Analyze risk and resilience factors associated with soldiers in two case studies. Then, based on your analysis, you will determine which soldier might have a
greater risk for developing a combat-related psychological disorder.
To prepare for this Assignment:
Pay particular attention to specific risk and resilience factors related to pre-deployment background, deployment-related experiences and perceptions, and
post-deployment events and circumstances.Focus on pre-deployment, war-zone, and post-deployment risk and resilience factors. Consider the relationship between risk and resilience factors and
posttraumatic stress symptomology.Review the Week 8 Case Studies. Reflect on each specialist’s social support system and exposure to trauma before, during, and after deployment. Also, consider
the living and working conditions and combat experiences of each specialist during deployment.Identify risk and resilience factors related to pre-deployment, deployment, and post-deployment for both specialists in the case studies.Based on each specialist’s risk and resilience factors, consider who might have a greater risk for developing a combat-related psychological disorder and why.
Strayhorn played piano and composed game plans for Duke Ellington’s band. The melody in the end turned into a mark opening piece for Duke Ellington and his Orchestra. After a show in Pittsburgh in 1938, Strayhorn played a piece for Ellington. He replicated the symphony’s exhibition of “Advanced Lady,” and afterward continued to play his own rendition. Ellington in the long run welcomed Strayhorn to his home in the rich Sugar Hill neighborhood of Harlem. In the wake of utilizing the tram headings that Ellington gave him, Strayhorn expressed, “Take the A Train.” He made it in his mind at a gathering, and afterward put it all in writing when he was finished. When Strayhorn played the melody for Ellington after a show in Newark, the two started an organization that would last the remainder of their lives. The two variants of this tune I will look at is Duke Ellington and his Orchestra, and Ella Fitzgerald. The mark tune of the Duke Ellington Orchestra was recorded in 1941. The tune denoted the start of a decades-in length organization among Ellington and a modest youthful musician named Billy Strayhorn. The tune starts with a piano player presentation. This specific chronicle was of Ellington and his ensemble. Being that Ellington is performing with a major band the instrumentation needs to mix together superbly. For instance, the trumpet can’t overwhelm the saxophone and tight clamp versa. Right now, saxophone segment is given the tune, while the metal segment has the concordance. In the main performance, the trumpeter utilizes a quiet to change the sound of the instrument. This gives the trumpet a one of a kind and innovative sound. The drummer keeps a consistent rhythm, utilizing quarter notes for the high caps. 67. Ella Fitzgerald is one of the most celebrated female jazz vocalist in the United States. She increased extraordinary achievement during the 1950s and ’60s, in any event, gaining the title of “First Lady of Song”. Fitzgerald utilized her abilities and acknowledgment to record the most well known adaptation of “Take the A Train” in 1957. In Ella Fitzgerald’s “She played out the tune various occasions during her long relationship with Ellington and it additionally shows up on her 1957 collection Ella Fitzgerald Sings the Duke Ellington Songbook. Like Ellington, Ella Fitzgerald starts the tune with a similar piano tune. She at that point changes into her well known “scat” style singing. Right now, than having a specific instrument play the song, Ella sings it. The tune has an inspiring and cheerful beat, with the high caps are played with half notes, and the saxophone is the backup to Ella Fitzgerald who sings the song. The peppy rhythm is pushed by the bassline who plays quarter notes. Fitzgerald at long last finishes the tune off by including her mark scat sound. It makes the music true and separates it from different variants. The two chronicles start with a similar presentation, played utilizing pianos. In Ella Fitzgerald’s account, she is playing with a major band anyway the large band is going with her singing. In Duke Ellington’s chronicle, the song is played by the saxophone segment as opposed to having vocals. I lean toward Ellington’s form since I delighted in the manner the various segments mixed together. The two tunes were splendid and lively, notwithstanding, I appreciated how in Ellington’s form the utilization of instrumentation was solid The second melody I chose to think about was One 0 clock bounce which was formed by Count Basie in 1937. Basie worked together with saxophonist Buster Smith and arranger Eddie Durham. “One 0’Clock Jump” is an arrangement dependent on a 12-bar blues movement.>GET ANSWER Let’s block ads! (Why?)