The Limitations of Reason Exposed in Crime and Punishment :: Crime Punishment Essays

The Limitations of Reason Exposed in Crime and Punishment    Dostoevsky's   Crime and Punishment illustrates an important idea. The idea is that "reason," that grand and uniquely human power, is limited in reach and scope.   Social critic Friedrich August von Hayek commented once that, ". it may be that the most difficult task for human reason is to comprehend its own limitations. It is essential for the growth of reason that as individuals we should bow to forces and obey principles we cannot hopefully to understand, yet on which the advance and even the preservation of civilization may depend." Such limitations imply that on life's most important questions - particularly those of a moral or ethical nature -- reason alone can produce chilling consequences. Without adequate or any moral illumination, reason alone, when pushed to its limits, can produce consequences which stand dramatically opposed to those moral demands. Dostoevsky's   narrative is directed as a specific critique of Russian manifestations of purely rational political theories current in the 1860's in his homeland. But the challenge he poses has meaning for us at the end of the 20th century.    Dostoevsky's parable focuses on a particular brand of 19th century Russian ideology, as it begins to crystallize in the mind of a young idealist. But the modeling procedure Dostoevsky uses in teasing out the contradictions of Raskolnikov's unguided application of a morally bankrupt theory, could equally well be applied to contemporary thinking around several important and equally bankrupt modern ideas - ideas harshly criticized by thinkers such as Hayek.    Without direction - the source of which is ultimately beyond rational understanding - in the domain of the meta-rational -- reason-as-reason will, sooner or later, run aground. Directed reason on the other hand provides an orientation - an orientation that gives purpose and direction to inquiry -- by allowing us to select from an infinite range of possibilities the right path - the "right" reason.   Problems emerged for Raskolnikov then, and for us now when we deny the need to recognize, acknowledge and bow to external guidance.   The rational and the meta-rational must operate symbiotically: one pointing the way, the other uncovering the Truth.      Raskolnikov rationalized murder. We are appalled. Why? Each of us will attempt to answer in a different way. Fundamentally though I think that most of our answers boil down to the same idea.

Anxiety Disorder Essay -- Diseases, Disorders

It is perfectly normal for any human being often to be nervous before making an important decision or before taking a test. But in some cases, the nervousness is extreme leading to a condition known as Anxiety Disorder. This is a serious and un-preventable mental condition where by worry and fear is constantly overwhelming. It affects people from all age groups starting in childhood. The most common symptoms of anxiety disorders includes: dizziness, dry mouth, shortening of breaths, nightmares, sleeping problem, not able to concentrate or stay calm, panic, fear and uneasiness amongst others. Anxiety disorder can reach to a point of the patient not being able to lead a normal life (Chakraburtty, 2009). The symptoms can be lessened by the patient seeking help from a professional counselor in case they detect the slightest hint of the symptoms or after a traumatizing experience. People should also observe the quantities of coffee, tea, and chocolate they consume for these substances contains caffeine which is a known anxiety stimulant. Also, people should take caution and only consume medicines proscribed by a qualified medical doctor. This is because majority of medicines and herbal solutions bought over the counter contains chemicals known to cause the anxiety symptoms. The main cause of anxiety disorder is not certain, but continued mental research has shown that the disorders are caused by an array of factors. A chemical imbalance is among the probable causes of anxiety disorder. Research has also proved that the brain’s chemical balance can be affected by prolonged stress. The disorder also runs in families where by siblings inherit it from parents. However, some forms of the anxiety disorder may be triggered by trauma. T... ...es people changing on what they eat and drink from food that might provoke anxiety to more healthy food. It also involves leaving bad lifestyle practices like excessive alcohol consumption and instead the need to lead a more responsible lifestyle. Group therapy: This involves patients suffering from anxiety disorder coming together and sharing experience on how to overcome various challenges that comes with the condition for the benefit of each of them. They give each other hope and advice on how to handle different situations in the future (Prentice-hall, 1995-2002). Works Cited Chakraburty Amal (2009), Anxiety disorders. Retrieved from: http://www.webmd.com/anxiety-panic/guide/mental-health-anxiety-disorders Prentice-hall, (1995-2002), Therapies objectives. Retrieved from: http://cwx.prenhall.com/bookbind/pubbooks/morris5/chapter14/deluxe.html

Fashion in 20 Years

