Moving out of State with a Child after Divorce

Moving a child out of stateDivorce is rarely an easy matter to deal with. Not only are there financial matters that concern both parties, but in cases where there is a child, there are extra considerations that have effects long after the actual divorce. In a custody determination, the courts are concerned with the best interests of the child. What happens, then, when a parent wants to move out of state?

Who Has Custody?

It is typical to think that if a parent is granted physical custody over a child, then they do not have to consult the ex-spouse when making major decisions concerning the child. In domestic law, however, there are two types of custody, which are physical custody and legal custody.

Physical custody concerns the physical location and care of the child. If a parent has full physical custody over a child, then that parent is responsible for clothing, feeding, sheltering, and otherwise providing for the child. In some occasions, both parties to a divorce may have joint physical custody of the minor child. In these cases, each parent would get equal time with the child throughout the year.

Legal custody, on the other hand, has to do with the basic choices a parent makes throughout a child’s life, such as what medical care he gets, where he goes to school, where the child lives, and so on. A parent that has legal custody over a child can prevent the other parent from making certain decisions for the child without consent of the other parent. Typically, both parents retain legal custody over the minor child. As a result, this would prove to be one of the largest considerations in the decision to move. This is because a non-custody parent that has legal custody can still prevent you from moving out of state with the child. This would be done through court, where the judge would order you to remain in the state. In addition, the custody determination from the court may even include travel restrictions, preventing either parent from moving the child beyond a certain geographical limit.

It is highly recommended that you do not, under any circumstances, violate a travel restriction, since it is possible for you to lose custody of your child. Under Florida Statute 61.13001, for example, a parent who has custody over a child may not, without consent, relocate more than 50 miles away from the original residence at the time of divorce, for no longer than 60 days.

The Relationship between the Child and the Parents

The relationship between a parent and child is not easy to break, and can put considerable strain on a child, especially when both parents make an amicable split. Facing separation from either parent can cause severe stress or strain on a child going through divorce, as any child of divorce may know. As a result, another big factor is the relationship between the child or children and the non-custody parent.

The reason this relationship is so important is because, should both parents, or the court, agree to allow the parent with custody over the child to move to another state, the child could be negatively affected from the further separation of the parents. The child could go through hardships during or after the move, such as a decrease in school performance, poor health, or depression, all due to being separated from the other parent. (Learn 9 steps to help you through a divorce) Even if it’s just over to the next state, a few more hours in distance can feel like a lifetime away to a child. This would be enough to justify the non-custody parent to go before a judge and move for a modification of the child custody determination due to a material change in circumstances. In fact, the importance of this consideration goes beyond the legal argument. No parent wants to see their child suffer or deteriorate, even if the move is necessary for other reasons. Generally, a parent will want what is best for the child, and in some cases, having a stable relationship with both parents is what is best for the child. There are times, however, when remaining in state is simply not an option, which leads into the next consideration.

The Purpose and Effects of the Move

Another factor to consider when looking to move out of state is the purpose of the move, as well as the benefits to the minor child resulting from the move. When deciding whether to grant a petition to relocate, courts generally consider several factors. Under Florida Statute 61.13001, the purpose of the change in residence is one of many factors to be determined. For example, if a parent with custody over the minor child is moving out of spite, then the court will naturally prevent the parent from going through with the plans. On the other hand, if the parent with custody over the minor child is moving out of state for work purposes, or because of family reasons, then the court is more likely to consider allowing the parent to relocate.

In addition to the parent’s reasons, the court also considers the effects on the child along with the desires of the child regarding the move. For example, if the move will provide the child with improved living conditions or is deemed to provide educational opportunities not found in the current place of residence, then a court will be more likely to grant a petition to relocate. While no one factor is determinative, the compilation of factors can help a court reach a decision that is in the best interests of the child.


Speeding Tickets and Background Checks

Background Checks

When people experience a car accident, there are a number of concerns that immediately cross their minds; first and foremost is their own health and wellbeing, and anyone else involved in the accident.

After checking for any injuries and that anyone else involved in the incident is physically okay, a call for a policeman or medical assistance if any help is needed is made. Then, we tend to focus on the cost of damage caused by the accident, and that call we need to make on our car insurance.

But one thought that hardly crosses our minds until much later down the line is whether a car incident that resulted in traffic violation charges could impact your future job opportunities. Here’s a little more information on how traffic violations could impact your career prospects, including some information on whether traffic violations will appear on any background checks carried out on you by prospective employers.

Will Traffic Violations Show Up on Your Background Check?

Most employers will conduct background checks on any potential criminal history that you may have before offering you the position that you’re applying for. This tends to be the last step carried out in the recruitment process before you receive an official offer.

Put simply, most employers want to be assured that they’re hiring someone with a clean history and a good record of past behaviour in regards to the law. While not all jobs will check your driving record and citations, some will—especially if the position involves driving.

Now, something small, such as a ticket for going five miles per hour over the limit, isn’t likely to affect your ability to get the job. However, infractions such as a repeat history of traffic offenses or outright reckless driving could easily result in misdemeanor or felony charges which would show up. Unpaid criminal citations concerning traffic violations are also reported.

How Will a Traffic Violation Impact Your Chance of Getting a Job?

If your violation is serious enough, it may disqualify you from getting the job. For example, if your violation is a definite criminal offence, you may have trouble securing the job you’re looking at—especially if the role involves driving. Less serious violations are less likely to hinder your prospects. When considering whether your traffic violation will impact your chances, consider the following questions:

  • How long ago did you get the violation? Most traffic violations will drop off your record after seven years. The longer ago the violation occurred, the better your chances of being offered the job.
  • Do you have multiple violations? One violation could be incidental, and a prospective employer may give you the benefit of the doubt. However, multiple violations over a short space of time indicate recklessness or a lack of regard for others. Employers are less likely to ignore this.
  • Have you paid a fine for the violation? Paying your fines is an indicator that you take responsibility for your mistakes, and disregarding them can escalate to criminal offenses, so those are noted by employers. By not paying, you can also lose your driver’s license which may impede an aspect of your work, or in the least, impede your ability to commute.
  • What are the traffic violation policies of the company you’re applying to? Some companies are very strict in regards to employee traffic violations. Others are not. It’s a good idea to look into the policies of companies you’re interested in working for before putting the effort into applying for the job!

What to Include In Your Application

When applying for new jobs, you may need to include certain driving history information as part of your application. This could include incidents such as:

  • DUI
  • Evading police
  • Hit and run
  • Driving on a suspended license

So to sum up, traffic violations can show up on your background check, but don’t automatically assume that this disqualifies your job candidacy. Many people have traffic violation records, and different companies have different policies regarding them. Depending on the job you’re applying for, there are likely other more pivotal factors contributing to whether you’re a good fit for the job or not.


BasketballBasketball is a favourite Particular Olympics sport. When a player makes a shot, he or she scores 2 points and is then awarded a chance to score an extra three factors by trying a sequence of free-throws. ABA’s mission is to champion the game of basketball by inspiring unity, facilitating improvement and delivering superior worth.

Click on on any league web page, e.g. NBA scores, outcomes and standings to see all NBA scores, outcomes, standings and recreation details. Your next tallest players will most likely be your forwards. There are officially sponsored three on 3 tournaments, although the sport is mostly performed with out an official league.

It was based as a “insurrection” of a number of groups from the now-defunct Manila Industrial and Commercial Athletic Affiliation, which was tightly controlled by the Basketball Affiliation of the Philippines (now defunct), the then-FIBA acknowledged nationwide association.

The ball is moved forward by, taking pictures passing (throwing or handing off) or dribbling it. The ball is probably not carried by a player who is strolling or operating. Level guard (usually referred to as the “1”)Â : usually the fastest participant on the group, organizes the crew’s offense by controlling the ball and ensuring that it will get to the best participant on the right time.

3-second violation is when a player stands in the lane (an space marked by the big square in front of the basket) for greater than threeÂ seconds. So now you know the true story of James Naismith and the invention of basketball. Informally, gamers may play three-on-three, two-on-two, and one-on-one.


Boot camp - Aakaar Pranic Healing Center

Pranic Healing is used to heal minor as well as major diseases. While minor diseases can be healed in a few sessions, major diseases might take regular healing sessions and a few months to heal. Pranic Healing is a supplement of medicines and doctors. So it is always advisable that a patient must carry on with prescribed medicines from his or her physician along with the healing session. Since our body is already programmed for self-recovery, Pranic Healing increases the rate of healing by three times or more than the normal rate.It is important to highlight the fact that a Pranic Healer does not use their own energy for healing purpose. Instead they use prana from the surrounding or from divine sources. Therefore, a Pranic healer acts as a pump rather than a jug of energy and prana is not depleted from their own energy body.

What will you learn?
16 years and above
9:30am to 6:30pm
Boot camp
Upcoming Sessions


Define the most important capital budgeting techniques. Name at least

from professor:

This week’s discussion question looks at capital budgeting and risk analysis. I always say that perception is everything as many of you will take this question in different concepts. Why is capital budgeting important?

I have to say that NPV and the Payback Period have been the most important for me. This is because knowing the present value makes a difference as a dollar today is worth more than a dollar tomorrow. I tend to invest when small business owners are trying to get their business off the ground. The payback period is essential as the longer you go without getting paid the more risk you are taking as you are most likely not going to get paid if the time frame is too long. Not to mention the longer you take to get paid the more money you are actually losing. I am curious to know how many of you are investors? How much of a risk-taker are you? For those that do not invest or that are not really risk-takers, there are apps that will help you that I can recommend.

Here is a visual of the techniques that we shall discuss.

Since the pandemic, companies were forced to change the way they think and handle their finances. I think you will find the following article interesting as well.

