How Has Palestinian Application for Un Membership and...

Abstract The purpose of the research â€Å"How has Palestinian application for UN membership and statehood recognition affected the advancement of the peace process between Israel and Palestine?â€Å" was to provide a thorough examination of the Arab-Israeli conflict and estimate the possible courses of its development in case of UN interference into the matter. The method used in the process of investigation consisted in accessing English and Israeli websites, including the official website of the Parliament of Israel, in order to collect the necessary information on the issue. A vast amount of opinions was gathered and applied in the research, that helped to create the holistic picture of the problem under consideration. As a result of†¦show more content†¦The aggravating conflict underwent several basic stages: * 1948 Arab-Israeli War (the first war) * 1956 the Suez Crisis (the second war) * 1967, 1973 (the third and the forth wars) * 1978-1979 Camp David peace process * 1982 Lebanon War (the fifth war) * 1993-2000 Oslo peace process * 2000-2005 The Second Intifada (the sixth war) Despite the long history of confrontation the main points of controversy remained unchanged. They are: * the status of Jerusalem * Palestinian refugees * the Israeli settlements * the borders Each period of the conflict was characterized by either escalation or reduction of tension, but since it’s not the main concern of this research, we will only consider some of the agreements signed by the opposing sides, in order to show what attempts had been made to resolve the conflict before Palestine turned to the UN for assistance. Subheading 1: The attempts to negotiate peace between Israel and Palestine. One of the main attempts to resolve the conflict was the Oslo Agreement that was signed in September 1993 in Washington and was supposed to settle the arguments between the two countries. For Israel, that always considered PLO to be a terrorist organization and refused any diplomatic contacts with it, it was a tough political decision. According to the agreement the PLO had to stop any terroristic action

This Assignment Was Difficult For Me Since I Just Moved

This assignment was difficult for me since I just moved to a town and I know no one. In fact, I was starting to wonder if I’d be able to hit the requirements since up until yesterday I’d only had 1 interaction with someone for 15 minutes. But between a rock hounding lecture meet up yesterday and the sun today, I was able to have a few face to face conversations with people. The first observation was with the co-owner of the RV park I’m staying at. My neighbor informed me the park may hire a couple people in June in exchange for their space rent. This lead me to Brian, where we engaged in a 30-minute conversation about all the things I need to know living here, such as where the best agates were, what spring break and summer activities they†¦show more content†¦The change in her facial expression from relaxed to uh-oh back to relaxed was only a couple seconds, but it conveyed that Brian’s phone call wasn’t going to be pleasurable. My next observation was Laura, a local geologist, business owner, and rock guru! Laura is offering rock collecting lessons on the beach to educate people on the different rocks of the Oregon Coast as well as beach and rock collecting safety and laws. Due to the downpour of rain at the time, Laura canceled the beach rock collecting but invited me and the other guy that showed to her store so she could tell us about a new geological find. At her store, Laura started explaining that scientists have discovered granite on the Oregon Coast that dates back to an eruption from Yellowstone, I think she said around 15 million years ago. As the lava flowed towards the ocean it picked up and deposited rocks along the way which explained a long puzzle they had of how Idaho Idaho geodes and crystals were in the Pacific Ocean. This new find is huge in the geological field which was evident by Laura’s facial expression. She didn’t even have to mention how important this finding is as h er face conveyed it all. She was very animated as she spoke, her arms moving in unison to her verbal communication (for example she’d make wavy signals with her hands almost every time she talked about the lava flows). While Laura talked, she alternated between showing excitement in her facial features (eyesShow MoreRelatedPersonal Essay : Moving Into A New House1022 Words   |  5 Pagesyesterday that there was only a Playstation 2 in my room; the only console I had up until recently. I have my room to sleep in, as well as my older brother having his own room to sleep in. But before, this wasnt the case. Before moving into a new house, my family had always lived in a house that was no bigger than an apartment room. Of course, it technically wasnt an apartment since there were only two living rooms in that house. 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Music Business Essay Example For Students

