Reference no: EM133077801

BUS 230 Technology and Research Methods - American University of the Middle East

Assessment Task A. What is the difference between paraphrasing and quoting? (Your answer should be minimum 50 and maximum 100 words)(20p)

Assessment Task B. Read the following in-text citations.
a. Identify if the in-text citation is a 1) Long, 2) Short Quotation, or 3) Paraphrase/Summary.
b. Explain why.

Write your answers on your answer sheet.

Question 1. Defined as the "automation of human behaviour" (Pizam, 2010, p. 16), it refers to "the capability of a device to perform functions that are normally associated with human intelligence such as reasoning, learning and self-improvement" (Willick, 1983, p. 6).

Question 2. For humans, the development of creative outputs involves an intricate cognitive process, comprising problem identification, the gathering of relevant information, the generation of ideas (with a focus on quantity) and the subsequent selection of the best-suited idea (with a focus on quality), before this idea is finally externalized (Sawyer, 2013).

Question 3. On the question What do You Think about Schubert? Feldman answers:

I never think about Schubert. I couldn't write about Schubert. If I want to think about him as a composer, I can't say very much. If I want to think about him as a genius, you don't have to say anything about him, you just say Schubert, that's enough.

And then, Feldman says what is really his answer:

He is the best example to get a sense of where to put it. Just where to put it. It's not a question of periods, the place is just the key, just where he places it is so fantastic with the atmosphere. Noz [sic] too much, it just floats. It's within our reach but it's someplace no one else would put the melody there, in terms of registration. And it makes the difference, all the difference. There is a lot to learn in Schubert, just where he puts things. He is so effortless. (Feldman, 1985, p. 175)

Since Rihm understands Schubert in the same way as Feldman, that is, without diversion or philosophical discussion, his direct confrontation with the music, with the sound itself, makes essays on Schubert superfluous.

Question 4. According to Ridgeway (1976), music is a socially symbolic meaningful medium, through which highly effective relationships are built and attitudes are formed.

Question 5. Credibility is, however, described in the literature as a very complex construct to measure or an "unobservable variable" (Bonus and Ronte, 2001, p. 63), as scholars find the quality of an artistic product cannot be measured by standardized criteria.

Assessment Task C: Below you have been given an in-text citation that has 2 mistakes (these can be missing information, punctuation, or format related mistakes). Identify what the mistakes are and explain why they should be corrected.

In an interview with Molly Mackin for Ability Magazine, Sean Forbes suggests that this focus on the bass and percussion is indeed a crucial part of his creative process:

Every time I listen to a new song, or even an old song I know, I always try to follow the different rhythms that happen throughout it. Bass and drums are pretty simple for me to follow, but sometimes I'll be in a situation in which I'll have a different point of reference when I'm listening to something, and I'll be able to pick up the guitar or the piano line, and follow that rhythm (Mackin, p. 11)

Assessment Task D: Below you have been given a quote, the signal phrase, author last name(s), year, and page number. Using the information, integrate the quotation into the blank [integrate quotation here]. You can use the types of integration we have covered in the materials and examples; however, make sure you are using the appropriate format.

1. Quotation	"form was the result of a succession of colors and rhythms, 'de couleurs et de temps rhythmés,' or, as Dukas put it, 'a series of sensations rather than deductions of musical thought.'"
2. Signal phrase	states
3. Last name	Pasler
4. Page number	(p. 2)
5. Year	(2000)

Novel sonorities have long been associated with modern music. Since 1880, French music, problematically labeled "impressionistic," demonstrated composers' fascinations with color in their use of distant overtones, extended harmonies, and interest in musical resonance-a stylistic innovation that moved away from classical forms and melodies. For Debussy,[integrate the quotation here]. In many ways, melody itself was treated as a form of decoration to timbre, in which melodic fragments featured novel instrumentation that were often tossed between various color groupings.

Attachment:- Technology and Research Methods.rar