~Dr. Black


You are here

Considering Indigeneity

September 2, 2022 Through May 28, 2023

In the Front Gallery

Throughout history, the conceptual boundaries of Indigeneity have been predominantly shaped, broadened, and constrained by settler colonialism, imperialism, and white supremacy. Rather than an authoritative or oversimplified display attempting to present all facets of Indigeneity, this exhibition attempts to reveal the complexities encountered in these objects, of the communities they represent, and the societal structures that brought them to the Museum. What is Indigeneity? How is it defined and who does the defining? What can museums do to acknowledge their past and present roles in this conversation—both harmful and, ideally, reparative?

Curated by Aaron F. Miller, Isabel Cordova, Sydney Nguyen, and Claire Louise Wagner ’22 with contributions from many others.


We believe that a big part of helping communities involves giving back to the cultural icons that highlight the best of what humanity has to offer. BLG is proud to underwrite WCLK.

BALCH LAW GROUP, Underwriters of 91.9 WCLK

Jazz 91.9 WCLK is dedicated to developing and providing high quality multimedia and broadcast programs that uplift, educate and inform the Atlanta community and worldwide audience.  Jazz 91.9 is dedicated to increasing the awareness of the significance of Jazz music as an American art form, and guiding and training students in all aspects of broadcast and public media services.

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A concentrated vitamin formula for a healthy immune system, better cognitive function, and muscle and bone strength.

This vitamin complex combines two fat soluble vitamins with peppermint oil and organic olive oil to optimize nutrient delivery and absorption and provide a refreshing taste. Vitamin D plays a vital role in bone strength, immunity, fighting inflammation, and supporting the strength and quality of muscles. Vitamin K is also important for bone health and heart health. Both vitamins D and K play crucial roles in the proper absorption and utilization of calcium in the body. With over half of the population insufficient or deficient in Vitamin D, this formula is a must for anyone looking to support overall health.

Orally, take 2 Drops daily. Swallow Afterwards. For Best Results, use with meals containing fats.

- Bone strength
- Cardiovascular absorption
- Improved calcium utilization
- Immune function
- Muscle quality

SKU: FLN D3K2-I Category:

Additional information

.5 oz


Your question: Where should I store my gas grill?

You should never store your propane tank in your living area or in any spot that’s attached to your home. Storing propane tanks in a garage or detached shed is the best choice for indoor storage.

Where should I keep my gas grill?

Store Upright: Your gas grill is designed to be stored and used in an upright position. Make sure that you have enough room on the moving truck and in your self storage unit for the appliance to remain in its natural state.

Where should I store my propane grill?

Is it OK to store a gas grill in the garage?

Keep in mind that propane tanks should not be stored in a shed, garage, basement or attic, or brought indoors for any reason – they should only be stored in a dry, open, well-ventilated area outdoors. … Store a freestanding grill in a dry, cool area of the garage or shed to keep it from rusting.

THIS IS EXCITING:  How many times can you reheat frozen cooked food?

How do you store a gas grill?

Store Your Grill

Once your grill is clean, dry and covered, store it in a cool, dry place, preferably sheltered from rain and snow. Make sure that when storing a gas grill, you disconnect and remove the propane tank. Store your grill in a garage or storage shed, but leave the propane tank outside.

How far should a gas grill be from the house?

Not Giving the Grill Enough Space

Where should I store my grill?

In general, it’s best to keep your grill indoors during the winter, whether that means putting it in your garage, shed or basement. This will reduce the chances of it getting rusty or moldy.

Is it OK to leave propane tank outside in summer?

Storing Propane Outdoors

Storing propane tanks outdoors is perfectly safe, but it’s best to choose a spot that’s away from your home. … Storing propane tanks in the summer is easy, too. In warm weather your propane tank can still be stored outdoors on a flat, solid surface.

Can propane tanks explode in the sun?

Can Propane Tanks Explode in the Sun? Yes, they can. On a warm summer day, temperatures can rise quickly. As the propane tank gets hotter, the pressure inside the tank will increase.

Is it safe to keep propane tank outside?

Keep propane cylinders outside. Never keep them indoors or in an enclosed area, such as a garage, shed or basement. … Do not expose cylinders to heat above 120 degrees. That temperature could cause combustion or a leak.

THIS IS EXCITING:  Are cooked or soaked oats better?

Can I store my grill outside?

Can you store a gas grill outside?

Can gas grills explode?

Should I cover my outside grill?

Categories Fry


Edit Package drush_grn

Drush git release notes

This script is a Drush extension that:

- Generates release notes from commits between two git tags or commits
- The end point can also be a branch, for example drush rn 6.x-1.0 6.x-1.x
- The --commit-count parameter adds the number of commits to the header output
- The command is release-notes, relnotes, or just rn
- The --git option makes the command use the specified git binary
- In the output, any commits that contain an issue number (#12345), it will be transformed into a link (#12345)
- If the commit message has any combination of leading 'Issue ', 'Patch ', or '- ', they will all be removed, for consistency.
- The --baseurl option allows you to change the base of the issue links to a different site.
- Support for --pipe
- hook_release_notes_alter() is an alter hook for the output

Source Files
Filename Size Changed
drush_grn-2.8.tar.bz2 0000012178 11.9 KB over 6 years
drush_grn.changes 0000000528 528 Bytes over 6 years
drush_grn.spec 0000002288 2.23 KB over 6 years
Comments 0
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Nomad Maldives with Chef Dhruv Oberoi

Oct, 26 2022

We are so excited to welcome Chef Dhruv Oberoi to Coco Bodu Hithi this October!

Chef Dhruv Oberoi is a young and vibrant Executive Chef based in Delhi. Dhruv’s passion for cooking started at a young age after being influenced by his mother’s passion for cooking. He started his career in culinary management, followed by numerous internships in restaurants across India.

Dhruv has won various individual awards in different national and international competitions from culinary art. His passion for food and yearning to learn took him to Spain, where he met Chef Ferran Adria and learnt from the master himself.

In 2020, Dhruv was featured in Conde Nast Traveller India’s 40 Under 40: India’s Most Exciting Young Chefs, and was also featured in the World’s 50 Best: Discovery List.

This October, Chef Dhruv has created a culinary journey for guests at Coco Bodu Hithi incorporating Maldivian flavours with dishes from across the world to create an avant-garde series of menus. His “Taste of Maldives” residency includes an 8-course sit-down dinner, a tapas-style dinner on the beach, and a masterclass lunch with the chef himself.

Menus: Nomad Maldives MenuTaste of Maldives Menu

Categories: Experiences


When we talk to business, people are using social in some shape or form, but the problem is that they are using social tactically.

So what is this strategic use of social?

Many of you will have heard of social selling, which is using social in sales, but what about using social in marketing, human resources, customer service, supply chain, etc?  In all cases strategic social will strip out cost from your business and increase your efficiency.

One such area where social can provide competitive advantage to your business is in terms of employee communication and connection, providing your employees with a purpose, making them feel connected.  Let's pull of those things together and give you an example.  Strategic social will enable you to become the employer of choice in your industry.  If you have the pick of the best talent and it is coming to you direct, think of the cost (advertising and recruitment costs that will strip out) which has a business benefit, even if we park the fact you have all the best people working for you.

You are not here to read about opinion, let's look at this research.

Here is an interesting piece of research from the Brunswick Group that

Before we dive in, let's look at the sample, of the research.

"We asked readers of financial publications and employees of companies with more than 1,000 employees – groups emblematic of the external stakeholders business leaders want to reach – about their communications expectations of corporate leaders across 13 different countries and markets."

Let's look at the conclusions

To conclude Brunswick Group state

"Connected Leadership is engaging, authentic, and sustained. Connected Leaders embrace digital sources to get closer to employees. They directly engage stakeholders through new forms of communication and on issues beyond the balance sheet. Their connectivity is their resiliency through today’s crises and tomorrow’s."

Leadership during a pandemic

Let's drill down into more of the detail of the report.  First Brunswick group suggest that business leaders need to look at these key considerations around leadership in a remote world.  That is, leadership in a world where we are leading and working, and are remote from our employees.

The report explain some of the context for leadership and the use of social media today.

"Digital and social media are no longer a novel approach to leadership. Majorities of employees and financial readers globally use social media to stay informed– and 74% expect company leaders to use these platforms to communicate publicly. Meeting these expectations has become a business imperative, but how executives communicate on social media is indicative of Connected Leadership. Understanding what platforms your stakeholders use and communicating with authenticity are required to break through the crowded online landscape."

Eric on the team here at DLA Ignite, explains the story about his son, Austin, who was 16 in 2020.  He did a project for school and having seen James Watt, the CEO of Brewdog and his social media presence, Austin said "I would like to work for Brewdog, when I get older".  Why? Because he wants to work for a company where the CEO is active on social media.  We are seeing DLA Ignite clients becoming the employer of choice in their industry by having a digital dominance on social media.

That is how, as a business we are now expected by our prospects, customers, employees and future employees to be active as a leadership team (in fact all employees) to be active on social.  How about how work will work after the pandemic.

Where and how peoplework won’t be the same after the pandemic

"The global COVID-19 pandemic has radically changed the way people live and work. 68% of employees report doing most of their work in a different location than before the pandemic and 20% expect to work from home after the pandemic ends. 89% of these dislocated employees actively use social media, 85%of whom say it’s important for company leaders to actively communicate on social media about their company. For many employees, post-pandemic working environments will no longer mean the office, and digital will be an essential tool to reach them. The evidence is clear: if you want to connect your employees to a shared purpose and vision, then you must adapt to connect across your entire workforce through digital media.