Music Business Essay The music publishing industry at a glance would seem to be those who print sheet music, method books, lead sheets, and all of the texts or notated music that musicians (and those aspiring to be musicians) use. Years ago, this was what most music publishers did, but as the industry has evolved the process that become much more complex. Music is not just ink and paper, intellectual material and property to the individual who writes it. Therefore the song does not become a song when it is written down. This is not an easy concept to grasp because the song by itself has no physical makeup. A song could exist once it is played for the first time, and songs can even exist inside the mind of a songwriter. This concept is why the publishing business can be so complex; we are dealing with intellectual property. The heart of the music publishing business lies in the rights to the original music. After the music is successful enough to financially support itself the music is printed in mass quantities in a variety of ways. This could be everything from guitar tabs to choral arrangements for a junior high choir. The publishers main source of income is through record royalties, performance royalties received from companies like the American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music Incorporated (BMI), and the Society of European Stage Authors and Composers (SESAC) for performances of music copyrighted by the publisher. These royalties could be from many different types of performances but most are though radio and songs on television. The success of a songwriter lies in the greatly in the hands of his/her publisher. Normally we hear of a bands success when they are signed with a record deal, but most record companies not only produce and promote an album, they also act as the publisher who, when contracted, owns the rights to the music. When a publisher own the song it is put in to their catalog. Merchandise retailers have catalogs of their goods just like publishers have a catalog of songs that they own rights to. Publishing firms such as Warner/Chappell, BMG Music, MCA Music, and Sony music have catalogs of many styles of music. These companies are referred to as full-line companies. A broad repertoire allows them to market their music to many audiences. Most of these full-line companys roots can be traced back to the music of Hollywood and the show music of Broadway. Publishers today may have thousands of songwriters in its catalog including all styles of music from around the globe. Representative Warner/Chappell owns, administers, or sub-publishes more that a million copyrights here and abroad. Todays full-line publishers have many different divisions to their company. Large publishers handle virtually every aspect of a writers music, its recordings, distribution, sales, promotion, advertising, touring, and legal affairs. This figure lays out all the divisions a full-line publisher may have. The administration division is the division that handles the operations of the firm. All business affairs go through administration. When money is received from or paid to customers the firm the accounting divisions keeps all the financial records of these kinds of operations. The accounting division also would handle loans given to artist that are signed to the firm under the publishers record label. When a band records an album under a label they become a liability to the label because money has to be spent to record, produce and promote a artists music. Full-line publishers front this money and all profits from the artist come back and are split 50-50 with the publisher and the writer. If the artist maintains the rights to their songs the record contract will include a controlled composition clause that calls for a reduced mechanical royalty paid to the artist by the record label. This clause may reduce the royalty split to 75-25, the larger portion going to the record label. This clause would not be insisted to artists who place the full rights to works in the hands of the record companys publisher. The artist remains a liability to the publisher as long as the artist has not made as much money as was invested into them by the publisher. An accountant usually handles the royalty department, which is money received from performances of the copyrighted music. This financial person will also handle normal operations such as payroll, accounts payable/receivable, insurance, purchasing and other financial operations. The copyright department may have one or more people in this division. This department is responsible for a number of tasks. Some of these important tasks are to: 1. Conduct a title search. The copyright department first determines who owns the work. Just because an artist claims to have written a song does not give him rights to it. This may be a complicated process, which is why many publishers stay away from music that is sent blindly to them for review. Legal disputes between the publisher and the writer could result and end up in court, which can be a long and costly process. Other issues that add to the complication are co-authors to the music, previous publishers, revision to music or lyrics, and many more. When the copyright department has performed this research, a copyright attorney can answer remaining questions. Depending on the demand of this type of attorney to the firm, the firm may hire one full time for these affairs. 