Exam Final Essay Example | Topics and Well Written Essays - 500 words

Exam Final - Essay Example The Bacchants’ rituals were described as wild, rapturous group encounters, drunken ecstatic cavorting, driving them wild so they do not recognize their own children – these all apply to the drug culture of the present day, and in a sprawling and progressive metropolis such as New York City the spread of such a culture is indeed menacing. Thebes, like New York now, was a premier city, prime target from external influences both beneficial and harmful. Pentheus, like New York City’s authorities, was watchful of harmful coercive forces that could threaten the lives of his subjects (citizens), and thus would do anything to resist them and preserve the peace and security of their jurisdiction. The most exciting moment in Oedipus was that point when the first shepherd was summoned to divulge what he knows about the infant he was tasked to expose to die. He haltingly and fearfully admits he did not kill it, and suspensefully tells Oedipus that the child was none other than him, the son the Laius. This is the high point on which the play turns. This is the most exciting moment because, as in a detective story, it solves the mystery and from that point on, everything falls into place. Before this point, Oedipus’ life is pleasant, prosperous and righteous because he is oblivious of any wrongdoing. After this point, he becomes stained, polluted, deserving of being blinded, exiled, and detested – all because of something done in the past and beyond his control. The tragic dramas have a basic structure and formula. The tragic hero is one who is not entirely morally superior to the average man, to whom the audience can identify. He is subjected to the irrational and sometimes oppressive whims of the gods, which he cannot avoid. He suffers punishment, despite his innocence, and herein the drama revolves. However, despite his tribulations he emerges nobler and

Aims and objectives Essay Example for Free

Aims and objectives Essay Based on these characteristics of project management, it can be gathered that an event is also a project. What distinguishes an event from other projects is that it has a very strong marketing element because it involves many actors, from the provider of the product or service and the prospective clients. Events assembles people therefore there is a collective sense of objective. Because of this attendance, events therefore have a strong promotional element (Soares). When it comes to bars and clubs, it is important that these establishments market themselves effectively in order to maintain their businesses. These establishments rely on customer count as a source of profits especially as they sell products like food and drinks, and services such as dancing and other entertainment-based gatherings. It is therefore important that these bars and clubs ensure they have a strong patronage and customer flow in order to assure that their businesses remain competitive. In observing the bar and club scene, there is much competition especially in a city like London. In looking at resources for these events such as TimeOut, there is always a list of bars and clubs with their respective events. These events may include a theme night, a special guest DJ or performer, a concert, and other gimmicks. It can be also observed that these events are strongly driven by sponsorships such as partnerships with relevant products and services like alcoholic drinks, fashion labels, and other lifestyle related products and brands. In this regard, when it comes to the application of events management concept in bars and clubs, it is evident that these have had some successes. This therefore elicits close inspection as to how these concepts are applied and which concepts are successful. It should be noted that due to the strong marketing element in these initiatives, these bars and clubs are also subject to what is known a product life cycle a cycle in which a product or service may start to plateau and decline. Hence, this reflects as to why bars and clubs may have their time; some bars and clubs that were famous a few years ago may have already shut down or are losing customers because new concepts get introduced in the market. It can be also observed that certain event themes also went through their peak and lost their lusters; examples are the raves, the cream parties, and the bubble parties, among others. Hence, this shows that although generally, events management concepts work in the context of bars and clubs, they dont work all the time and are not necessarily sustainable. This thereby shows the strong association between a project and an event something that is unique that has beginning and an end. This research therefore aims to explore the events management concept at greater depths by means of looking at the actual applications and the industry practices. As certain events tend to become old, the turnover of new events concepts need to be examined, especially in a market with changing preferences and values. In addition to the aspect of events concepts, the management aspect is also examined by this paper. This is especially important as the market is volatile, and the entertainment and leisure sectors tend to get easily affected by economic and market challenges. This paper examines how events actually take place and how certain strategies may need to be formulated in order to respond to challenges in resources. This therefore bring up the issues on cost management and how bars and clubs intend to profit from their events. This may then bring up certain events management concepts and applications from other event genres as applied in affairs that take place in bars and clubs. The events management industry in the UK is a million-pound industry considering the number of events held in the country, from conferences to major concerts. The industry also involves many sectors including those from the hospitality, entertainment and leisure services. This research therefore localises an exploration of events management in a specific context, and identifies the important factors that can affect the relevant businesses and establishments in this sector. In order to have a substantial insight on events management concepts in the context of bars and clubs establishments, this research therefore aims to achieve and implement the following: To develop a framework of evaluation on the applicability of events management concepts as integral elements to the marketing success of bars and clubs. To establish how events management applications are integral to the success of the bars and clubs sectors. To create a workable research framework as based on the assessment of actual movements and developments in the dynamics of bar and club business in the city, especially as to how the application of events management concepts make a difference to the business of the bars and clubs. This includes both primary and secondary research. To identify the factors leading to entertainment establishment success in the context of the marketing mix, with an emphasis on the promotional dimension. Based on the sourced literature, it appears that there are a few studies with regards to events management, especially as to how these affects bars and clubs. Because of the close nature of events with projects, and due to the function of events as marketing tools especially in this specific context of the study, much of the reviewed literature touches on the marketing aspect, the project and event management resources, and some literature touching on bars, clubs, nightlife and other entertainment establishments.