Where as, once we have have had 3 offices all with 1,000 employees, now we have 3,000 offices.  The other thing that has changed is that employees are used to working outside "the factory system".  We have to work and homeschool the kids, look after our vulnerable relatives who are shielding and do a days work.  It's harder as a management team to provide purpose, for employees to feel connected and feel they are part of the "mission".

Currently dislocated employees are more engaged with social media

How do we get the best talent as a business and become employee of choice in our industry?

A competitive business advantage

If you want to attract and keep the best talent, then you need to be a Connected Leader. Direct and transparent leadership is a competitive business advantage with talent. Competition for talent is fierce. Today’s employee engagement and talent strategies must incorporate Connected Leadership. Employees would prefer to work for a CEO who uses social media by more than a 5:1 ratio compared to a CEO who does not, a significant increase in certain markets from 2019 Today’s talent investigates a CEO’s digital reputation when considering joining a company.

As leaders, we need to understand that while we may not want to do this, but this isn't about us, it's about our employees.  We cannot expect, people to turn up at "the factory" every day, where people are supervised and they work from 09:00 AM to 17:00 in the evening, that way of working has died.

Despite growing opportunities, business leaders today are not meeting their employee’s digital expectations

"Only 51% of employees say their company leaders are using social media to reach them and their co-workers. There is a significant gap between employee demands for Connected Leadership and their experience."

As well as supporting our existing clients, it will also give us external influence in the battle for talent.

Leaders using social media have a competitive advantage in attracting and keeping talent

As well as recruiting the best, what about retaining the staff we have?

A CEO's reputation is crucial to employee retention

The world now is about trust, if we are prospecting, looking after our clients, finding the talent for the business, retaining the employees we have.  With a remote workforce, where are are unable to work down the office and see that they are working.  Is going to require leadership and measurements that provide trust.

Build and sustain trust

"To build and sustain trust at a time when trust in leadership is fragile, executives must adapt to forge and fortify their reputation online. Financial readers believe CEOs can make a positive impact on their company through social media. Like employees, 78% will investigate the CEO’s social media accounts when researching a company and trust a CEO who uses social media more than 9 times more than one who does not. Considering a CEO’s reputation directly impacts the company, digital and social media are critical tools for building and protecting their reputation – both online and offline."

Stakeholders will draw their first impressions of you from digital sources

In conclusion

"The bar has been raised for how executives must lead. Business leaders must adapt to changing circumstances and, above all, be Connected Leaders. Realizing the full potential of Connected Leadership is a journey that executives in any industry can take to advance their business objectives, connect with stakeholders, and lead with the unmatched scale and agility of digital and social media platforms."

Where Do We Go From Here?

Just give me, or one of the DLA Ignite team and hour of your time and we can walk you through what we are doing in the form of case studies, what we are doing for other businesses to transform them to digital.  No hard sell, just practical examples.

DLA Ignite is a global business and we understand that a "cookie cutter" approach to digital does not work, we have to take into account local language and cultural sensitivities.  Which is why we have built teams across the globe, that can support you by country and industry sector.

For more information contact me here, visit our website, or visit our Linkedin company page and contact one of the DLA Ignite team members.


Western Music History/Baroque Music

The Baroque Period spans from early 1600 to 1750. During this time there were increases in commercial activity, leading to an increase of power in the middle class, which ultimately lead to the Industrial Revolution.

Rhetoric and SymbolismEdit

The art of clear, effective, and impactful communication is, and has been, a focus of all art forms for centuries. Ancient Greece explored rhetoric and dialectics, and in the centuries that followed, the principles of the two became central to countless aspects of day-to-day life. An approach informed by an understanding of individual rhetorical figures and the broader effects that the pieces contain must be utilized to explore baroque music and its rhetorical devices properly. Baroque composers, particularly German baroque composers, were fixated on the expression and communication of extra-musical ideas, and thus, the overall goal of baroque music “is defined by the composer's intent to objectively present a rationalized emotional state referred to as an affection.”[1] This goal thereby extends the concepts of the renaissance related to the topic. Bartel outlines that “to the Renaissance affectus exprimere the Baroque added affectus movere,”[1] or in other words, the goal of composers shifted from the simple and clear presentation of an emotion to the moving of the affections to alter the listener's emotional state. The common codes, being music-rhetorical figures, or figurenlehren, and their context allowed for effective and clear communication of extra-musical ideas and worked together with other musical elements to convey a more general affect.

Musica Poetica and Its RootsEdit

Musica poetica, or musical-rhetorical thought, can be understood as a merging of elements of oratory and music. Classical rhetoric, as used in oratory, involves a “division of the art of verbal discourse”[2] containing the elements: inventio, dispositio, elocutio, decoratio, and pronuntiatio. Thus, orators would use the structures and rules of rhetoric to form a compelling argument and convince an audience of the validity of their viewpoint and simultaneously move, delight, and teach listeners. During the Enlightenment, the writings of Greek philosophers, such as Aristotle’s Rhetorica, fascinated society and pervaded many movements, and in the seventeenth century, rhetoric and musical thought became deeply interconnected. Understanding of topics and their proper rhetorical development for the conveyance of affects became a top priority, and “in 1739, […] Mattheson laid out a fully organized, rational plan of musical composition borrowed from those sections of rhetorical theory concerned with finding and presenting arguments,”[2] which while composers were certainly not expected to follow to this plan strictly, it could be used as a tool to help guide composition.

Figurenlehren: Musical-Rhetorical FiguresEdit

Musica poetica and specific rhetorical figures, called figurenlehren, worked together to emphasize an overarching affect, particularly in the German Lutheran musical tradition. The figures acted as a common code between the composer and the audience with the support of their context. Choice of mode, rhythms, and tone painting also had an impact on the affect but was more dependent on the supporting context than the figurenlehren. The figures were divided by Mattheson into seven overarching categories[3], being figures of (1) melodic repetition, (2) fugal imitation, (3) representation and depiction, (4) dissonance and displacement, (5) silence and interruption, (6) melodic and harmonic ornamentation, and (7) miscellaneous figures. Some of these figures were highly specific, while others had more general forms and shapes or were based on the general phrase direction.

Fig. 1 - "Et resurrexit", B Minor Mass - J.S. Bach

Figures of representation and depiction:[4]Edit

Fig. 2 - Rosary Sonata X - H.I. Biber

The more specific figures were those of representation and depiction, as classified by Mattheson. These figures effectively worked together with the text or provided more extra-musical meaning in instrumental works.

The anabasis, also known as the ascensus, is a figure of ascension or exultation, utilizing an ascending musical passage. As in figure 1, this figure would frequently accompany theological texts about the ascension and resurrection but could also be easily utilized in secular or even instrumental works. As demonstrated in figure 1, it could also be understood as an example of emphasis, defined as a musical passage which heightens the meaning of the text.

The assimilatio, or homoiosis, is a musical representation of the extra-musical imagery, such as the figure of the cross or an illustration of fluttering wings. Figure 2 illustrates the symbol of the cross as it was used in the Catholic tradition. A straight line could be drawn from the top note[5] to the bottom, with the B and D in the middle for the smaller line of the cross.

Fig. 3 - Sound the Trumpet, Beat the Drum - H. Purcell
Fig. 4 - Weinen, Klagen, Sorgen, Zagen - J.S. Bach

The circulatio figure is a series of notes, often eighth or sixteenth notes, in sine or waveform. Purcell used this figure extensively on words such as 'turn,' 'round,' or, as in figure 3, the word ‘flow’. Figure 3 also fits into the category of hypotyposis, which is a musical representation of an extra-musical idea, in this case, the flowing of the notes reinforcing the text. It is consistent throughout the work, as the word 'flow' is frequently set over a similar set of notes as in the above example.

The catabasis, or descensus, is a figure that follows a descending passage in order to "express descending, lowly, or negative affections."[6] This will often accompany topics of pain, worry, sorrow, or death in theological settings. In figure 4, Bach utilizes the catabasis on the text of ‘weinen, klagen, sorgen’[7] to emphasize the mournful affect of the passage.

Fig. 5 -  “Rejoice, Greatly,” Messiah – G.F. Handel
Fig. 6 - Rappresentatione de Anima - Cavalieri

The exclamatio is a musical exclamation, usually coinciding with an exclamation in the text. In the Messiah, by G.F. Handel, there are frequent examples of this, such as in the famous soprano aria, "Rejoice, Greatly," where there are frequent iterations of 'shout' and 'rejoice,' as in figure 5.

Fuga in alio sensu is a musical passage that vividly expresses fleeing or chasing. Often, this figure involves rapid subdivisions such as eighth or sixteenth notes. In figure 6, fuga in alio sensu is utilized, accompanying the word ‘fugge.’[8] Also demonstrated in the same figure is the interrogatio, a musical question. The interrogatio can be accomplished by pauses, a rising of pitch at the end of a phrase, or certain cadence types. In figure 6, it is accomplished by the rise of the melodic line that follows the rapid sixteenth notes.

Fig. 7 – ‘Crucifixus’ B Minor Mass – J.S. Bach

Finally, the pathopoeia expresses affections such as sorrow, terror, or fear through semitone motion beyond the standard harmony or a piece. One example is the lament bass figure in the ‘Crucifixus’ movement of J.S. Bach’s B Minor Mass, as shown in figure 7. This lament bass is a well-known figure falling under the larger category of pathopoeia and effectively supports the affection of sorrow and pain expressed throughout the movement.

Beyond GermanyEdit

While it was certainly prominent in German music, it was not exclusive to it by any means. In France, Mersenne asserted that “musicians were orators who must compose melodies as if they were orations”[2] and included all the sections, divisions, and periods appropriate to an oration in his Harmonie Universelle. Similarly, in Rome, Kircher titled a section of Musurgia Universalis, his encyclopedia on theory and music practice, Musurgia rhetorica, and in it, he emphasized the connection between rhetoric and music in their usage of inventio, dispositio and elocutio. In England, prominent composers such as Handel and Purcell are known to have made extensive use of rhetorical devices.