2. Registering claims of copyright. This is done to make the copyright official, which may cost about twenty dollars for a song. 3. Handle the mechanical, and synchronization licenses of the music. Mechanical licenses are issued to artists for the recording of a copyrighted work. Synchronization licenses are issued for the use of copyrighted works in firms. This may be done through the Harry Fox agency, or may be handled through the copyright department. 4. Keeping current records of all copyrights owned by the publisher. This includes the renewal, extensions, sales, or abandonment of existing copyrights. Copyrights do have a time limit, so the need to watch where they stand in time is important to the life of the work. There may be a specific department for business affairs that deal with the legal operations of the firm. The publisher may have staffed lawyers and attorneys in this department that study the copyright laws and take legal action for the breaking of copyright laws, or the negotiating of new laws. If the publisher does not have the demand for a full time lawyer or attorney, they may be hired from outside firms. The acquisitions division is responsible for contracting writers and purchasing other catalogs. A representative from the publisher may travel the country to find artists that would bring more business to the firm. Like scouts this person is in charge of artists and repertoire (A R). The A R representative may attend a major event by an artist to see them perform and evaluate whether they would be profitable for the firm. Remember that the publisher splits all profits 50-50; millions of dollars may be at stake at the success of one artist. The acquisitions department is responsible for the purchasing of catalogs of smaller firms. This makes the music publishing industry and oligopoly; an industry controlled by a few large firms. The print publishing division is responsible for task such as editing, engraving, artwork, copying, and the printing of its catalogs music. The signed artists may meet with the editors, and arrangers in this department to prepare the music for printing in a number of different ways. The music would simply be transcribed to a lead sheet, or an entire album could be published in a book with all the chords and guitar tabs for aspiring musicians to purchase. After the music is printed it is then distributed. The promotion division is often the largest of all the divisions in a full-line publishing company. The success of a work is held in the hand of the promotion of the artist and their music. Even artists that do not have outstanding talent or abilities, but have excellent promotion will have more fame than the talented unadvertised artist. The people incharge of these artists success are the producers, managers, and musical directors for not only the records they produce but also the performances they give. Producers in the recording studio deal with the quality of the music and how it sounds the its audience. The musical director may also be present to make decisions about the arranging of music during the recording project. The artists manager is responsible for the personal well being of the artist. The other departments involved in promotion are responsible for print ads, store displays for the album, direct mail to retailers and fans, and any other special events. After all the acquisions, administration, print production, and promotion divisions have performed their responsibilities, the distribution division takes control and begins to put this intellectual, funded, copyrighted, recorded, printed, promoted music into the hands of consumers. The distribution and sales division distributes the CDs, tapes, sheet music, T-shirts, and other merchandise to wholesalers and retailers of the products. These vendors buy in large quantities at wholesale prices. Another distributor of sheet music known as a rack jobber deals with small quantities of music usually less that one hundred at a time. Other distribution may be done through direct mail, catalog and online sales. The final division of the full-line publisher is the subpublishers and licenses. Most publishers will contact different tasks to other publishers who may specialize in print or other services necessary to the artist but not provided by the primary publisher. The most common service performed by subpublishers is printing. Companies like Hal Leonard, Inc. and Warner/Chappell are two of the largest print publishers. In these kind of contracts the printer acts as the licensee and bare the full cost of printing and distributing while the licensee pays the licensor a royalty on sales of up to twenty percent of the wholesale cost. In this situation the licensee acts as selling agent. The administration, acquisitions, print production, promotion, distribution and sales, and subpublishing all make up these full-line publishing firms industry. Some companies may specialize in a certain areas, but all are necessary to make money in the end. The Double Helix EssayThe Internet is the way of the future in a big way in the music industry and this exclusive rights leaves it