1) After reviewing the information on criminology and the four (4) schools of criminology, discuss and give an example of how each will influence your
selected criminal justice career.
Watch the video: “An insider’s plan for rehabilitating the juvenile justice system, Jeff Wallace” located at https://youtu.be/TOxpjjzP6lM
Then use the case you chose last week for the Week 7 discussion from the PBS cases located at
https://www.pbs.org/wgbh/pages/frontline/shows/juvenile/four/and discuss how you believe Wallace’s recommendations could have helped
rehabilitate the juvenile featured before they were sentenced as an adult.
3)How will issues in the corrections system affect you as a criminal justice professional? What aspects of the corrections system will be most
important for you to be knowledgeable of when interacting with other agencies, colleagues, or citizens?
4)Imagine you are at an interview for a new job. During the interview, you are asked several questions and then asked if you have any questions of
the interviewers. (It is said that you should never leave an interview without asking at least one question of your interviewers!) Read the questions
below and answer them as if you were in an interview:
How do you handle conflict with co-workers?
What is your greatest strength and what is your greatest weakness?
What questions do you have for us?
Lastly in this reflection, discuss any fears you have of interviewing for a future position. Use this opportunity to ask your professor for guidance or
resources that might be beneficial to you as you begin to prepare for your future career.
The main indications of this class were initially, and normally, extraordinary and interesting in its authentic, uprooted setting, extending right to AD 1000, when the thought previously happened of joining a few voices to sing a tune; it was the point at which the Church, who were really the most fundamental effect and impact on the improvement of music in those occasions, saw a need to organize the single-line unaccompanied serenades, because of how they had been used for a serious long time in sacrosanct customs. Regardless, for what reason would the congregation place worry in music? What was their view on music, when all is said in done? The appropriate response lies in the historical backdrop of the early Christian church itself; the congregation was, before, a little yet decided gathering who had confidence in the 'mission' of changing over Europe into Christianity. In this manner, they profoundly attempted in the assignment to impact and avoid the way of life of the Pagan culture at that point, which was altogether supported by the utilization of a "medium" that would go about as a channel to spread Christian convictions: Music. 21. Music, or all the more explicitly Western Art Music, filled in as an incredible mode for the Early Christians, as it was seen as one of the "most grounded and natural powers of nature which had the ability to influence human idea and mind."(Greek reasoning) Moreover, this view was likewise absorbed with the way of life and conventions of the congregation, in which, as should be obvious, how Christian serenades were gotten from, in any case. This gives us how they started to see music as a key idea, at the same time, whenever looked from another point of view, with no acknowledged composed framework to signify the pitch or length of a note, the scoring of music was unavoidably a disputable issue. Consequently, a Benedictine cleric named Guido d'Arezzo, whose life as a melodic researcher accommodatingly orchestrated with the Church's necessity for melodic unification, is, when all is said in done, credited with the presentation of a fight of flat lines, by which one could precisely record the pitch of notes, subsequently starting the primary idea of composed workmanship music. The congregation had initially expected its utilization of music to be only for strict purposes, yet in any case, the real and satisfying parts of music that professed to 'illuminate the spirit' couldn't be disregarded; in the long run, different types of music, from chapel music, got recognized all in all, in which old style music was roused. Anyway amazingly, the expression "old style music" initially didn't appear until the mid-nineteenth century, trying to perceive the time from famous specialists, for example, Ludwig van Beethoven as a brilliant, or rather traditional age. Since we know about how old style music rose up out of the customs and history of Western Art music previously, we can perceive how old style music created in conspicuousness and multifaceted nature during the coming years. However, in particular, it would be very uncertain to allude the Classical time frame "all in all." But why? About Essay Sauce Khachaturian's life in any case, was not constantly a smooth course. In February of 1948, the Communist Party's Central Committee, including head Andrei Zhdanov, reviled the music of Khachaturian, Shostakovich and Prokofiev – The melody "Take the A Train" was composed by a man named Billy Strayhorn. Strayhorn played piano and composed game plans for Duke Ellington's band. The melody in the end turned into a mark opening piece for Duke Ellington and his Orchestra. After a show in Pittsburgh in 1938, Strayhorn played a piece for Ellington. He replicated the symphony's exhibition of "Advanced Lady," and afterward continued to play his own rendition. Ellington in the long run welcomed Strayhorn to his home in the rich Sugar Hill neighborhood of Harlem. In the wake of utilizing the tram headings that Ellington gave him, Strayhorn expressed, "Take the A Train." He made it in his mind at a gathering, and afterward put it all in writing when he was finished.c Benny Goodman's chronicle starts with an uproarious presentation with trumpets blasting. It soon then changes to a relieving piano performance, with the bass on the downbeat. The piano player has a confused impact up until it changes to a saxophone solo. In the melody the bass crescendos, and later decrescendos into another saxophone solo. At the finish of the melody the music rehashes and has a steady crescendo where it closes with a drum break. Benny Goodman and Count Basie's adaptations of One 0 Clock Jump are tremendously unique being that they start with two distinct tunes. Despite the fact that this Basie recording was dull, I thought the song was snappy. All things considered I appreciated Benny Goodman's consummation a great deal, due to how smooth the crescendo progressed into the drum break. In spite of the fact that the drum had a basic musical example in Basie's adaptation I preferred its shortsighted feel. Benny Goodman's form appeared to be increasingly perplexing and had more instruments mix together to add to the music. >GET ANSWER