A Critical Review in the Contemporary Themes in Youth Work Practice, Essay - 3

A Critical Review in the Contemporary Themes in Youth Work Practice, Thematic Area Mental Health and Emotional Wellbeing - Essay Example e within the presentation, evaluate the facts presented, review values that have been drawn from the presentation, and then draw a conclusion of the entire review. This essay will record about a lecturer’s presentation that was prepared by Perry (2010). The presentation is part of the publications by the ChildTrauma Academy and the material is described as a presentation because of the slides used in presenting the information. The presentation offers an introduction to the Neurosequential Model of Therapeutics (NMT), and in this regard, it discusses five core principles of the model. The principles discussed include brain organisation and function. The second principle is neurodevelopment and memory. The third principle is relational neurobiology and attachment. The fourth principle is stress, distress, and trauma, while the last principle is neglect. One of the key messages within the presentation is that the brain is an integral part of the human body and it accord humans the ability to experience humanity. This assertion is supported by the fact that the brain organ allows the human body to perform basic tasks like walking and talking, and even experiencing feelings like sadness or happiness (Brendtro, et al. 2009). On the issues of neurodevelopment and memory, Perry (2010) stated that the human brain develops overtime from conception and the rate of development after the age of three and four years becomes steady onwards whilst other body parts experience continued growth. Dobson and Perry (2010) supported this assertion by stating that human beings especially young people enhance their social and personal development through programmes under youth work, which is voluntary and complements formal education or training that also contributes to the development of young people. Therefore, youth work is part of the programmes that contribute to the steady development of the human brain. Thirdly, Perry (2010) stated that the timing, quantity, and nature of

Influence about Hungarian folk music in Liszt rhapsody no.2 Research Paper

Influence about Hungarian folk music in Liszt rhapsody no.2 - Research Paper Example The first Hungarian creations of Liszt were made during his stay in Vienna and Paris, yet these works, specifically the two movements of Zum Andenken, are anything but thoughtful compositions (Arnold 18). Besides the record of a Hungarian-influenced Schubert tune, Liszt was unable to give much attention to the music of his native land until his homecoming as an adult (Gervers 385). Liszt’s return to his homeland in 1839-1840 was vital to the development of his personal musical technique. In spite of his German roots, embraced French traditions, and mother tongue, Liszt had not stopped to proclaim himself a Hungarian (Loya 28). It was in the course of these visits, famous as the revered national champion of romantic nationalism at a time of Hungary’s fight for cultural and national autonomy, that he started to return to his Hungarian origins with more fervent sentiments. The early portrayals of the national music of Hungary that Liszt was not able to forget eventually became more meaningful to him than sheer oddity. This form of distinctive national music at its peak at the moment was certainly not folk music, but an expression of global ancestry. Zoltan Kodaly and Bela Bartok would uncover the early Hungarian peasant music much later in the first half of the 20th century (Walker 54). The national music had emerged from an enlisting music, or verb unkos, that had thrived since the latter part of the 18th century (Gervers 386). This paper discusses the influence of Hungarian folk music on Liszt’s rhapsody no. 2 or, generally, on his Hungarian rhapsodies. Simply numerous, roughly the same tunes, are the prerequisite components of folk music. An example of this folk music is the Hungarian village’s music. Those who are slightly familiar with contemporary Hungarian village melodies are aware that their songs have obvious resemblance in relation to structure and cadence. The two major classifications of Hungarian village