Speech Analysis or Presentation Example | Topics and Well Written Essays - 1250 words

Analysis - Speech or Presentation Example Opening. Realizing the primacy effect of the beginning (Murdock, B.B., Jr., 1962, p. 482-488), Mike Schroeder started his speech strongly, clearly establishing his ideas and focusing the audience to grasp the meaning of his message positively. In just a few sentences, Schroeder grabbed the attention of the academic audience with the importance of the topic for everyone, what increased listeners’ receptiveness to the providing information. From the beginning, the speaker cared about the speech to remain memorable for the audience. For this purpose, Mike represented a story of a man that suffered from heart disease that had been treated with stem cells. The story was connected to the main idea of the speech – the necessity to find the effective way to save human lives in the struggle against dangerous diseases threatening the mankind. The story of the real medication with the help of stem cells brought Mike Schroeder’s presentation to life from the beginning. It he lped Mike to connect with his audiences even more, making the speech to resonate in people’s minds long after the telling with power effect. Having started with the core of his message and providing a brief  speech outline, the speaker demonstrated his awareness of academic audience expectations as for logical and professional explanation of the topic. Being aware that persuasive speaking is very connected to audience, Schroeder paid extra attention to audience analysis. He watched attentively any nonverbal reactions and signals from the members of the audience (frown, nodding head, rolling eyes, significant smiles), which expressed listeners’ approval or objection of speaker’s viewpoint. Having identified the subset of the audience that agreed, disagreed, and that was undecided about the positive acceptance of his opinion, Mike primarily focused on the part of the audience that was undecided on the issue. Speaking more directly to the group of undecided liste ners allowed Schroeder to address his speech more towards their concerns, explaining in detail some certain points, which could influence people’s positive attitude. Realizing, the audience had not the same beliefs that he, the speaker used the tactic of Osborn, M., & Osborn, S. (2000) to establish good understanding with the audience. First of all, Mike emphasized what he had in common with the audience, accentuating people’s attention on the problem of dangerous diseases, which concerned everyone. He also stressed on the importance to care of moral values, which were involved in the topic. Thus, Mike started with the areas of mutual agreement before discussing the points of disagreement, taking in account that the audience was concerned with the problem of using stem cells in practical medicine, willing to discuss new information and listen to speaker’s arguments. In fact, Mike set the modest goal for changing his audience. His nearest purpose was to get audie nce’s passive agreement with the necessity to continue research in the field of stem cells and the practical realization of stem cells therapy. The speaker didn’t push his audience to accept his point of view just immediately. He compared his position with the beliefs of other people, showing respect to different opinions. Vocal variety. The speaker was great with his vocal variety, and he was aware of his audience in the back. Mike

Behind my instrument Essay Example | Topics and Well Written Essays - 1750 words

Behind my instrument - Essay Example What is meant by this is the fact that instrumental music ultimately came to be a type of music that was played in the absence of voice. Although dissertation length response would necessarily be required with regards to determining specifically when this change was first exhibited, the following analysis will instead focus upon the unique mechanisms through which instrumental music is presented; focusing specifically the manner through which instrumental music mimics voice-like qualities within the piece of Jervy Hou’s â€Å"A Breathtaking Piano Piece†. It is therefore the hope and goal of this author to present instrumental music, with regards to the piece in question, as a highly developed and non-simplistic style that requires the individual musician to be even more cognizant of unique nuances and the means through which musical technique can help to extend the body and that of the music in question. Further, by leveraging music theory and understanding the way in w hich key developments and ideas are represented throughout all types of music, the reader will be able to come to a more informed level of understanding concerning the core elements of how instrumental music is able to uniquely mimic vocal performance. ... In almost an identical manner, the instrumental piece in question â€Å"A Breathtaking Piano Piece† allows for a series of pauses between melody and harmony and a series of dynamic brakes that help to mimic the voice like nature of the music that is being represented. Furthermore, the interplay between the left and the right hand of the piano solo allows for the listener to imagine that a type of cooperation between the accompaniment and the â€Å"voice† of the individual performer is taking place. In much the same way that a due West incorporates a series of pauses movements, breasts, nods, and facial expressions so that the duo can communicate nonverbally with regards to the passion, feeling, and pointed entry that the music must make, the same elements are represented with regards to the way in which an interplay is engaged between the melody and harmony of this specific piano piece (Gordon 33). Further, the relationship and the give and the give and take between mel ody and harmony within the piece closely represents the way in which such an interaction would take place between two or more musicians. Rather than belaboring this point with proof after proof, the reader can and should point to the way in which the harmony and melody flow together within the first 25 seconds of the piece; helping to emphasize the mechanisms through which a mimicry of voiced expression and melody within the instrumental approach exists alongside this. Furthermore, a level of mimicry with regards to the way in which harmony and melody coincide and/or a subtle level of communication between the left and the right hand of the pianist is only a very small portion of the way in which the particular piece tries to mimic