Thus, just as an orator had to determine their subject (inventio), composers needed to develop a musical subject or theme that could be expanded upon and explored in a composition. From here, composers could utilize tools and elements of rhetoric, such as the dispositio, elocutio, decoratio, pronunciatio, and more. However, unlike the more structured process that orators were to follow in the composition of their speech, composers were not held to such strict adherence; instead, the rhetorical structures were at the composer's disposal to use as needed and could be skipped or revisited in an order decided upon the composer. A composer, therefore, had more freedom in their creative process than an orator in this way.

Other Creations of RhetoricEdit

Tools of rhetoric pervaded musical compositions throughout the Western world, evident even in the structural forms. The da capo aria, with an ABA form that presents, develops and reviews a subject. Fugal compositions, such as those by J.S. Bach, have a sole focus of developing a subject, or thema, which is ultimately to fugue what the inventio is to orators. This is developed through tools of imitation, inversion, and more, as well as the structural arrangement into expositions and episodes, allowing for the effective development of the subject or subjects. These forms are just two of many that, much like how an orator writes a speech, guided composers and assisted in achieving coherency and understanding. Further, these compositional structures pervaded traditions in all the major Western musical centers.

Context and the Overall AffectionEdit

While the musical-rhetorical figures themselves do hold some individual significance and validity, the impact and full implications of these figures are determined by the context of the complete musical selection. Ornamentations in music, whether in harmony or melody, allows compositions to “depart from the simple method of composition, and with elegance assume and adopt a more ornate character,”[9] thus transforming simple phrases into elegant and complex musical statements. Thus, it can be inferred that the overarching ideas and affections guided the choices of figures and rhetorical devices used by composers. The context was important and to be considered by the composer as they made their rhetorical decisions so that the figures would support the content of a work and its text, as applicable. Thus, while detailed analysis is fascinating, it is vital to zoom out and appreciate the overall affect that is achieved by the composition.

Music in SocietyEdit

Music was the main source of entertainment/diversion in the Baroque era. Aristocrats surrounded themselves with concert halls etc.... Music directors were employed by the aristocracy to oversee orchestras, choirs, instruments, music libraries etc... They were highly paid and prestigious positions in Baroque society. Music was a craft passed down over generations, a musician teaching the craft to his son, and he to his son. Commercial opera houses were about and flourishing.

Music and PowerEdit

Music In France under AbsolutismEdit

Baroque music in France always tended to sustain a conservative approach on the musical level. Unlike their European counterparts, such as the Italians, who were well-known for drawing out the intensity of the affects and emotions with their music, French baroque music aimed purposely for the quality of the sound itself. A well-developed scientific outlook on this can be attributed to Marin Mersenne (1588-1648), who published L’Harmonie Universelle in 1636, which describes the intricacies and the components of what makes certain sounds and harmonies “flattering to the ear”[10], according to his work. This research also parallels the ensemble of humanistic principles, for it unveils the reasoning and the experimental process to obtain the exquisite “French sound” in its total capacity.

France’s music during the totalitarian regime of Louis XIV (1638-1715) had a significant influence throughout the continent, especially in the way the courts would perform it. Court music in France was mainly played for entertainment and stature purposes, to display and affirm the monarchy’s authority towards the foreigners. The instrumental music would be used for the ballet de cour dances that the king would hold inside the court, which for the most part, were composed in accordance with the choreography of the ballets[11] . France depicted court dancing as an embodiment of their artistic identity, which expresses the absolute connection of the mind, soul, body, and spirit to the rest of the European continent. With their arts’ touch of grace and distinctive refinement, Europe would label France’s culture and aesthetic as an elegance and fashion pillar.

One specific and iconic musical ensemble in Louis XIV’s court was the Vingt-Quatre Violons du Roi[12] , led by Guillaume Dumanoir (1615-1697). This musical group included Michel Lambert (1610-1696), a singer and theorbist, and the Italian-born Jean-Baptiste Lully (1632-1687), a master of the French baroque sound. Lully’s Italian background sculpted and deliberately influenced the French’s baroque sound, putting aside the passion-driven Italian music and leaning towards the reason field. His ballet compositions held the French taste through their rhythmic style but were heavily influenced by the Italian Bel-canto in his recits and airs[13] . Lully and the rest of the band would perform major concerts exclusively for important bureaucratic events to showcase the empire’s greatness. This approach to music performance eventually started raising competition all around Europe, mainly when the Versailles court was constructed. France’s musical objective began shifting from the stylistic, vogue approach to more political, cultural-identity-fixed artistic creations. This concept of competition that is starting to settle in the musical and artistic realms directly paved the way towards France’s, and consequently Europe’s, period of Enlightenment.

Musical Nationalism in EnglandEdit

The various political entanglements in the British empire significantly shaped the music in the baroque era, especially between reigns and periods. During the Stuart period (1603-1642), musical works, especially church music, did not attach any political signification to their sacred songs, not until the English Civil War (1642-1649), a time when music was used as one of the most reliable tools for propaganda publicity[14]. Both parties were associated with different religious affiliations, mainly the Calvinist and the Puritans opposing the Armenians and the Anglicans. Before the war, the Puritans were already altering the musical practices inside their churches to suit the congregational needs, such as cutting the choirs and the organs for monetary and maintenance purposes[15], which had no political connotation whatsoever around the 1580s. However, later, the tension between Charles I (1600-1649) and the Parliament grew bigger as Charles I would dissociate the Parliament by suppressing its members in order for him to maintain his political strength. Before that, Bishop of Canterbury William Laud (1573-1645) and the Anglican church were already systematically controlling the reforms and the religious writings of the Puritan church since the 1630s[16], causing more division between the social classes of each opposing church. Furthermore, publication licensing modifications around the 1640s allowed the churches to release uncensored musical works and pamphlets, which became an independent topic of publication when the English Civil War blew up, using those publications as means of political indoctrination, both in the cases of the Royalist faction of the Parliamentarian faction.

One of the first sacred works that vehicled propaganda publicity was published in 1641 called The Organs Echo, a musical work that depicted the organ as a political symbol, which was already settled as a topic that divided simply the socio-political ideologies between both parties. This ballad was arranged by an anonymous composer, which talks roughly about the Parliament favorably and ridicules the Arminians, William Laud, and the Anglican church. The political content is straightforward and described satirically, even from its subtitle, which reads “To the Tune of The Cathedrall Service”, making it unofficially a parody of a pre-existing, Royalist-affiliated-church tune. The topics of this piece would roughly portray how the organs can be seen as a distraction during the liturgical services, using simple descriptions such as loud and distracting so that the laypeople could comprehend and associate it more effectively with the intended target, the Royalist churches. Other more-developed diplomatic pamphlets and publications, such as The Organs Funerall (1642), were also created but would use a more subtle and intellectual approach to manipulate the audience through their subconscious level[17].

After the civil war, the Baroque English sound was heavily changed via minor yet cumulative factors and influences from the continent, from Italy in particular, as Henry Purcell (1659-1695) was a product of the substantial Italian effect. This Italian sound was brought by one of his teachers, Pelham Humphrey (1647-1674), a composer who had received his training in France and Italy and who picked up the Lullian dance rhythms, which are prominent in both his secular and sacred music, which Purcell introduced to his music consequently. Purcell is known for reviving the English baroque sound after the English Civil War, all with the societal limitations that were put on him, narrowing his possibilities as a composer[18]. His sacred music was often criticized pejoratively and seen as containing “superficial and secular traits in his [sacred] music” (Bukopzfer, 203) since the church’s music’s function was not aligned with Purcell’s compositional approach, leaving hints of secular features in his liturgical works. His sound was dominantly showing the Italian human Pathos and the French rhythmic pulse throughout his compositions; however, his dissonance treatment and his graceful melodic style are the factors that defined Henry’s authentic musical color[19]. In other words, his musical impact during the English Restoration can be expressed as the outcome of the various external social contacts that Henry Purcell went through during his shortly lived life.

Musical Consequences in Germany and ItalyEdit

Throughout Europe’s history, especially in Germany and Italy, politically driven events that fragmented the countries in question have caused tremendous changes in the arts domain, including in the musical field. Various extensive research shows a solid correlation between the political fragmentation and the artistic outcome of the concerning country, in this case, which is Baroque music. Philosopher and economist David Hume (1711-1776) explains in his book called Of The Rise And Progress Of The Arts And Sciences how creative freedom and interstate competition are crucial elements for artistic progress. He says as follows:

The next observation, which I shall make on this head, is, That nothing is more favourable to the rise of politeness and learning, than a number of neighbouring and independent states, connected together by commerce and policy. The emulation, which naturally arises among those neighbouring states, is an obvious source of improvement […] But the divisions into small states are favourable to learning, by stopping the progress of authority as well as that of power. Reputation is often as great a fascination upon men as sovereignty, and is equally destructive to the freedom of thought and examination. But where a number of neighbouring states have a great intercourse of arts and commerce, their mutual jealousy [competition] keeps them from receiving too lightly the law from each other, in matters of taste and of reasoning, and makes them examine every work of art with the greatest care and accuracy[20].”

In other words, Hume explains how the different provincial competition welcomes more diversity and comparisons. Indeed, the different dominions give room to different smaller courts instead of one single larger court, which offers more demand for music. Consequently, this greater demand bears more competition between composers and musicians, offering greater creative freedom, as Hume previously mentioned. This freedom led to a more significant number of experiments, which stimulated the Baroque development that we now know in today’s world.