Erika Annalisa Sagh 2MEI 20 years of change? The over abundance in brands, the constant development for new products and the continual demand for innovation in style, will certainly remain relevant in 20 years as much as it does today. Fashion will develop quickly in the fields of production development and undoubtedly work forward instead of reliving the passed. However, the most intriguing changes in the fashion world within the next 20 years will be noticeable in the domains of manufacturing and sustainable revitalization of products and how they will connect.In application of the current European crisis it is clear that people are becoming more conscious of where there money is being spent and how they can possibly save more wisely. The morality behind the importance of helping and supporting your own economy will forever remain, though whether it will be practiced may technically be but a theory. Western cultures will continue to seek cheap manufacturing alternatives in second a nd third world countries, because it offers the possibility to over-produce and support the fast fashion addiction.As the evolution in economy triggers a direct growth within the field of manufacturing, the everlasting demand for innovating and luxurious goods will incline as well. These points all aid in allowing actual consumption within the coming years to multiply from its current state. If the future predicts to experience a noticeable growth of consumers, rising to approximately 1. 8 billion, it would be of no surprise that more brands will emerge and companies will be looking into producing their garments and products more quickly to feed the demand.The demand will undoubtedly create an abundance of opportunities for the fashion industry, as developments in style, textile and processing will be forced to transpire. However, as a state for humanity these so called windows of opportunities will possibly not create revolutionary changes. Accounting China’s current regress ion in foreign manufacturing demand, a shift from this current fashion driven country to another developing country may occur.The demand from western-based countries to China is slowly diminishing based mainly upon the fact that quoted prices have elevated beyond comfort. Though China is beginning to manage their organizations better, it raises some issues of whether western demand will remain located or as previously mentioned, shift. China does expect their economy to grow within the upcoming years, however this growth may account solely for domestic demand. In order to continually be apart of the fashion realm, China may have to keep their prices low or have the government interfere.More of the Chinese population is gradually becoming less interested to work in factories, while more comfortable positions within a store or hotel are sought after. In short, as the country grows away from the communistic regime the people will desire a much more comfortable lifestyle away from poor conditions and factory work. Now it is not to say that the manufacturers in other upcoming worlds wont be categorized as sustainable. It’s a known fact that the fashion industry is classified as one of the most polluting industries in the world, and much more focus is now being spent on how to change this.From the amount of fertilizer used in cultivating cotton to the abundant quantity of chemicals exhausted in processing plants, it is evident that the creation of fashion is drastically aiding in the progression of global warming. Though due to the size of the industry, any small changes such as the conservation of fresh water or the protection of environmental status would help. Eva Kruse, Chairman of the Nordic Fashion Association has already begun gathering support from celebrities and international designers to discuss sustainable options.With already 1000 people aboard, their long-term goal is to eventually declare sustainability as a worldwide fashion value. Though they aspire to soon take part in united nation conferences and create a code of conduct for the industry, the possibility of eliminating cheap manufacturing is nearly impossible. It is not saying that if the sector reacts to aspects of this code that it will not create a great impact, but that redesign, reuse and recycle will take precedence over fair wages. Clothing will be designed using biodegradable materials such as bamboo, milk or recyclable plastics and polyester.Clothing will no longer be apart of landmass and the environment itself will be considered more green and clean. However as stated, the use of these materials is undoubtedly more expensive to produce and manufacture into garments. Sustainable machinery will become more expensive to buy and maintain, while health codes, which will be implied, will also account for a raised budget. Since it will be the big companies, which will drive the demand they will be able to influence the consumers to agree with sustainability but p erhaps not price.Prices can fluctuate gradually, however the public will never agree to pay ridiculously high amounts. As fast-fashion will not fade within the near future, people will still demand new seasons and more collection in order to satisfy their materialistic and trendy needs. Companies will have to agree in saving money through cheaper labour and not expect all products to be produced closer to home. Countries such as India, Bangladesh and Cambodia will most likely become visited terrain for production instead of China, whereas the likeliness of African labour is more questionable due to the unstable status of the government and disruption.In conclusion, there are many solutions available in creating a more sustainable fashion industry, however these solutions may be quicker to realize than the issue of fair trade itself. I believe that people are not ready to give up their addiction to buying, and fast fashion is not just a trend but also a new way of life. The idea of m inimalistic buying will have to develop slowly within society, it may visible in 50 years but 20 years seems too soon. The categorized second world countries such as China are progressively becoming first world and it is unsurprising that their production price quotes are higher than before.I believe that if the fashion industry takes a strong shift towards sustainability that affordable manufacturing in second and third world countries will be sought out, to balance and maintain â€Å"cheaper† ticketed prices. In the future, the world may look different because certain countries, which are currently related directly to fashion, may disappear or even change their status, while new countries will appear in order to realize this sustainable aspiration. First step, be kind and save the planet we live on. Second step, find a way to live in a fair trade world.