open to change in the digital domain. The provisions that apply to the songwriter also apply to the publisher and all the divisions of the full-line publisher. The recording industry is fighting one of the biggest disputes in music history because of the way that our industry is changing with the evolution of the Internet. Napster, an Internet site that acts as the middleman for the sharing of music over the web. Napster claims that they arent responsible for the rights not being paid for this shared music because they do not actually touch the music. They provide a way for one user to look into another users personal computer and download audio files from their computer for free. Napter is facilitating the stealing of this music by providing this open door to users and bypassing the paying of rights to the artists and publishers of the music. The policies of music licenses being reexamined will allow the law to shape to this dispute and pay those who own the rights to the music. In this subject we also include the fair use of copyrighted material. The law gives guidelines to what is considered fair use for this material. The act list the criteria for a fair use that includes: 1. The purpose or character of the use, including whether such uses is of a commercial nature or is for nonprofit educational purposes. 2. The nature of the copyrighted work 3. The amount and substantiality of the portion used in relation to the copyrighted work as a whole 4. The effect of the use on the potential market for or value of the copyrighted work There are exceptions to certain performances that are included in the fair use portion of the act. (1) The performance or display of a work by instructors or pupils in the course of face-to-face teaching activities of a nonprofit educational institution. (2) Performance of a nondramatic literary or musical work, display of work, by or in the course of transmission. These two uses allow students to study music for more that a hobby, but for a preparation for their careers upon graduation. This is a great resource for colleges to be able to teach and perform music and art for free as a fair use. In the music industry there are three organizations that dominate the performance rights collection. These organizations are responsible for collecting royalties from clubs, concert halls, stadiums, bars, colleges, airlines, or any business or group that uses music to promote business for themselves. The money collected from these businesses is dispersed to publishing companies that split the profits with the songwriter. These performance rights organizations will take legal action against the venues that do not purchase the appropriate licenses for the uses of the copyrighted music. Some examples of licenses include mechanical, performance, special uses, synchronization and grand rights. The first performance rights organization established in 1914 is the American Society of Composers, Authors, and Publishers (ASCAP). ASCAPs income is derived from the following places in the music industry: 1. 20% to 25% from reciprocating foreign licensing organizations. 2. About half from television stations and networks 4. Annual fees are figured on a small percentage of the adjusted gross income Membership of ASCAP is comprised mostly of composers and lyricists of Broadway shows, movie musicals, and pop songs. To become a member of ASCAP you must have at least one song commercially recorded, available on rental, or performed in media licensed by the society. ASCAP has a board of twelve writers and twelve publishers. In weighting performances ASCAP takes into account the following: 1. The medium in which the performance takes place 2. The weight of the station on which the performance is carried 3. The weight of a television network The organization pays its members on the basis of census and sample surveys of performances. These are usually done at random at places that have commercial airplay. The data is then figured on an average and royalties are paid based on the average. Broadcast Music Inc. is set up different from ASCAP in its financial structure. BMI is owned by stockholders. Its board of directors consists of those who own shares in the company; several hundred people. The affiliates of BMI are songwriters from genres including jazz, rhythm and blues, country, rock, gospel and much more. Unlike ASCAP, BMI has no members, but has writer and publisher affiliates. BMI accepts those who have written a musical composition and have recorded or performed the work commercially. BMI pays higher for songs that originate in a Broadway show or feature film. As the song is play or performed more the copyright owners receive bonus payments of up to four times the minimum rate. BMI has many foreign writers and publishers in Europe and relays on income from overseas greatly. BMI does withhold 3. 