A more modern publication that explains this concept in a very elaborated way is Roland Vaubel’s essay (1948-present day), called The Role of Competition in the Rise of Baroque and Renaissance Music, revealing the direct relationship between the fragmented countries and their social impact on the musical progress in the Baroque period. He collected different data from composers of the Baroque period and their compositions in his redaction. He classed them according to various constituents, such as nationalities, age, employees, and so forth[21], to prove his hypothesis about the impact of political fragmentation on music development. He also explains how the court’s prince’s competitive demands for composers and musicians raised their wealth and reputation[22]. He also mentions how court music was more profitable for the musicians, as they would be paid by the courts in more significant amounts than the churches, maintaining this vigorous competition between the interstate courts[23]. In other words, the concept of inter-dominion competition, brought by political fragmentation, is a crucial cause for the development of Baroque music in the countries of Europe in question, which are Germany and Italy, according to Vaubel[24]. In other terms, the political fragmentation of Germany and Italy reconstructed, paved, and developed their music during the Baroque era.

One concrete historical example of this phenomenon is Heinrich Schütz (1585-1672), a German composer whose country’s political state altered his music drastically. The difficult conditions that the Thirty Years’ War (1618-1648) has brought to Schütz’s domiciliary city, Dresden, forced him to move back to Venice, where he previously had lived and studied under Giovanni Gabrieli (1557-1612). This return to Venice allowed Schütz to become acquainted with Claudio Monteverdi[25], which would have never happened if the collateral damage of the war didn’t occur. Besides the physical deterioration of the country, the war had also deprived Heinrich of his singers, as they were drafted for the war[26], not allowing him to compose larger choral works anymore. Consequently, his music became much leaner and with more simple textures, which can be seen in his collections of miniature-sized concertos called Kleine Geistliche Conzerte (1636, 1639), which uses only up to five solo vocal lines and an organ continuo. These works explore dissonances and contain mournful lyrics, a direct connotation of the Thirty Years’ War, which will categorically mark the beginning of the climactic musical apex of the Baroque period.

Musical Styles in the Baroque EraEdit

Words and MusicEdit

Important FiguresEdit

Johann Sebastian Bach (1685-1750)Edit

Concerto GrossoEdit

Brandenburg Concerto No. 3 in G major, BWV 1048Edit

Brandenburg Concerto No. 5 in D major, BWV 1050Edit

Note : A Cadenza is a passage which displays virtuoso brilliance.

Numerical Symbolism the works of J.S. BachEdit

In the work of J.S. Bach, there has been speculation and evidence suggesting the presence of numerical symbolism and references. According to Timothy Smith, "there are two ways that number symbols can be put into music or text. First, each letter of the alphabet and each pitch of the musical scale can be given a number. […] The second way that numbers are made into symbols is by association."[27] The first technique is known as gematria. In the association method, the number five is particularly notable as it is a symbol of the stigmata and the cross. In the St. Matthew Passion, the chorale “O Haupt voll Blut und Wunden” is repeated five times. This is the Passion Chorale, making this presence of the number five significant. Additionally, there are instances of other forms of associative symbolism and gematria. The key signature is altered with each re-iteration, moving from four sharps to three flats, two sharps, one flat, and finally, no sharps and no flats. With this information, it can be found that the sum of all the flats and sharps is ten. Ten, in this instance, can be seen as a multiple of two and five, with two symbolizing Christ[28], and five symbolizing the Passion, as before established. Moreover, the number of chromatic alterations involved results in the number seventy-four, which, using gematria, is the same number as C+H+R+I+S+T.

In Bach's B Minor Mass, similar symbolism has been found. The number five is again a symbol used in the Credo[29], specifically, the "Crucifixus" movement. This is clearly significant because of the association of the number five with the wounds of the cross (stigmata) and the cross itself, as it has five points (including the intersection point). Bach altered the Credo to accomplish this: the 'Crucifixus" would have been the fourth movement in its original structure. When the Credo was re-worked, the number of measures involved in each movement was carefully thought out. If the first four are added together in pairs, the sums created are both 129. The significance of this number is found in its factors of forty-three and three. Forty-three is the gematria symbol for the Credo, so when combined with 3, it is asserted by Friedrich Smend that it is the numerical way of stating, "I believe in the Trinitarian God."[30]

Thus, based on the consistent presence of numerical symbolism and knowledge of Bach's highly meticulous and purposeful method, this form of extra-musical symbolism is considered valid by many scholars. Unlike other forms of symbolism in the Baroque period, numerical symbolism is less apparent – and often wholly unidentifiable aurally – making it problematic at times. However, from an analytical perspective, hidden numerical references and symbols are undeniable, and discovering such symbols adds a layer of meaning to the music for academics and musicians who choose to explore the field.

Antonio Vivaldi (1678 – 1741)Edit

The Four SeasonsEdit

Opera in the early Baroque EraEdit

Claudio Monteverdi (1567 – 1643)Edit

Barbara Strozzi (1619-1677)Edit

Supposed portrait of Barbara Strozzi by Bernardo Strozzi

Barbara Strozzi was born in Venice and lived her entire life there. She was either the illegitimate or adopted daughter of Guilio Strozzi and Isabella Gorzoni, Guilio Strozzi’s longtime servant. Because Barbara Strozzi’s name is originally documented as Barbara Valle her exact relationship to Guilio Strozzi is unclear. By 1638 her name appears in print as Barbara Strozzi and before this title, she was known publicly as “la virtuosissima cantatrice” of Guilio Strozzi [31]. Though the exact relation is unknown, because Guilio Strozzi lists Barbara as his heir, it is accepted that she was likely his illegitimate daughter. It is because of her relationship with Guilio Strozzi that she succeeded as a composer of the Baroque era.

Guilio Strozzi was a respected member of Venetian society. He did considerable work as a poet and dramatist, supported music and theatre in public and private circles, and collaborated with many composers of Venetian opera as a librettist. His most recognized contribution was his work as a librettist for Monteverdi himself (Rosand 1978, 243). Because Barbara had such close ties to a man in the circle of the musical elite, Barbara had access to an environment where her musical talent could flourish; something that other members of her sex lacked.

In 1637, Guilio Strozzi created the Accademia degli Unisoni (Academy for the Like-Minded) in order to highlight his daughter's talent. Barbara was a crucial part of the academy. She chose topics for discourse, judged debates, awarded prizes, and of course performed. There is one occasion where Barbara read the debate of two academy members concerning love. The argument was about whether tears or song were a greater weapon in love. The story of Daphne and Apollo, inspired by the Baroque sculpture Apollo and Daphne by Bernini, was brought up on both sides of the debate, saying Apollo’s tears were a sign of love when he cried to water the laurel tree. It was argued that these tears were not tears of love, but reproach for Daphne’s leaving him. This debate was an important one that greatly influenced the subject of Barbara Strozzi’s compositions and the style of her lamenti[32].

Statue by Lorenzo Bernini that was referenced in the Love or Tears debate

Though the academy was a blessing for Strozzi, it also brought her some humiliation. As she was publicly known as the host of the academy, her virtue was questioned. A satirical manuscript was published that mocked the academy. One comment suggests the only reason Barbara was not pregnant was due to her having a relationship with a castrato. These types of comments come from a long history of associating aspects of music with sex, as seen in the Renaissance, and also the view that respectable women do not belong in the music industry, especially seen with the development of opera. Though historians are not sure, it is possible Barbara could have been a courtesan, especially based on the themes of her music, mostly centred around love. Even so, it is unfair for historians to comment with surety on her virtues without any supporting evidence[31].

Even with the questionable virtue, Strozzi’s music and talent were highly praised. In notes from the academy meetings, her voice is likened to that of Amphion, great musician and son of Zeus, and Orpheus, who could sing so beautifully all of creation, even rocks and trees would dance. Though her talent as a performer is praised, there is very little recognition of her work as a composer. In reviews of the academy meetings, the music that is performed is praised with no credit to any composer. Likely many of these compositions would have been Strozzi’s work. Her standing as a brilliant Baroque composer mainly comes from her surviving music[31].

The fact that Strozzi’s compositions were preserved at all is of amazing credit to her character and her relationship with Guilio Strozzi. Although there are other female musicians from that time period, many of whom are documented as the highest skilled singers, none of them have the same music output as Strozzi. Very few female compositions exist. Though famous Baroque singers were most likely composing music, the difficulty of publishing it as women stopped them from having the same lasting legacy as male musicians. References to female compositions are better preserved than the compositions themselves[31]. It would have taken a great determination on Strozzi’s part to have her work published. Throughout Strozzi’s own works the listener is made aware of her self-perception as a female composer in the world of men. In Op. 1 she apologies for publishing her music “too boldly, as a woman” and in Op. 2, she refers to the “poor wit” of a woman’s mind. By Op. 5, she comments that being a woman does not affect her abilities as a composer, and in the last three volumes, Strozzi does not refer to gender at all[33]. Through these comments, the listener is made aware of Strozzi’s own growth in how she perceived her work.

Strozzi was able to publish eight volumes of vocal music between 1644 and 1664, including over 80 arias and cantatas. Her oeuvre contains only one sacred work with the other seven volumes being secular. It is because of her numerous works that she is recognized as the most prolific composer of secular vocal music in the mid-seventeenth century. Her focus on works for the solo-soprano made Strozzi a very limited composer. While most other composers vocal chamber music composers also included music for the theatre and church. Strozzi not only avoids other musical genres but all of her texts are primarily centred on the same theme: suffering caused by unrequited love. Because of the restricted content of her music, the content itself is taken to be a defining characteristic of Strozzi’s style (Rosand 1978, 262). Another unique thing about her compositions was having them published in single-composer volumes. Something that even male composers at the time were usually incapable of doing, publishing their works in joint-composer collections[34].