Analysis of two Commercial Brands of Bleaching Solution Essay

Objective To determine the concentrations of the active ingredients in 2 commercial bleaches. Introduction Sodium hypochlorite is usually found in bleaching solutions. It is the active ingredient of bleaching solutions. It bleaches by oxidation. When it is added to dye, the following reaction occurs: ClO- + dye —————-> Cl- + (dye + O) If the oxidized form of the dye is colorless, then the color of the dye would fade away. In the presence of acid, the hypochlorite ions from the bleaching solution reacts with the iodine ions from potassium iodide in the following way: ClO- + 2I- + 2H+ ———>I2 + H2O + Cl- When sodium thiosulphate solution is added into this reacted solution, a further reaction occurs: I2 + 2S2O32- ————–>2I- + S4O62- This reaction could be used in titration to find out the number of moles of thiosulphate ions, thus the concentration of hypochlorite ions in the bleaching solution. Procedure 1. 10 cm3 of Kao Bleach was pipette into a volumetric flask. Distilled water was added until the meniscus reaches the graduation point. 2. 25 cm3 of the titrated bleach was pipette into a conical flask. About 10 cm3 of potassium iodide and dilute sulphuric acid was added into the conical flask. 3. The solution was titrated with sodium thiosulphate solution until the brown colour of the iodine fades. 4. Starch solution was added into the conical flask, and the solution was further titrated until the dark-brown colour of the starch-iodine complex turns to colourless. The volume of sodium thiosulphate solution required to reach the end point was recorded. 5. Steps 1 to 4 were repeated 3 more times. 6. Steps 1 to 5 were repeated using Clorox Bleach. Data and Calculation Molarity of standard Na2S2O3 solution = 0.05182M Brand A: Kao Price: $11.9/ 1500ml Trial 1 2 3 Final reading/cm3 26.8 23.1 25.7 26.0 Initial reading/ cm3 4.1 0.4 2.9 3.2 Volume of Na2S2O3 22.7 22.7 22.8 22.8

Atoms, Molecules and Elements Essay

Atoms, molecules and elements are the building blocks of everything we can see, hear, and touch. Though not visible to the naked eye, it is the combination of millions of these tiny substances that make us who and what we are today. Many elements make up the world around us, and each element reacts differently to its surroundings. The definition of reactivity as pertained to chemistry states, â€Å"The relative capacity of an atom, molecule, or radical to undergo a chemical reaction with another atom, molecule, or compound† (Reactivity, 2014). The reactivity of some elements or gases is greater than that of others. When Dmitri Mendeleev created the periodic table he arranged the elements based on their relative atomic mass. Alkali metals are very reactive when mixed with other elements and are placed in Group 1A of the periodic table. There are also extremely reactive nonmetal elements called halogens and are known to be in group 7A in the periodic table. Both the alkali metal s and the halogens (nonmetals) on considered to be main group elements. When the number of outer shell electrons is closer to one or seven the higher the elements reactivity. Alkali metals contain a single electron in their outer shell which makes them highly reactive and halogens contain only seven electrons in their outer shell. Noble gases, such as helium, are not reactive because they are chemically stable and will not combine with other elements. Hâ‚‚S and Hâ‚‚O are molecules formed from atoms that share similar properties. While the molecular structure of these compounds looks similar they are actually very different. When Hâ‚‚O is combined a liquid is formed whereas Hâ‚‚S forms a gas. What is meant by the electronic structure of an atom? This describes how the electrons are organized around the nucleus of an atom. The protons and electrons of an atom both have an electrical charge. While a proton has a positive charge, an electron has a negative charge and when moving toward each other they will be attracted to each other. When two protons move toward each other they will repel away, as is true with two electrons. â€Å"The more energy an electron has, the farther from the nucleus it will be, thus electrons are arranged in shells at various distances from the nucleus according to how much energy they have† (Science Southwestern Advantage, 2011, p. 319). The charge of an atom works much like that of a magnet, if you try to put the two negative ends together they will push apart. Knowing the electronic  structure of an atom helps chemists to predict the outcome of chemical reactions by knowing if the properties will be attracted to each other or repel from one another. With all that scientists know about atoms, molecules, and elements I am sure there is much more to learn. Knowing how metals, gases, and elements work together can assist in predicting the outcome of experiments. References Reactivity. (2014, July 7). Retrieved from Dictionary.com: http://dictionary.reference.com Science Southwestern Advantage. (2011). Nashville: Southwestern/Great American Inc.

