Should parent be allowed to smack their own child Essay

Should parent be allowed to smack their own child - Essay Example According to Larzelere’s findings, whether children experience negative or positive outcomes due to their upbringing depends on the rate of recurrence of any disciplinary approach. This includes all types and does not single-out corporal punishment. Consequently, it is excessive recurrences of bad behaviour that is the root-cause of negative outcomes. Parents understand that recurring bad behaviour will hamper their child’s chances for a successful life as an adult and feel compelled to diminish poor behavioural patterns with disciplinary techniques they believe to be most effective. What parents need is quality information regarding methods by which to effectively discipline their children. Effective punishment techniques are established on the basis of a relationship between the parent and child that is positive and loving. The punishment methods are proactive but measured and administered with competency. When acting in response to bad behaviour, parents should apply mild corrective actions such as reasoning, grounding and time-out. Smacking is most effective when used to re-enforce these mild corrective actions. Studies have demonstrated that smacking is not merely effective on its own merits alone but it serves to increase the chance that the child will respond to the mild corrective tactics. As a consequence, smacking is needed less to control behaviour as the child grows older. â€Å"Spanking has consistently beneficial outcomes when it is non-abusive and used primarily to back up milder disciplinary tactics with 2- to 6-year-olds by loving parents.

Classical Music Concert Essay Example | Topics and Well Written Essays - 500 words - 1

Classical Music Concert - Essay Example Naturally, the concert was entirely devoted to the cantata of Carl Orff (1895-1982) called Carmina Burana, which incorporates a prologue and three parts consisting of a number of musical movements. The first movement I would like to describe is Veris Leta Facies, the movement immediately following the prologue and proceeding with its overall tone. According to the rules of Cantata genre, the movement focused mainly on vocal part, with the choirs being accompanied by the pianos and percussion ensemble. The mixed choir parties were mediated by piano and percussion ritornellos. The general atmosphere and tonality hinted at expressionistic coloring of Orff’s work, for the vocal parties sounded rather minor despite a rather lively ritornello at the beginning. Expressionistic nature of the composition was sensed also due to a slight dissonance between the lyrics (the translation of which is in the program) and the tone of music. Moreover, listening to the movement, I was able to identify an allusion to and imitation of medieval music with its simple tonalities and choral singing. Although the movement featured the mixed choir, it resembled much of the monophonic medieval Greg orian chants style. What is also notable about the whole concert and this movement in particular is that the instrumental accompaniment of the Cantata was performed by a minimal number of instruments; though – as far as I know – it is traditionally played with a wide variety of instruments including woodwind and brass sections. The second movement I would like to write about is – no surprise – one of the most famous classical vocal pieces of nowadays, a movement framing Carmina Burana, its opening and closing. The movement was characterized by a steady rhythm supported by piano and a dramatic choral parties sung by the mixed choir. Approximately, in the middle of the piece, the powerful