Strozzi likely lived off of the money from her publications and enjoyed financial independence. She was self-sufficient and well off enough to loan money to other noble families in Venice. Her financial interactions were just another way Barbara made connections with the high Venetian Society.

Her writing style is decidedly vocal, with compositions that highlight the beauty of the voice and the obvious talent and control she had personally, as a musician. With long melismatic passages, the focus is often not on the text at all, but on the tone and agility with which the passages are presented. Barbara’s music highlights both the upper and lower registers of the voice and many of her works can be understood in terms of modern major and minor modes, even though that concept was not fully developed until the 18th century[34].

Another feature of Strozzi’s music is the decidedly different voices of the composer versus the poet. The poets for her works were male. This sometimes creates interesting relationships between the text and how it would have been performed by a woman. For example, all three of her laments are sung from the perspective of a man. In Apresso ai molli argenti, Fileno, the shepherd, cannot see his love and laments the separation. Going back to the famous Love or Tears debate from the academy, each lament focuses on the weeping or singing of a male character, but Strozzi creates an unusual perspective as both the performer and creator were female. Another work where Strozzi use of text is ironic, is found in Op. 3 with “Moralità amorosa” (“Loving Morality”). In this work, the poem starts with the description of the beloved in the morning. It talks about how she carefully arranges her hair and purposefully highlights her own beauty, trapping a man’s heart. The poem ends by saying the carefully crafted beauty is but dust and vanishes. Through this text, the poem is not only commenting on the fleeting quality of beauty but also specifically of hair as a form of self-ornamentation. This was another popular issue among the academies. It was thought that a woman should not resort to such female luxuries to distract men from their duties<ref name="Heller">. It is with this issue in mind that the irony of a female composer and performer evolves. Having a female singing about the distraction and fleetingness of female beauty, while she was most likely highlighting her own beauty and affecting male audiences is comical.

Opus 7Edit

Many scholars refer to Op. 7 as the signature volume of Strozzi’s career[33]. The work was dedicated to Nicolo Sagredo, a well-off figure in the arts and a high-standing individual in Venetian politics. The texts of the work are written by well-known poets, with three of the texts containing “barbara-barbaro” suggesting that the poems were written for Strozzi specifically.

Cover page of Op. 7, dedicated to Nicolo Sagredo

Op. 7 contains Apresso ai molli argenti which is labelled as a lamento. There is speculation that Strozzi’s interest in songs of mourning came from the debate in the Accademia degli Unisoni about tears and song and their effect on love. Through her lamenti Barbara is able to express and explore different aspects of love while using both of the greatest factors that spark love itself. Barbara is able to create beautiful expressions of mourning and tears, while maintaining the sought-after grace and beauty of the female voice. Baroque laments are usually expressed in two ways: recitative, popular in Monteverdi’s Lamento d’Arianna and aria, developed in the 1620s-1630s and again popularized by Monteverdi. The lament arias are slow triple time arias that feature lyrical melodies above a lament bass (descending tetrachord). The lament bass was a sign of mourning well-known to educated listeners. It would have been recognized even through rich, ornamented textures. Strozzi uses both recitative and aria to express lament in this work. The story follows a shepherd who is separate from his beloved. The piece is divided into two halves. The first half, “Apresso ai molli argenti” (“By the silver banks”) is based on the older style of lament that is recitative, but it includes many shifts to more arioso passages. In this half, Fileno, the shepherd, is focusing on his separation from his love. His grief is strong and Strozzi expresses this mourning through the use of chromaticism, dissonance, and rich word-painting. The aggressive word-painting is seen right from the beginning of the piece, with images of murmuring streams where the vocal line “murmurs” around a central pitch, and searing flames, where dramatic sixteenth note runs emulate the intensity of an actual fire. The passages with more chromaticism or dissonance are at points in the narrative where Fileno is most distressed. Strozzi also places extra emphasis on unpleasant words by highlighting them with descending chromatic movement and rhythmic stress, usually, a sixteenth note followed by an eighth note (short-long). She uses these strategies, particularly on words like pain, laments, plaints, dying, sighing, and crying[33].

In the second half, called “Appresso il caro bene” (“When I was near my love”), Strozzi abandons the recitative style and shifts to the slow, triple-time aria. This half is divided into two halves itself, each section being a complete aria, and containing the lament bass figure the entire way through. Here, the listener finds Fileno reminiscing on the times he spent with his lover, instead of focusing so much on the grief of being away from her. By focusing on the sweet times he had with her, he slowly appeases his mourning. This change in demeanour is reflected in the music. As Fileno becomes less distressed, the lament bass figure becomes less obvious. In the second aria, Strozzi softens the lament bass by transposition, elaboration, inversion and rhythmic diminution. This half also abandons the excessive drama in vocal gestures of grief and turns sweeter. Fileno is able to appease his grief through reminiscence. Where the first half of the piece emphasized negative words with dissonance, this section, emphasizes the positive words. Strozzi does this by putting long, expressive melismas on words like song, express, and pleasing[33].

Jean-Baptiste Lully (1632 - 1687)Edit

Henry Purcell (1659 - 1695)Edit

Dido and AeneasEdit

Francois Couperin (1668 - 1733)Edit

Arcangelo Corelli (1653 - 1713)Edit

George Frideric Handel (1685 – 1759)Edit

Messiah (1741)Edit

Georg Philipp Telemann (1681 - 1767)Edit

Jean-Philippe Rameau (1683 - 1764)Edit

  1. a b Dietrich Bartel, Musica Poetica. Lincoln, NE: University of Nebraska Press, 1997: 30.
  2. a b c Blake Wilson, George J. Buelow, and Peter A. Hoyt. "Rhetoric and music." Grove Music Online. 2001.
  3. Bartel, xiv
  4. Definitions are based upon provided definitions in Bartel’s Musica Poetica.
  5. Note that in this sonata, scordatura is used to lower to E string to sound as a D. This means the notated A will sound as a G.
  6. Bartel, 214
  7. English translation: weeping, lamentation, worry.
  8. English translation: flees
  9. Burmeister, Musica Poetica, 154-5
  10. Bukofzer, Manfred F. Music in the Baroque Era: From Monteverdi to Bach. London: Dent, 1948, 141.
  11. Bukofzer, Manfred F. Music in the Baroque Era: From Monteverdi to Bach. London: Dent, 1948, 153.
  12. Bukofzer, Manfred F. Music in the Baroque Era: From Monteverdi to Bach. London: Dent, 1948, 144.
  13. Bukofzer, Manfred F. Music in the Baroque Era: From Monteverdi to Bach. London: Dent, 1948, 152.
  14. Joseph A. Mann, Printed Musical Propaganda in Early Modern England (Clemson: Clemson University Press, 2020), 35.
  15. Joseph A. Mann, Printed Musical Propaganda in Early Modern England (Clemson: Clemson University Press, 2020), 32.
  16. Joseph A. Mann, Printed Musical Propaganda in Early Modern England (Clemson: Clemson University Press, 2020), 33.
  17. Joseph A. Mann, Printed Musical Propaganda in Early Modern England (Clemson: Clemson University Press, 2020), 37.
  18. Manfred F. Bukofzer, Music in the Baroque Era: From Monteverdi to Bach (London: Dent, 1948), 203.
  20. David Hume, Essays and Treatises on Several Subjects, in Four Volumes. Containing Essays, Moral and Political (London: A. Millar, 1753), 119.
  21. Roland Vaubel, “The Role of Competition in the Rise of Baroque and Renaissance Music,” Journal of Cultural Economics 29, no. 4 (2005): pp. 277-297, 282.
  25. Richard Taruskin, The Oxford History of Western Music (New York: Oxford University Press, 2010), 224.
  27. Timothy A. Smith, “More Evidence of Numeral-Logical Design in Bach’s ‘St. Matthew Passion.’” Bach 17, no. 2 (1986): 24-25.
  28. Two is the number of Christ to represent his two natures: the human and the divine.
  29. Robin A. Leaver. "Number Associations in the Structure of Bach's 'Credo, BWV, 232.'” Bach 7, no. 3 (1976): 17–24.
  30. Friedrich Smend. Bach-Studien, ed. C. Wolff (Kassel: Bärenreiter, 1969), p. 187
  31. a b c d Rosand 1978
  32. Fontijn 2020
  33. a b c d Kolb and Swanson 2018
  34. a b Heller 2007

  • Kolb, Richard; Swanson, Barbara (2018). "Chapter 4: Barbara Strozzi, Apresso ai molli argenti (1659)". in Parsons, Laurel; Ravenscroft, Brenda. Analytical Essays on Music by Women Composers. Oxford University Press. pp. 74-106.
  • Fontijn, Clair (2020). "Representations of Weeping in the Laments of Barbara Strozzi". Uncovering Music of Early European Women. Routledge. pp. 145-170.
  • Rosand, Ellen (1978). "Barbara Strozzi, ‘Virtuosissima Cantatrice’: The Composer's Voice". Journal of the American Musicological Society 31 (no. 2): 241-281.
  • Heller, Wendy (2007). "Usurping the Place of the Muses: Barbara Strozzi and the Female Composer in Seventeenth-Century Italy". in George, Stauffer. The World of Baroque Music: New Perspectives. Indiana University Press. pp. 145-168.


Cilantro Salsa

Ingredients (use vegan versions):

jalapeno peppers
lime juice

Start with the amount of tomatoes you think will be appropriate for the number of servings you desire. I usually use six or eight, depending on their size. Chop the tomatoes into small, small pieces. Add onion and jalapeno peppers to taste (also chopped very small). Add chopped cilantro and lime juice (fresh is much better than reconstituted). Mix everything together and let sit for a couple of hours so the flavor can blend. Enjoy!