Creative Retention Strategies That Are Used by Organization Today

With the fast changing economic & market conditions, companies are facing very high pressure to perform which require them to have the best people to work with, to retain their experience minds; they want to be the most preferred employer in the eyes of their prospects (future employee). To retain their best talent companies are adopting various creative strategies. According to DQ-IDC recent survey on the reasons that make people change the job, the most important reason was salary & compensation but apart from that Career Development, Location, Flexibility of office hours, Job Security, Organization Culture & Welfare policies emerged as the main reason of changing job. There is not much change on the attrition front we have seen even after following many strategies; the biggest attrition rate is still in IT industry which is 18%, followed by banking & financial companies. The average retention rate has dropped from 82% in 2007 to 79% in 2008. Now when we look what companies are doing to retain their employees, we can find many interesting thing. Some of the creative retention strategies/practices followed by companies are 1. Flexi timing: – Many Companies are following this technique like Aditi technologies, Sap Labs etc. It seems these companies have got the right software of flexible timing. 2. Fun @ Work:- Many companies have made fun an integral part of the working & their companies values, some of them have linked the fun with their performance appraisal system like Wipro BPO, Acclairis Business solution pvt. Ltd., VCustomer Corp. etc. 3. Training & Development opportunity: – Many companies have understood that their people are the most important assets that’s why they want a continuous up gradation of their employee through short term training & development programmes. 4. Respect Your Employee: – When we look at the recent survey on â€Å"Employee retention† we can find respect & recognition at the work place has emerged as the one of the main reason of changing job. Almost every company is trying hard to pay due respect to their employee by many programme. On the spot award, Self Appraisal, Foreign trips, â€Å"Get well soon† Flower bouquets for ill employee or family members are such programmes to show the respect towards the employees. 5. Empower Your employee: – It is not a matter of surprise that Marriott Hotel India every employee is called â€Å"Associates† and the â€Å"Sir† culture is absent there, Associates are empowered enough to take decision, the same way RMSI who have freed his employee to calculate their own performance bonus, at any time on the internet. 6. Bridge the Gap:- Programmes such as â€Å"Coffee with GM† in Marriott Hotel, â€Å"Good Morning Qualcomm† in Qualcomm, Breakfast meeting by CEO etc Are tool to improve the communication & fill the communication gap between Manager & their subordinate & also to bring fairness in the system. 7. Work with Friends: – Many companies like Perot System hires 40% of the employee through employee referral channel to create a friendly college like environment & to bring a sense of belongingness among the employee. 8. Best Reward System:- Many organization started self chosen reward system in which an employee could decide his/her own target & reward, organization are adopting 3600 performance appraisal system to bring the fairness in appraisal system. Apart from above example I have seen many interesting example like Mind Tree consulting’s â€Å"Baby’s Day Out† programmes, Antakshri programme, Departmental Day Outs, Annual Spring party, Sabbatical for social services, Cadbury day, Dhoom machale etc. are some example followed in different organization to control the attrition. After looking all the above aspects in nut shell companies should keep in mind the most widely accepted HR definition which is the best mantra to retain the employee & that is—- â€Å"The genuine concern of people†.