The Dutchman: A Dramatic Expression of the Relationship Between Whites

Amiri Baraka’s The Dutchman would be considered a historical allegory that could be understood as this poetic and dramatic expression of the relationship between whites and blacks throughout the existence of the United States. These patterns of history are symbolically acted out by the two characters Lula and Clay; Lula represents white America and Clay seems to stand for the modern day Uncle Tom, who has over time been shaped by white America and this slave mentality. The beginning Stage directions seem to form this poem in it of itself. The first line establishes the mythic qualities of the play. â€Å"In the flying underbelly of the city. Steaming hot and summer on top, outside. Underground. The subway heaped in modern myth.† (1086) The â€Å"flying underbelly† is the metaphor for the Flying Dutchman, which is foreshadowing the almost doomed area. Also Baraka puts a lot of emphasis on the word the underground which seems to foreshadow the below surface intentions of the play right at the beginning. Then the â€Å"modern myth† suggests that the play will act as a myth for the patterns of White America. This mythical quality that resonates throughout the play is further established by the stage properties of Lula. She carries onto the subway these paper books which symbolize the written culture of white America; this written culture certainly resonates throughout the history of blacks and whites. During the beginning of the Jim Crow laws, the blacks had to take literacy tests to be able to vote, so Lula walking in with paper books represents the forced literacy on blacks in the United States. Another stage property that Lula has is her sunglasses which she moves around from time to time. This symbolizes her disguise of friends... ...Clay had been the victim throughout the entire play, absorbing Lula’s insults and laughing them off, but with his monologue he has become the chronicler. Lula’s stereotype of Clay is finally proven wrong at the end of the play. â€Å"If I’m a middle class fake white man, let me be. And let me be in the way that I want†¦ Safe with my words, and no deaths, clean, hard thoughts, urging me to new conquests.† () Here Baraka shows that even though Clay was sucked in by Lula’s sexual temptations, he never was never fooled into thinking that she or metaphorically white America would ever accept him. Works Cited Baraka, Amiri. "The Myth of 'Negro Literature'." Within the Circle. Ed. Angelyn Mitchell. Durham and London: Duke University Press, 1994. 165-171. http://www.associatedcontent.com/article/666803/amiri_barakas_use_of_imagery_metaphor_pg4.html?cat=9