Serves: variable

Preparation time: 20 minutes


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Accessibility: Frequently asked questions

Modified on: Mon, 10 Oct, 2022 at 2:39 PM

In this article, we answer frequently asked questions about Accessibility in the following areas:

How is an Issue defined in Siteimprove Accessibility?

An issue is defined as a confirmed accessibility error that requires fixing. The code or content is invalid or incorrect and does not follow WCAG (Web Content Accessibility Guidelines) criteria or accessibility best practices.

Can an issue also be a potential issue?

Yes, a potential issue can turn into an issue and/or a resolved issue. In cases where automation is not able to make an evaluation, we will ask the users to provide feedback through a review flow, found on the Page Report.

For example, Siteimprove can automatically detect the foreground and background colors. For these occurrences, Siteimprove will automatically classify them as issues if they have insufficient contrast. There will also be cases where automation is not able to detect the background color alone, in this case, you will be asked to use a color picker in the review flow to input the correct color.

Can I ignore an issue and remove it from my report, if I disagree with it?

If you identify an issue that you suspect is a false positive, you have the possibility of dismissing it.
You can read more about dismissing issue occurrences here.

How do I know who is responsible for fixing an issue? How can I assign ownership in NextGen?

It is possible to focus on issues that are relevant to particular skill sets using filters such as page section, difficulty, and responsibility. You can also create a dashboard with selected issues you’d like certain users to focus on, for instance, your technical partner or content editors.

See also: Configuring Siteimprove Dashboards and Dashboard reports

Can Siteimprove Accessibility test dynamic content for accessibility?

Dynamic content can be defined as content that appears on a page, or within an element after the user triggers a change to the page or the element. An example would be selecting a button that displays additional text on the page, a single-page form where additional input fields are revealed on the page only after the user has entered information into a previous field, or an interactive map or chart.

In the accessibility module, the crawler gets a static snapshot of this page, roughly speaking, after executing the onload scripts. We check that snapshot and nothing else.

Additionally, Accessibility only checks content that is rendered. Take the example of the interactive map, for buttons with text that is only displayed on hover, or after clicking, we will not check the extra content that appears.

For this reason, we recommend testing dynamic, interactive content through a manual assessment, with assistive technologies (screen reader software, keyboard, zoom magnification) to capture the user experience. If you have content that appears on mouse hover, for instance, a manual test is a good way of assessing this.

However, if you’re working with user-controlled content, you can use the Siteimprove Accessibility Checker browser extension to trigger the dynamic content then run the extension on the content and get a result.

For example, while testing a single page, open an expandable section or “accordion” to show the content inside. Run the browser extension to test with Siteimprove checks, and get the testing results immediately.

Potential Issues

Note: Have a look at this detailed Help center article explaining how to review potential issues.

How is a potential issue defined in Siteimprove?

A potential issue is a rule, that requires human review, by answering a series of pre-defined questions. After the user has completed the review, Siteimprove determines if the potential issue is in need of fixing. When a potential issue is determined as an issue, it will be moved under the ‘issues’ list.

Can I review potential issues in bulk?

The decisions you make on potential issues apply to all identical occurrences on your website. Nevertheless, you cannot bulk approve potential issues at once but will need to complete a review for each unique occurrence.

Are potential issues WCAG requirements?

Yes, WCAG requirements are A, AA, and AAA issues and potential issues. Issues and potential issues can be WCAG requirements and best practices.

When I complete the step-by-step review flow for a potential issue, where is my decision recorded? Can I edit or reverse my decision?

You can see the review decisions in the Page Report. You have the possibility to edit the review flow or see when and who made the action.

Should I start addressing Potential Issues or Issues first? What are the benefits of starting with potential issues?

In many cases, it is not an either-or decision. We expect customers to work on issues and potential issues at the same time. However, if you start conducting the reviews related to potential issues, you also begin building up a full list of confirmed issues, which can be a benefit before you start delegating the issues to your team.

Who should work through the review flow under Potential Issues? Is it technical or can my content author, do it?

The review flow is not technical. You do not need to be an accessibility expert. The review flow is intuitive and guides you through a series of questions that require simple interaction with the webpage such as verifying that there is audio on a video.

However, it is worth noting, that answers to questions in reviews are automatically reused where it makes sense and can affect multiple occurrences across the site.

If a potential issue is reviewed and moves under detected issues, will the number of points to be gained go up or stay the same?

Points would only be gained if no issues were detected in the review. Reviewing items and finding out they are true issues is not reducing your score.

How can I revert a review, that was completed wrong?

You can revert an issue to a potential issue in the page report, by pressing the icon with the three dots in the top right - “…” There, you can edit the answers to the review questions.

This can be done by someone who has User, Admin, or Account Owner permissions.

Page Sections

What are page sections?

Page Sections is a prioritization and ownership feature that allows different content and development teams to focus on issues that affect the parts of the page they are responsible for, and at the same time prioritize issues that span multiple pages.

For example, selecting the page section “Header” filters your Issues list to display only the issues that have been detected in the header of the page. This shortened list makes it easy to share the relevant issues with the team responsible for that page section.

Page Sections allow us to distribute occurrences of issues by the ‘section’ of the page they occur in. Users can focus on a single or combination of Page Sections by selecting them from a Filter on the Issues Page.

An algorithm automatically generates four sections for each site: Header, Footer, Meta Data, and page content. The algorithm works by finding sections of repeated content across multiple pages and then analyzing which ‘section type’ that repeated content belongs to.

Can I edit and adjust the “header” and “footer” sections?

Yes, it is possible for Siteimprove to edit the sections. Technical Support will be able to update and make changes to the page sections.

How do I know which page sections the crawler is tracking?

This is shown visibly in the icons in the dropdown on the Overview page.

What is “metadata”?

Metadata is used to specify a character set, page description, author of the document, page language, title, and the viewport settings. This information can be found in the tag in your HTML code. The page sections filter enables you to filter to see issues in metadata only.

What is in the “page content” section?

The Page content filter gathers together occurrences of issues that are located in the content part of the page. In this case, the Page content is all content except content in the header, footer, and metadata.

Goal Setting

What are “WAI-ARIA authoring practices” checks? What does it check for?

These checks help track the quality implementation of ARIA (Accessible Rich Internet Applications) – ensuring it is correctly implemented and used.

What are “Accessibility best practices” checks? What is included?

The best practice checks relate to content and code that has a significant impact on user experience but is not covered by WCAG. The category includes best practices that have been adopted by experts within the accessibility development and design community as an extension of the published web content accessibility guidelines. An example could be “Presentational image has accessible name” or detecting the use of heading tags on a page (H1, H2, H3) which enables screen reader users to navigate a page much quicker.

Why should I use “Accessibility Best Practice” checks if they do not cover WCAG compliance?

We understand that compliance with WCAG may be your most important goal. However, we have also incorporated best practice checks into the DCI score because these have shown, through feedback from real users, to have a significant impact on user experience. The checks are designed to guide designers, developers, and content contributors in implementing accessible code and content correctly and consistently.

When effort is made by your organization to make changes for accessibility, with our built-in best practice checks we are helping you to ensure these changes are effective. For this reason, we highly recommend adding best practices to your organization’s overall site target.

Examples of Accessibility best practices checks:

  • “Presentational image has accessible name.”
  • “Headings are correctly nested.”

What is WAI-ARIA?

WAI-ARIA stands for Web Accessibility Initiative – Accessible Rich Internet Applications, and it is a specification, that can be used to improve the accessibility and interoperability of web content and applications. WAI-ARIA is used specifically to provide an ontology of roles, states, and properties to define complex user interface elements so that they will be accessible for assistive technology users. For instance, ARIA can tell an assistive technology user if a drop-down menu is open or closed.

Who and how can we control the site target setting?

The site target can be changed by account owners. However, you have the option in Settings to give the edit option to other roles.

Can I control a “site target setting” just for my group or department?

No, the target covers the site. It is not possible to have different targets on a site. However, it is possible to have different site targets on an account.

What does Siteimprove recommend as the minimum goal?

Siteimprove recommends fixing all WCAG compliance and best practices rules, but at the same time acknowledges that a lot of our customers are focusing on WCAG 2.1 AA.

DCI Score & History

For a detailed overview of our score calculation, check out our help center article on DCI score calculation.

Can I remove Level AAA checks from the platform?

Yes, you can use the DCI site target to create a custom goal for your organization. The site target can filter selected issues, such as AAA issues and potential issues from the product.

How does the score breakdown in Accessibility work?

We calculate the issue score by taking the sum of the score from all issues in the category (A, AA, AAA, best practices, or ARIA) and divide the score by the sum of the maximum score you could achieve from all issues on the specific level. We then convert the score into a %.

This Accessibility score is calculated using a logarithmic scale. You will be awarded more points per occurrence fixed the closer you are to fixing all occurrences.

Resolved Issues

What are resolved issues, how are these defined?

These are occurrences that have passed the accessibility check.

What can I learn from perusing the resolved issues? How can they be used in the workflow?

These occurrences can be used to learn how to fix similar accessibility errors. Instead of only using the generic code examples from the Page Report, you have the option to use real-life examples relevant to your website.

Page Report: Code examples

Where do these code examples come from?

From the ACT (Accessibility Conformance Testing) Rules Format 1.0. Read more about Accessibility Conformance Testing rules here.

If I use the code example, does it make the code compliant?

The code examples are guidance showing diverse ways of meeting the WCAG success criteria. The code examples are accurate and relevant as recommendations for the code on the page.

However, there may be also more ways for passing the criteria, so you should consider the code examples as a “starter package.”

Will code examples be exported with the Issues list?

No, the code examples are currently available within the Page Report and our accessibility browser extension.

Integrations and extensions

Is there a browser extension for Accessibility?