An Exploration of the Malay Kompang

AN EXPLORATION OF THE MALAY KOMPANG Name: Chan Tsui Sze Dora Matriculation Number: U1210644K Seminar Group Time: 1330 – 1530 Seminar Group Instructor: Cikgu Zubir Assignment: Research Paper in Malay Music Date: 10 April 2013 Word Count: 2245 Contents Chapter 1: An Introduction to the Kompang3 1. 1 Features of the Kompang4 1. 2 Features of Kompang Music4 1. 3 Performance Context6 Chapter 2: Influences on the Malay Kompang 7 2. 1 Arabic Influences7 2. 2 Portuguese Influences9 2. 3 Thai Influences11 2. 4 African Influences12Chapter 3: Future Changes in the Malay Kompang14 3. 1 Pop and Media Influences14 3. 2 Western Influences15 Chapter 4: Conclusion16 Bibliography 17 Discography/ Videography 19 Chapter 1: An Introduction to the Kompang The Malay Kompang ensemble refers to a Malay drum ensemble that ranges between three performers in a small chamber or accompaniment setting, to a large group of 30 drummers. As an instrument, the Malay Kompang is so familiar to most Singaporeans, yet it encompasses a rich history spanning more than 700 years that would astound and intrigue many.Kompang is mainly an oral tradition (Abdullah, 2005). Like all other non-notational music forms, it is inevitably highly characterized by change, self-improvisation and influences from other cultures. While Kompang music today is admittedly not so frequently heard nor performed as before, there have been efforts to assimilate this traditional music genre into today’s popular culture. This paper will address the diverse cultural influences on Malay Kompang from Arabic, Portuguese, Thai and African sources.Through the main musical elements of instrumentation, rhythm, form, and performance context, a comprehensive musical analysis of the influence of the different cultures on Kompang music will be made. This paper will also examine how elements of popular culture can be infused into the traditional Malay Kompang music genre, and discuss the general developmental direction that Kom pang music is taking. 1. 1 Features of the Kompang The Malay Kompang is part of the membranophone family.It is a wooden-framed, circular, one-sided handheld drum with a skin made up of animal hide and played using the free hand (Abdullah, 2012). There are two main types of tones on the Kompang – the lentong beat played by hitting the side of the drum with closed fingers, and the cerang played by slapping the center of the drum with the palm (Abdullah, 2012). The lentong typically produces a lower-pitched, rounder sound while the cerang typically produces a higher-pitched slapping effect. One of the unique features of the Kompang is its â€Å"wet† and rumbling timbre due to the strong effects of reverberation.Another special feature of the Kompang is its interlocking technique and the unique musical texture heard from this effect. 1. 2 Features of Kompang Music Even though most musical repertoire of the Kompang is oral in nature and neither notated nor formally defined, there is undeniably a wide range of repertoire in the Kompang genre. There is purely instrumental drumming as well as Kompang used to accompany vocal parts, like zikir. The variety in form – the organization of musical elements in time to create structure (Kamien, 2013) – used in Kompang music is very wide.There is the use of Pukulan, which the first section is called Pukulan Mula (introduction beat), the second is called Pukulan Asas (basic beat) and the third is Pukulan Naik (ascending beat), followed by a combination of other sections including Pukulan Turun (descending beat) and Pukulan Naik. Finally the last section is identified as Pukulan Mati (ending beat). (Abdullah, 2005) There is no rule as to how many times each Pukulan has to be played; the combination of Pukulan sections is determined by the length as well as the function of the entire performance.Also, the form of Kompang pieces is also specific to the community that is performing the pieces. For exampl e, the Kompang music performed by the Kompang Ezhar community in Malaysia typically begins with a call-and-response recitation of the Selawat, a reading of a holy scripture, and then continues with the various Pukulan sections. Additionally, there are even more types of Pukulan found in various forms of dance music (Abdullah, 2005). A summary of the different