John Adams †Harmonielehre Essay

By inventing the serial system of twelve tone music and atonalism, Schoenberg had created â€Å"the agony of modern music†. The minimalists had rebelled against the systematic, â€Å"aurally ugly† music of Schoenberg and the avant-garde beliefs of atonality being the â€Å"Promised Land†, choosing instead to return to traditional tonality. Adams partially agreed with the rebellion against Schoenbergian music, his works containing distinctly minimalist elements. Thus when he spoke about â€Å"freeing [him]self from the model Schoenberg represented†, he meant to reject serialism and atonality, as well as the process of composing which â€Å"demands rigorous systemization of structure†. However, Adams has also expressed his respect for Schoenberg. Kirchner, with whom Adams studied while at Harvard, had himself been a student of Schoenberg. Though the minimalists had already paved the way for departure from the Schoenbergian model, it was perhaps still a difficult decision for Adams to divert from such an influential figure. After all, Schoenberg pioneered serialism and atonality. In addition, having grown up listening to the popular music of his time, Adams was constantly struggling to find a balance between what he listened to (notably American jazz, popular music, gospel music and rock ‘n’ roll) and the music that he studied in university. Adams had upset two camps of thought with Harmonielehre’s 1985 premiere: â€Å"Minimalists thought it was a tribute to their No. 1 bogeyman while modernists saw it as a reactionary piece that took their hero’s name in  vain.† This essay thus seeks to discuss the main characteristics of Adams’s compositional style in particular reference to Harmonielehre, and hence attempt to determine if, as a result of Adams’s internal conflicts, the said work is more of a refreshing new departure or a return to tried and tested orchestral gestures. Adams’s derivation from atonality may be considered a return to tried and tested orchestral gestures. He was particularly taken with the expressiveness of tonality, appreciating its potential to affect emotions in the hands of masters like Wagner, whom he greatly admired. In contrast, he found atonality â€Å"severely limiting in both its expressive range as well as in its ability to maintain large formal structures.† Adams has re-embraced tonality in much of his music including Harmonielehre, containing long passages employing a single set of pitch classes usually encompassed by one diatonic set. His earlier pieces generally remain diatonic throughout. The first movement of Harmonielehre begins and ends with pounding E minor chords repeated in a typical minimalistic style, and the piece culminates with a tidal wave of brass and percussion over an E-flat major pedal point. However, Adams is not a complete traditionalist as his harmonic vocabulary does not remain limited to purely diatonic chords. Non-diatonic pcs are frequently introduced in his later pieces beginning with Harmonielehre. Pcs outside E minor are first introduced in b.19 of the first movement, in this case D, making the chord an Em7. Example 1. John Adams, Harmonielehre, mm. 17-21, orchestral reduction D reappears in b.31 and henceforth gains prominence. Here, it is featured in the piano, blurring the E minor centre. Example 2. John Adams, Harmonielehre, harmonic sketch The end of the last movement (Meister Eckhardt and Quackie), features more  chromatic harmonies, with a ‘vast harmonic struggle that breaks through into an emphatic release on E-flat major’. Unlike a traditional tonal piece with systematically planned harmonies and a conclusive modulatory sequence, Adams simply â€Å"place[s] the keys together, as if in a mixer, and let them battle it out†. Nevertheless, the chromaticism is built on a diatonic basis, evident from their association with diatonic passages and the secondary role of the non-diatonic pcs. Harmonielehre is thus largely a tonal work and parodies the book by the same title written by Schoenberg, in which he discusses the functions of tonal harmony only to completely renounce it. By the title of Harmonielere, Adams explores aspects of harmony within his own language. Adams’s subscription to minimalism may also be considered a return to tried and tested orchestral gestures since minimalism had been going on for some time before he came on scene. The principal minimalist features include â€Å"a continuous formal structure, an even rhythmic texture and bright tone, a simple harmonic palette, a lack of extended melodic lines, and repetitive patterns.† Some of Adams’s early piano works, notably Common tones in Simple Time (1979-80, rev. 1986), Light Over Water (1983), and Phrygian Gates (1978) fit the aforementioned criteria. This is also observed in the opening of Harmonielehre (Example 3). The minimalistic repetitions of the E minor chords result in the creation of a repetitive pulse. Example 3. John Adams, Harmonielehre, mm. 1-10, orchestral reduction A simple harmonic palette (as discussed earlier) is a feature of both the Minimalist and Tonal traditions. Slow harmonic changes are evident in the opening (Example 3) – the E minor chord lasts till b.19 when D is introduced in the flutes and oboes and only 26 bars later (b.45) is a C added. The harmony finally changes again at b.59.These simple harmonies and gradual harmonic movement further imply the influence of minimalism. Example 4. John Adams, Harmonielehre, harmonic sketch However, Adams expands these minimalist techniques rather than using the aesthetic and style common in Reich’s or Riley’s music. While most minimalists (with the notable exception of La Monte Young) shunned the minimalist label, Adams embraces it and feels that he has exceeded the label: â€Å"Minimalism really can be a bore – you get those Great Prairies of non-event – but that highly polished, perfectly resonant sound is wonderful.† His later works, while still bearing some minimalist characteristics, depart from the common aesthetic, and no attempt is made to achieve systematic purity. Adams formulates his melodies using an additive technique, which is common to Glass. However, unlike Glass, there is no obvious pattern as to where or when Adams chooses to add or subtract notes, and the resultant melody is unpredictable. This is seen in the second violins in the first movement (Example 5): Example 5. Adams, Harmonielehre, mm. 180-84, second violins Another example can be drawn from the opening, featuring the Minimalist repetition of E minor chords which do not recur in any regular rhythmic pattern. The sense of pulse is unclear and somewhat unpredictable as the chords move closer by increments and create a syncopated effect, compromising the Minimalist technique of even and continuous pulsation. Adams’s deviation from Minimalism is also evidenced by his remarks in relation to Harmonielehre: â€Å"I’m not the kind of composer who†¦ previsages the entire structure of a piece in advance†¦ in a certain sense, I feel the structure as I’m creating it.