6% for servicing foreign accounts. BMI deals with most licenses, as does ASCAP. The Society of European Stage Authors and Composers (SESAC) is the third of the performance rights organizations. SESAC is the smallest of the three organizations. They believe that by being a smaller organization they can meet the needs of their writers and publishers better then the bigger organizations. The other side to this is that it is much more costly to the copyright owner to join with SESAC. SESAC is the technological leader among these organizations. They have a state-of -the-art tracking system which allows them to accurately track the performance and recording of works by its owners. SESAC uses a chart payment system, which makes royalty payments based on chart positions in major trade publications. Unlike ASCAP they do not have a weighing system. The success of the song is based on how high up on the chart it is. ASCAP and BMI operate under court consent decrees; SESAC does not. Each of these organizations has their own strength, and all three are important to the industry. Working musicians can become members of unions and guilds that are respected around the nation. There are many benefits to being apart of these organizations. At a glance one may not like the idea of paying yearly dues to a group of musicians, but the benefits can be immeasurable in the right parts of the country. The American Federation of Musicians (AFM) is a trade union. It is the oldest union in the United States representing musicians that are active in their professional career. Over the year this union has seen decease in numbers because of difficulty in attracting new young members and state and national laws restricting certain kinds of collective bargaining. The union dues can range from one to five percent of union scale wages earned by its members. These dues are used to finance activities all over the nation and locally. The Union provides these musicians with the proper treatment and paid work. Most symphonies are made up from union players. Other organizations include the American Guile of Variety Artists. The AGVA represents singers, dancers, comedians, ice skaters, jugglers, magicians, and others who perform live. The AGVA provides membership to all types of performers from the struggling to the world-famous. The AGVA will negotiate with the venues of its performers. The Screen Actors Guild is made up for actors, singers and even on-screen instrumentalists. All of these organizations are very specific to its members and who can join. A musician may have to be a part several unions or guilds to get the attention he need to succeed. Some of the benefits to being a part of a musicians union are laid out in a Bill of Rights fashion including how union musicians are to be paid: 1. The right to enjoy a minimum wage, whether derived from live performance, royalties, or reuse, that is sufficient to provide a standard of support proportional to the entire investment of time and resources required to secure and perform said gainful employment. 2. The right to safe and healthy working conditions including protection from health threatening theatrical devices, demeaning and exploitive costumes or uniforms, excessive sound pressure levels, substandard travel arrangements, ingestion of second hand tobacco smoke, irrelevant recorded music before performances and during intermissions and the right to reasonable rest periods. 3. The right to equal employment opportunities based on musical qualifications and/or entertainment value regardless of race, ethnic background, age, gender, religion, cultural diversity or political affiliations. . The right to negotiate fairly on ones own behalf with universal recognition and legal enforcement of resulting contracts on agreed terms. 5. The right to ownership of all intellectual property rights as applied to compositions, performances, and recordings by all players and singers as well as leaders and publishers who are already protected. Minimum wage from gainful employment must be sufficient t o pay all necessary costs for life, shelter, and health care in the proportion of 100% for 40 hours weekly invested and directly proportional for fewer hours. This investment of time includes, in addition to hours of actual live performance, those hours spent in practice, rehearsal, preparation, post-production and (when required by the employer) promotion of the event. In absolutely no instance shall this total work investment be compensated for less than federally mandated minimum wages. We can see that union protects and serves the musicians and gives them freedom to pursue their own careers in the performing arts. These organizations create stability for the pursuit of full-time jobs in many different areas of the arts, not only in music but also in the world of theatre and visual arts.

Preparation of Primary Standard and Acid Base Titration Essay Example