Pukulan specific to the Kompang Ezhar community is shown in Figure 1 below: Figure 1: A summary of the various types of Pukulan found in the Kompang Ezhar (Abdullah, 2005)In Kompang, rhythm is mainly characterized by the interlocking of different parts divided within the Kompang ensemble. Interlocking is basically done with two or more Kompangs playing simultaneously, with one part playing the Basic beat which is usually the downbeats; another part playing the Rhythm beat which is usually the off beats; and an additional part(s) playing the Leading beat which is usually characterized by triplets or a syncopated rhythm that crea tes a unique interlocking texture specific to the Malay Kompang musical genre (Hahril, 2010).In addition, instrumentation is a musical element that is relatively fixed in Kompang; there is usually a group of Kompangs playing together, and occasionally, accompanying voice. 1. 3 Performance Context In the Singaporean context, the Malay Kompang is usually seen performed at weddings and celebratory ceremonies, or at traditional showcases. As the Kompang is usually performed in large, open spaces, it is important that it produces loud, penetrating and thundering sounds. Kompang performances are also popular at social functions like cultural festivals, dinner shows and events, as well as for the royalty (Abdullah, 2005).All these factors underscore the importance and essentiality of this unique instrument in the entire Malay community. Chapter 2: Influences on the Malay Kompang The Malay Kompang is influenced by many cultures, especially from those cultures that introduced the musical gen re into the Malay community in the early 13th century. As Malacca was ruled by different cultural groups throughout its history, the performance of Malay Kompang was also inevitably influenced by these cultures that took over the land at different points in its history. 2. 1 Arabic Influences One main influence on Kompang music is the Arabic culture and its music.In this context, it is of relevance to discuss the main hand drum that is greatly symbolic of Arabic music – the goblet drum, a large single-headed drum introduced in 1100 BCE (Sadie, 1980). Figure 2: African goblet drum The goblet drum is played either with the drum held under the player’s arm, or with the player sitting down and placing it sideways on his lap, or with the drum strapped around his neck. Similar to the Malay Kompang, it is played using only the hands. There are three main tones used. The doum (bass) tone is produced by hitting the center of the drum head with the palm.The tek (higher-pitched) is produced by hitting the edge of the drum head. The pa is a percussive effect produced by hitting the drumhead and then muting it with the palm to create a closed sound. Figure 3: Doum tone on the Arabic goblet drum Figure 4: Tek tone on the Arabic goblet drum Thus, it can be seen that the playing techniques of the Malay Kompang is somewhat derived from the playing techniques of the Arabic goblet drum – such that a higher-pitched sound is heard by tapping the side of the drum and letting the sound ring, and a lower-pitched sound is produced by hitting the middle of the drum using the palm.Although the muting percussive tone is not as established in Kompang performance techniques, this is probably due to the limitations of the Kompang in that it can only be hit with one hand and held with the other, making it hard to execute a muting effect. 2. 2 Portuguese Influences Portuguese musical elements are also evident in the music of Kompang, particularly in its repertoire. This i s not unexpected, as the Portuguese took over Malacca after its successful assault on the city in July 1511 (Leo, 2013) – leading to infiltration of Portuguese elements into the Malay culture and practices then.The main hand drum in the Portuguese tradition is the Tabor. It is a double-headed snare drum made of cylindrical wood, played with one hand. The skin heads are tightened with leather straps and rope tension (Harms, 1989). Figure 5: The Portuguese Tabor The repertoire of the Tabor is mostly military in nature and is used frequently in marching band processions. Additionally, the Tabor is commonly played together with the Portuguese pipe. The player commonly plays the pipe with his left hand and hits the drum with a