Yes, you can download the Siteimprove Accessibility Checker Chrome extension from the Chrome Webshop or search for Siteimprove Accessibility Checker.

We have also released our new Accessibility browser extension for Firefox, Opera, and Edge browsers. The extensions can be found in the respective browser stores.

As previously, you can do single page checks and we will offer you an immediate overview of all the issues on the page. Like in the page report, the new extension will also provide you with specific recommendations on how to fix the issues and give you code examples to help you in the process.

Finally, it will give you information on which user types are affected by individual issues.

Siteimprove Accessibility (SIA) Rules

For more detailed information on our accessibility rules, check out our Guide to the New Accessibility Checks.

You can also find documentation on all our accessibility rules in one in the List of Siteimprove Accessibility (SIA) rules.

What version of WCAG does Siteimprove report on?

We are reporting towards the latest version of WCAG 2.

Examples of rules added in the WCAG 2.1 are:

  • 1.4.10 Reflow (A) - Page zoom is restricted (Issue)
  • 2.5.3 Label in Name (A) - Visible label and accessible name do not match (Issue)
  • 2.5.3 Label in Name (A) - Does the accessible name contain the visible label? (Potential Issue)

How does Accessibility incorporate WCAG 2 guidelines?

The Accessibility module includes the most up-to-date accessibility validation and reflects the rules that directly align with WCAG success criteria. Siteimprove is continually working to cover as many criteria as can be validated through automated testing, giving you better accessibility coverage. You can find the full WCAG overview on the Guidelines page.

You can be confident that at the core of our product, Siteimprove puts approved and confirmed rules, enhanced by best practices coming from our expertise in the domain. All this in order to ensure reliability and accuracy in your efforts to reach accessibility conformance.

More information on Accessibility

Visit this page for a full overview of the key features in the Accessibility module.

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IP Health Care Issues and Trends

After witnessing your presentation to the staff of the multi-specialty group practice the office manager and physicians are impressed and asks you to conduct more in-service training regarding the future of health information technology in the office. In a 3-5 page APA 7 assignment not including title pg and reference pg  Discuss the below information:References must be within the last 4yrs and US based.Choose and discuss three medical technologies from the following list that are forecast to improve or otherwise change in the future.  Give at least one example of how each might be applied in medical situations.Computer hardwareData storageWireless technologyNetworking bandwidths and data compressionData storage retrievalSecurity and encryptionInternet3-D computingDatabase softwareSensorsSocial media


Category: Race Reports

Tri Tulare 2017

The “A” race is over but I’m not ready for tri season to be over. At the last minute I decided to pick up a local sprint. Why not? Just go have fun and see what I could do in a pool for 400 yards. My swim goal of the year is an 8 min 400 yard time trial (which is 2:00/100 yards). I didn’t expect to really be 100% by this race but would just focus on having fun and racing with my mom. It’s her first tri in about THREE years! She did awesome and has a new base line moving forward. This was also my very first triathlon I ever did back in 2012! We’ll see how it compares (more…)

Santa Cruz 70.3 Nutrition

The Plan

I tend to be on the lower side of calorie intake and tried increasing my bike calorie intake by primarily drinking the on course Gatorade Endurance Formula instead of primarily water. My nutrition plan was to set an alarm to eat a shot block every 15 mins on the bike a drink Gatorade often in between. Then running I would drink a cup of Gatorade and a cup of water through the aid stations. I would eat a Gu near aid station 4, 8, and 12. (more…)

Ironman 70.3 Santa Cruz 2017


By: Tonya Wood, Psy.D.

While for many, the beginning of the new calendar year signals the opportunity to start fresh and set new goals, the start of the new year comes with mixed emotions for those engaged in the family-building process. In keeping with the social norms of making New Year’s resolutions, it is common for individuals and couples to set a timeline for family building attached to the calendar year. Thus,  the end of the current year marks the passing of another year in which parenthood goals were not achieved. The start of the new year may also mean it is time to re-evaluate current treatment efforts and decide whether to pursue other avenues towards their goals.

The blocked goal of parenthood is one of the most stressful aspects of infertility treatments. If one begins to experience despair or a lack of progress towards their goals,  it can be challenging to put in motion the very actions that could lead to success. If you are evaluating the next steps to take in your fertility treatment or what direction to go in the family building process, consider using a values-based approach to goal setting. Based on the work of Steven Hayes and incorporating principles of Acceptance and Commitment Therapy (ACT), values-based work involves shifting the focus away from the desired outcome to the process of how to achieve the goal and is a helpful way to reduce distress and improve overall well-being.

Values work involves identifying what is most important to you and using those values as a guide for how to live your life. If we think about the goal as the destination,  our values are the compass that tells us how we will get there. When using a values-based approach,  we take time to consider the purpose and meaning of our journey. Taking this approach is difficult for most of us because the entire point of setting a goal is to achieve the desired result. So, while it may seem counterintuitive to take the focus off the purpose and desired outcome of fertility treatment, using a values-based approach to living your life during fertility treatments has potential physical and mental benefits. Research has shown that individuals who focus on life goals based on how they want to live their lives, rather than focusing on the outcome of treatments, tend to have lower emotional distress before and during fertility treatments and better psychological adjustment (Neter & Goren 2017).

Adopting a values-based approach to goal setting may improve not only your mental health but overall responsiveness to fertility treatments. To pivot towards values-based living, follow these steps:

First,  identify and clarify your values. There are many different values clarification exercises to help generate a list of values. In a values-based approach, goals are process-oriented rather than outcome-oriented. For example, if the goal is to achieve parenthood, consider these questions:

  • What motivates you to become a parent?
  • What is important to you about this particular goal?

If the underlying value of this goal is to nurture others, establish goals centered around that value. During your next rounds of treatments, commit to being more nurturing towards your partner, loving towards others, and more compassionate towards yourself.

Second, widen your vision and set goals for all areas of your life. Having various goals across different domains of one’s life can serve as a protective mechanism against the stress and depression of not achieving a blocked goal (Linville 1987; Neter & Goren 2017). It may seem far away in the past, but you did have a life before beginning fertility treatments. Now is an excellent time to revisit life goals that were set prior to fertility treatments and re-invigorate those aspects of your life. Ask yourself the following questions:

  • What kinds of relationships with others do you want to cultivate? What qualities or traits do you want to bring to your friendships and relationships?
  • What ideals or dreams do you have for your career? What would employment look like if you were following your passion?
  • How do you unwind and relax? What recreational activities do you enjoy and want to resume?
  • Is there a spiritual practice or connection to a higher being you want to develop?

Finally, give yourself permission to re-evaluate and adjust goals. As mentioned earlier, there is no pre-determined destination in a values-based approach to living. This approach may seem scary and may even sound like a betrayal of your desire for parenthood. After all, why invest so much time and money in the family building process if that is not the expected outcome? Living a values-based approach during fertility treatment does not mean giving up on your dreams. It creates room and space for flexibility and adaptation during setbacks or disappointments. Using information gained from a failed treatment to help shift or alter the next course of action is not only associated with improved mental health functioning and improved psychological functioning (Thompson et al., 2011),  but it may also set you up for future success.

Neter, E & Goren, S. (2017). Infertility Centrality in the Woman’s Identity and Goal Adjustment Predict Psychological Adjustment Among Women in Ongoing Fertility Treatments. Int.J. Behav. Med. (2017) 24:880–892.Thompson, E. H.; Woodward, J.T & Stanton, A.L. (2011). Moving forward during major goal blockage: situational goal adjustment in women facing infertility. J Behav Med (2011) 34:275–287.


How to Strengthen the Relationship Between Development and IT operations

You can boil down a great relationship between Development and IT with one word: Trust. If you’re in IT, let me ask you something: If you report whatever issue you might have (be it a bug, minor glitch, total malfunction, or anything else) do you think your development team will take you seriously? Ok, now here’s a question for the developers: Can you honestly say that you can be rest assured that your IT will report any problem they notice? Can you be 100% in saying that they will give you a thorough explanation of what’s happening?

It’s possible you instinctively answered yes to these questions, but did you mean it? Can you ever be truly sure? How do other organizations maintain trust in their tech-dev relationship?

Continuous Business Development

If you’re thinking about reading anymore of this article, it’s time to take a pause for a second. You’re here because you want a fantastic relationship and community within your business, and you want a professional grade job to achieve that relationship. So why not let professionals help you out? Grid Dynamics offers continuous development improvement and they can do tons to help you save time, money, and effort in the process. If you’re ready to get help, here are some things to keep in mind to improve your relationship overall.

Setting up expectations

Right off the bat, it’s time to make sure every party knows what’s expected of them, and also what they can expect of each-other. This is a great builder of trust for a number of reasons. Namely, when people have a mutual understanding of what they can realistically count on each-other for, they gain a respect for the system as a whole, and thus trust that they can rely on it. This is crucial for building that relationship and symbiosis between employees. When you communicate your goals clearly, you are showing everyone that they belong to a team, an organism, something that needs a strong connection between itself to function.

When you’ve figured out everyone’s needs, it makes it easier to see what people can actually provide. This exercise can really put some amazing insight into what is going on within your company, and what should realistically be happening. What if you thought everything was going swell, then you compared needs with expectations. You might make shocking discoveries. Perhaps the developers are getting stretched thin and they’re holding up the company. Maybe everyone is overworked, underworked, or no one is near any of their goals. When you figure out specifically what you want, it clears up a lot of decisions.

One of the biggest ways that leaders fail to create a trustworthy environment is by not owning up to your mistakes. If you mess up, don’t put it on employees, or else something ever more damaging happens: They will put their own mistakes on each-other. As a leader, it’s up to you to be accountable and be the model employee. After all, what incentive do your IT and developers have to follow orders if their boss can’t follow his own orders?