Preparation of Primary Standard and Acid Base Titration Essay The purpose of this experiment is to determine the concentration of odium hydroxide solution by titration against the primary standard, ethanedioic acid-2-water.IntroductionTitration is a method of analysis that to determine the precise endpoint of a reaction. In a titration, solution was run from a burette into a definite volume of another solution in a conical flask. 1 or 2 drops od suitable indicator (phenolphthalein) is added to indicate the end point. The end point is the stage at which two solutions have just reacted completely. The accuracy of titration results depends very much on the correct detection of the end point.Chemicals:Ethanedioic acid-2-water crystalsDilute sodium hydroxide solutionPhenolphthaleinDeionized waterApparatus:Beakers (100 cm3 ) x 4Conical flasks (250 cm3 )Pipette (25.0 cm3 )Pipette fillerBurette (50.0 cm3 )Stand and clampVolumetric flask (250.0cm3 )Wash bottleWhite tileGlass rodWeighing bottleElectronic balanceStopperChemical Reaction involved:Procedure s:1. Clean all the glassware involved in this experiment (e.g. burette, pipette, conical flasks, weighing bottle, volumetric flask, etc.) with deionized water as directed by the teacher.2. Weigh by difference to collect the required mass (2 to 2.5g) of ethanedioic acid-2-water crystals.3. Pour the weighed crystals into a dry clean 100 cmà ¯Ã‚ ¿Ã‚ ½ beaker and add deinoized water to dissolve the crystals.4. Wash the weighing bottle with deionized water and pour the rinse into the beaker also to ensure no loss of acid crystals.5. Pour the content of the beaker in a clean 250 cmà ¯Ã‚ ¿Ã‚ ½ volumetric flask and add up to the mark with deionized water.6. Stopper and shake the flask thoroughly.7. Wash a pipette first with distilled water and then with a small amount of sodium hydroxide solution given8. Transfer 25.0 cmà ¯Ã‚ ¿Ã‚ ½ of sodium hydroxide in a clean conical flask using the pipette and pipette filler.9. Add 2 drops of phenolphthalein indicator to the conical flask. Phenolphth alein gives a red color in the alkali solution.10. Wash a burette with distilled water and then with a small amount of the ethanedioic acid solution.11. Close the stopcock. Transfer 50.0 cmà ¯Ã‚ ¿Ã‚ ½ of standard ethanedioic acid solution in a clean burette.12. Clamp the burette vertically in a stand.13. Open the stopcock for a few seconds so as to fill the tip of the burette with sodium carbonate.14. Record the initial burette reading.15. Start the titration by opening the stopcock of the burette. During the process, gently swirls the conical flask continuously to mix the two solutions. At the time when the color changes from red to colorless, close the stopcock immediately.16. Record the final burette reading.17. Calculate the volume of ethanedioic acid required to neutralize 25.0 cmà ¯Ã‚ ¿Ã‚ ½ of sodium hydroxide.18. Empty the conical flask and wash it with water.19. Repeat the steps 3 or4 times until the results from each trial are agreed.20. After the experiment, rinse all th e glassware used with tap water and put them back to their original positions.Results:Titration ResultsTitration1st (Trial)2nd3rd4thInitial reading (cmà ¯Ã‚ ¿Ã‚ ½)0.0017.000.0015.50Finial reading (cmà ¯Ã‚ ¿Ã‚ ½)15.832.2015.5031.00Volume of titrant (cmà ¯Ã‚ ¿Ã‚ ½)15.815.2015.5015.50Average volume of ethanedioic acid reacted:(15.20+15.50+15.50)/3 cmà ¯Ã‚ ¿Ã‚ ½= 15.40 cmà ¯Ã‚ ¿Ã‚ ½That mean15.40 cmà ¯Ã‚ ¿Ã‚ ½ of ethanedioic acid is used to titrate 25.0 cmà ¯Ã‚ ¿Ã‚ ½ of sodium hydroxide.Discussion:1. Mass of ethanedioic acid crystals used:= 2.50 gNo. of moles of ethanedioic acid:= 2.50/ (12.02+1.02+16.04)= 0.02778 moleMolarity of ethanedioic acid= 0.02778/0.250= 0.11112MNo. of mole needed:= 0.11112 x (15.40/1000) = 1.711 x 10à ¯Ã‚ ¿Ã‚ ½Ãƒ ¯Ã‚ ¿Ã‚ ½Equation:Mole ratio of C2H2O4 to NaOH is 1:2.No. of moles of NaOH needed:= 1.711 x 10à ¯Ã‚ ¿Ã‚ ½Ãƒ ¯Ã‚ ¿Ã‚ ½ x 2= 3.422 x 10à ¯Ã‚ ¿Ã‚ ½Ãƒ ¯Ã‚ ¿Ã‚ ½No. of mole = molarity x volume3.422 x 10à ¯Ã‚ ¿Ã‚ ½Ãƒ ¯Ã‚ ¿Ã‚ ½ = molarity x (2.5 / 100)molarity = 0.137MConcentration of the sodium hydroxide is 0.14 mol/dmà ¯Ã‚ ¿Ã‚ ½Ãƒ ¯Ã‚ ¿Ã‚ ½2. 3 requirements of a primary standard solution:i) The solid dissolved in water should be pure.ii) The molarity of the solution should be known.iii) The solid must be dissolved completely.3i) There is no effect if the burette is not rinsed with ethanedioic acid solution since we know the no. of mole of the ethanedioic acid and the volume of sodium hydroxide.3ii) If the tip of the burette is not filled before titration begins, more acid is needed to titrate sodium hydroxide. By the mole ratio, since the no. of mole of sodium hydroxide is larger, and thus the molarity of calculated will be larger.3iii) If the conical flask contains some distilled water before the addition of sodium hydroxide, the molarity calculated will be larger since the volume of sodium hydroxide increase.4. It is advisable not to use sodium hydroxide solution to fill the burette in this experiment because alkaline wi ll corrode glass and burette is expensive, therefore sodium hydroxide is usually placed in the conical flask.Improvements:1. Graduation mark of pipette and volumetric flask should be accurately reached.2. Just add enough indicator solutions, not too much.3. Ensure stopcock has been closed before filling.4. Remember to fill up the tip of burette.5. Fix the filled burette perfectly vertical.6. Stopcock should be controlled by thumb, first and second fingers of left hand7. Swing the flask gently and continuously.8. Slow down the adding of solution when end-point is close.9. There should be no hanging drop of solution on the tip.10. The spectula should be put back the original place, to prevent the ethanedioic acid-2-water be contaminated.Conclusion:The concentration of sodium hydroxide calculated is 0.137M (correct to 3 sig. fig.)