wooden stick in his right hand.Portuguese pipe music is folk in nature and the rhythms played on the Tabor are accompanimental and characterized by dotted rhythm. As the musical repertoire of the Tabor is not extensive, there is little notation available. He nce a short transcription of the Tabor parts from a Portuguese Pipe and Tabor ensemble has been attempted: Figure 6: Transcription of Pipe and Tabor ensemble recording As seen from Figure 6, each of the three Tabor parts plays different rhythms, but the performance culminates in an interlocking effect such that the three different parts compliment each other’s beats of emphasis.Hence we can derive two insights regarding the Portuguese influence on the Malay Kompang – firstly, the use of the Kompang in Malay processions and weddings could be influenced by the use of the Tabor in Portuguese marching processions. Secondly, the interlocking feature in Kompang music could be taken from Portuguese Tabor ensembles and then developed to the several complex interlocking parts of today, which includes triplets and more complicated syncopation parts. 2. 3 Thai Influences Yet another cultural influence on Kompang music is Thai music.The Malays and the Siamese have had long, diplom atic contact for over half a decade during the Siamese empire of 1403 – 1909. This allowed the Malays to adapt to the Thai culture and music. Two Siamese musical forms that were of great influence to the Malay Kompang were the Wayang Siam and the Makyong (Abdullah, 2012). The Wayang Siam is essentially accompaniment to shadow puppet theatre. The form of Wayang Siam music is mostly free in nature and depends on the theatrics and drama of the performance. Characters are free to move onstage in more or less than the traditional eight-bar phrases (Baier, 1995).The Makyong musical form was primarily performed by a small ensemble of instruments used to accompany theatrical acts, and included improvised monologues and dialogues (UNESCO, 2005), underscoring the flexibility of the form. Similarly, Kompang ensembles accompany dances, weddings and processions and require a certain amount of flexibility to suit the occasion. Despite the flexibility in combination and number of repetition s of Pukulan sections played, it is not as free as the form in Wayang Siam. Nevertheless, the flexibility in form can be seen as a main influence of Wayang Siam on Kompang music. . 4 African Influences The way that the drummers in an African djembe ensemble interact musically is also of influence to the Malay Kompang. One main feature of African djembe ensemble playing is polyrhythm, in which each djembe player plays a repetitive cycle of its own accompanying rhythm which is in a different measure from the other djembe players. This creates a very unique rhythmic texture as there are different downbeats heard simultaneously with the playing of two different measures. This can be seen in the example below, depicting a polyrhythmic effect: Figure 7: Example of polyrhythmIn addition, there is usually also a solo, virtuosic part heard above all the different accompanying parts, which gives even more rhythmic variety to the music. The influence that this has on Kompang is clear in the di fferent parts that are taken on by the different players in the ensemble. However, the interlocking effect in Kompang is not as complex in that it is not as texturally thick as djembe as all the ensemble players are still playing in the same measure. Nevertheless, it still shows a very important influence that African drum music had on the Malay Kompang.In the 13th century in the Malay Archipelago, little polyrhythmic or even contrapuntal music could be found. Hence the interlocking feature of Kompang music was drawn from the polyrhythms in African djembe. Chapter 3: Future Changes in the Malay Kompang In the 21st century today when most people including those in the Southeast Asia region are exposed to popular music due to factors like technological advances and the strong wave of social media, there is inevitably a strong inclination towards fusing traditional music with pop elements.In addition, due to the increased westernization of Asian cultures, many traditional musical forms are gradually evolving into a more Westernized structure. Besides this, the culture where Kompang is performed today also has an effect on how it is performed. For example, Kompang Melayu is a modern style of playing Kompang, specifically found in Singapore (Hahrill, 2010). Based on my research and analysis, there is a strong possibility of two main directions that musical developments in Malay Kompang can take – the pop-infused style and the westernized style. 