too dissonant. These notes are called melodic extensions because they are not among the primary notes if the chords. Furthermore extensiions were added to chords by the pianist to add harmonic color. New Melodies * Within the new melodic patterns of bebop, imp. Notes usually the top notes of a melodic line were accented. * This outlined a slower melody * Bebop melodies were not as tuneful as those of the big band era. And the phrasing ovevrlapped the chords in angular leaps and bounds. The Rhythm Section * Carried the weight of harmony and rhythm. Made beats faster, and complicated rhythms. Bebop drumming increased in complexity through the use of polyrhythms, : two or more contrasting rythms are played at the same time. This conflict of different rythms blurs and disguises the regular beat. * In â€Å"Un Poco Loco† max roach plays a complicated pattern in which he accompanies the solos with the explosive punctuations called bombs, on the snare or bass drum in conjunction with cymbal crashes . The bombs and cymbal spashes dominate the sounds of the rhythm section and often the entire ensemble. AABA Form * Most Bebop performance were weighted heavily with solos with a minimum of arrangement. Rigidly arranged compositions of the big band eras were rejected; soloists freedoms appeared as a backlash response to the big band ensembles where long improvisitions were impossible. * Emphasis on improvisations not only created new melodies for old songs but also eliminated the original melody entirely. * In addition to borrowing older songs as a basis for solos bebop musicans composed new tunes that minimized the written melody and expanded the time for solos. * They followed the standard 32 measure AABA form, with the 8 measure section gaving the only written melody. Formed a structure for songs in different styles. * Became a vital element in bebop composition and improvisation. Charlie Bird Parker (1920-1955) * The word bird means only one person and one thing : Charlie parker and bebop. * Born aug 29, 1920; died in 55 die to susbstances inhaled and swallowed. * Became absorbed in jazz; only had a mother; bright student. * Accepted the loan od a brass from school but did not like it. * His mother bought him an ancient alto sax for 45$; keys leaked and it was hard to blow; but Charlie taught himself to play. * Joined an amateur dance band â€Å"Deans of Swings† An insurance claim gave him enough money for a new saz in 1936 * Admired was Lester Young(tenor sax in Count Basie’s band) * Parker thought that he was reaching that point where he could Jam with players of that caliber. * In 1937 he got up to play with the famous Bass drummer Jo Jones at Reno Club. His solo progressed well but then became lost in harmonic changes in the tune. Jones threw a cymbal at him. * Had a job playing in a dance band at Lake Taneycomo in Ozark Mtns. * He committed Lester Youngs solo to his memory. * Hired by Tommy Douglas in 1938 who helped him with music theor y. Charlie stayed close to Buster smith another sax player; Parkers Professoional Career: * First job was at the Parisien Ballroom, a taxi dance hall. * Every 60 seconds the bell rang and the band segued to a new tune. * Joined Jay McShann in Kansas City, a band that was second in popularity. * Joined Earl Hines in 1943 and worked on a regular basis with Dizzy Gillespie. They practiced formal braass and woodwind instructional studies at speeds previously thought impossible. It was then that the characteristic bebop sax-trumpet unison lines developed. * He organized small groups in NYC in 1945 and secured Miles Davis as a sideman. Recorded â€Å"KoKo† Him and his band were booked to go to cali but he turned in his ticket for drug money. * Had a narcotic problem; went to a mental hosp; when he got out in 1947 recorded ‘Relaxin at camarillo†. * 1947-1950 was most productive years; worked with small groups; * 1949 he played with strings. Some of his best solos; but lo st his carbaret lisence so only could play where liquor was not sold. * Birdland a NYC nightclub names for him. Bird brought his string orchestra, a few days after opening he fired the players bc he was drunk in the middle of a set and then went home and swallowed iodine asprin. Bird Lives is his music and contribution to Bebop. John Birks†Dizzy† Gillespie (1917-1993) * Born in Cheraw S. Carolina. * Could play piano at 4 and received a music scholarshiop at Laurinburg Insitiute in N. Carolina where he changed from Trombone to Trumpet. * Job with Fran Fairfaxs band got his name for sounding like eldrige; then 2 years later went to Teddy Hill band and made his first record. * Joined Cab Calloway orchestra in 1939 * Cab fired him in 1941 bc he thought Dizzy was shooting spitballs. * Jonah Jones and Milt Hinton were the culprits. And cab and dizzy made up. * 1942 he played in Les Hites band; hite reorganized withought him and dizzy experimented. Gillespie would prepare complex chord variations during the afternoon to challende the upstarts; thus began the rev of bebop. * 1943 he played with Earl Hines, Coleman Hawkins, Boyd Raeburn and Duke Ellington * His position as musical director of the Billy Eckstine band in 1944 was significant to advancement in bebop; Charlie played in sax section and other band members were bebop oriented. * Invited to the White House

Stereotypes contribute to prejudiced thinking Research Paper

Stereotypes contribute to prejudiced thinking - Research Paper Example On the other hand, prejudiced thinking is defined by Stangor ( 2000, 22) as â€Å"thinking ill of others without enough warrant†. Ferguson (2004) averred that prejudice is an â€Å"attitude toward the members of some group based solely on their membership in that group (can be positive or negative).† Stereotypes are therefore generalized and confined according to distinct characteristics of persons or members of certain groups. As such, stereotyping distorts perceptions of people since once these traits are activated; those are the ones that come immediately to one’s mind – without justified warrant. As averred by Ferguson (2004) â€Å"prejudice often involves stereotypes, suggesting that all members of a group behave in certain ways and have certain characteristics.† I believe that stereotyping, whether positive or negative are both harmful in such as way that they become â€Å"self-confirming† (Ferguson, 2004), confining and distorting; and affect social judgments we have of others. As such, even positive stereotypes could have true characteristics not revealed to those who generalized them. Therefore, whatever relationships or interactions one has would be distorted due to stereotyping, eventually leading to prejudice (even positive or negative). The ability of stereotyping to give illusionary impacts makes them harmful despite their positive