3. Pop and Media Influences Pop music is a main influence on Kompang music today. Since the 21st century, technology has allowed a growing number of people to be connected to the Internet. With today’s wireless connectivity and infiltration of social media, the immense volume of technological information sharing inevitably causes people to be influenced by songs that are literally popular – those that are accessible to the widest audience (Lamb, 2013). Elements of rock, R&B, country, disco, punk, and hip -hop have been integrated into pop music for the past few decades.The rhythmic elements in these styles have the potential to be incorporated into Kompang. In addition, the form of pop music – verse and chorus – could be another element that could possibly influence Kompang music in the future. 3. 2 Western Influences Due to increasing westernization of Southeast-Asian cultures today as well as the flourish in Western Music education that uses mainly western notation, Kompang music is more frequently notated these days. This is evident from the difficulty that cross-cultural ensembles face in rehearsing due to differences in notational practices. Ross, 2011) Western orchestras, bands and ensembles have also been introduced to the Malay culture in recent years. There could potentially be new compositions that incorporate the Kompang into the scored music. For example, percussion ensembles with Kompang as one of the instruments, or even Kompang concertos could be written in the near future as part of efforts to popularize traditional instruments. Chapter 4: Conclusion In conclusion, the Malay Kompang, although a considerably specific musical genre, is still influenced by a myriad of elements from other cultures.This is especially so with globalization today, causing homogenization of culture throughout many countries. As discussed above, Kompang music was initially influenced by Arabic, Portuguese, Thai and African musical elements. In recent years, it has started to be influenced by pop and western elements, which are mostly caused by the infiltration of media and technology, and the slow but definite westernization of Asian cultures. As such, the growth of Kompang music in ways that are characterized by today’s era can be witnessed. Bibliography Abdullah, M. H. (2005).An Organological and Ethnomusicological Study of A Malay Frame Drum. Retrieved from https://theses. ncl. ac. uk/dspace/bitstream/10443/869/1/Abdullah05. pdf Abdullah, M. H. ( 2005). ENCHANTING THE CULTURE: AN INTRODUCTION TO THE AUTHENTIC KOMPANG PLAYING. Retrieved from http://www. academia. edu/380345/ENCHANTING_THE_CULTURE_AN_INTRODUCTION_TO_THE_AUTHENTIC_KOMPANG_PLAYING Abdullah, M. H. (2012). The Role of the Kompang in Malay Society. Retrieved from http://portal. unesco. org/culture/en/files/21753/10891249663abdullah. pdf/abdullah. pdf Charry, E. (2000). A Guide to the Jembe.Retrieved from http://echarry. web. wesleyan. edu/jembearticle/article. html Djembe technique | Inner Groove Percussion. (n. d. ). Retrieved from http://innergroove. wordpress. com/learn-to-drum-2/djembe-technique/ Elements of Music. (n. d. ). Retrieved from http://historyofmusic. tripod. com/id6. html Kompang! – SHSS ‘O' Level Music. (n. d. ). Retrieved from http://shssolevelmusic. wetpaint. com/page/Kompang! Mak Yong. (n. d. ). Retrieved April 2013, from http://www. unesco. org/culture/intangible-heritage/23apa_uk. htm Matusky, P. (1995). Malaysian Shadow Play and Music: Continuity of an Oral Tradition.Retrieved from http://www. jstor. org/discover/10. 2307/1124116? uid=3738992&uid=2129&uid=2&uid=70&uid=4&sid=21101877205913 Matusky, P. A. (2004). Music of the Percussion Ensembles. Retrieved from http://books. google. com. sg/books? id=x06nBdEkAOMC&pg=PA198&lpg=PA198&dq=kompang+music+scores&source=bl&ots=hjI8kuVMZo&sig=uGiMpUc98bGJcM3GbIV9UH0_gB0&hl=en&sa=X&ei=f_5bUanSH8yUrgeXo4CoAQ&redir_esc=y#v=onepage&q=kompang%20music%20scores&f=false Musical Elements : Key, Musical Texture,