† Adams is not a â€Å"pure† Minimalist – while he utilizes Minimalist techniques, his simultaneous fondness of expressivity is unique. The combination of both traits is a refreshing departure from both extremities. In Adams’ words, â€Å"I don’t have the kind of refined, systematic language that [the minimalists]  have†¦ I rely a lot more on my intuitive sense of balance†¦ as far as I can tell, most nineteenth-century composers wrote on intuitive levels.† He found that the Minimalist aesthetic of non-teleology resulted in a ‘confined emotional bandwidth’ and threatened to limit Minimalist music. Thus in most of his works, he employs Minimalist techniques to explore its â€Å"expressive emotional potential – something the first generation [of Minimalists] generally eschewed.† Adams’ fondness for expressiveness is not only evidenced by his embracement of tonality, but also by other signature Romantic traits found in his works. This is especially true in Harmonielehre, which â€Å"verges on Minimalism, but touches almost as much on a melodic Romanticism†. The combination of minimalist techniques with Romantic expressivity is evidenced in the opening of the last movement. The flutes take the accompanying line, with repetitive patterns first on E and G, then on an E minor triad. A melody characterised by expressive leaps (taken by the strings) is heard over the shimmering waves of repetition. Such timbre further creates a warm, emotive sound. The same movement contains a passage beginning with pounding E minor chords. The harmony here is relatively simple, gradually shifting from one chord to the next through the addition or alteration of a note (a rather Minimalist characteristic). Minimalist harmony combines with the Romantic textures to culminate in the climax (Example 6), with the texture and sound continuously thickening and broadening. Example 6, Harmonic sketch, Meister Eckhardt and Quackie Another example can be seen in the first movement (mm. 254-300), which contains a broad singing melody first carried by the solo horn then cellos, and later the upper strings. The accompanying triple arpeggios (first harp and woodwinds) weld the section with the preceding passage of repetitive patterns and pulses. Along with the sustained brass chords, the music reaches a climax with the amalgamation of the two different styles, reminiscent of Romanticism with the broadening texture and warm sound. Example 7. Harmonielehre I (bar 257 – 267) Thus although these passages clearly exceed the Minimalist style in their melodic and harmonic construction, the Minimalist technique dominates the accompaniment in rhythm and texture, a distinct example of how the music is a ‘refreshing new departure’. â€Å"The shades of Mahler, Sibelius, Debussy, and the young Schoenberg are everywhere in this strange piece.† The second movement of Harmonielehre (The Anfortas Wound) alludes to Sibelius’ Fourth Symphony (1910 – 11), which Adams claims as the ‘primary generating model’ , evidenced by the long, melancholic melody played by muted cellos. This movement also bears a programmatic reference to Wagner’s Parsifal (1857 – 1882) featuring Anfortas , represented by the long, elegiac trumpet solo. Wrenching harmonies, constantly descending chords and regular meters contribute to ‘†¦the imagery of sickness and confinement, one day after another, just rolling on.’ The ending of the movement contains two giant climaxes, the second one a tribute to Mahler’s unfinished Ninth Symphony (1909 – 1919). The first movement bears a tribute to the late Romantics, including allusions to, ironically, Schoenberg’s Gurrelieder (1900 – 1911). The shimmering effect in the opening of the third movement even alludes to early Impressionism. These Romantic traits, along with the Minimalistic slow harmonic rhythms, again show the eclectic treatment of both styles. In conclusion, Harmonielehre is a combination of â€Å"the harmonic economy of Minimalism with the picturesque extravagance of late-Romantic orchestration.† Adams does not revolutionize music in the way that Schoenberg or the minimalists did by completely rejecting the previous popular approach to composition. His music could thus be considered a return to tried and tested orchestral gestures. However, by combining both romantic expressiveness and minimalist techniques, he has created a new level of balance between the two which is indubitably a refreshing departure from both styles. In his own words, Adams says that â€Å"[Many composers] want to rewrite history or something. I don’t.† Bibliography Books J. Adams, Hallelujah Junction: Composing an American Life (London, 2008) A. Schoenberg, Theory of Harmony (London, 1983) O. Karolyi, Modern American Music: from Charles Ives to minimalists (United States, 1996), 304 D. A. Lee, Masterworks of 20th-Century Music: The Modern Repertory of the Symphony Orchestra (New York, August 2002), 1-7 Watkins, 572. / 576-77 Articles J. Adams, Introductory Notes for Harmonielehre John Adams, quoted in Michael Steinberg, â€Å"Harmonium, by John Adams,† program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B. Philip Clark, Programme Notes for the BBC National Orchestra of Wales, 28 Jan 2011 The discussion between Jonathan Cott and Adams concerning Harmonielehre in liner notes to Harmonielehre (Nonesuch 79115, 1985) T. A. Johnson, ‘Minimalism: Aesthetic, Style or Technique?’, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 T. A. Johnson, ‘Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach’, Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), 117-156 T. May, ‘Interview: John Adams reflects on his career’, The John Adams Reader, ed. Thomas May (USA, 2006), 2-28 C. Pellegrino, ‘Aspects of Closure in the Music of John Adams’, Perspectives of New Music, Vol. 40, No. 1 (Winter, 2002), 147-175 A. Ross, ‘The Harmonist’, The John Adams Read er, ed. Thomas May (USA, 2006), 29-44 K. R. Schwarz, â€Å"Young Composers: John Adams,† Music and Musicians, Mar. 1985, 10. K. R. Schwarz, ‘Process vs. Intuition in the Recent Works of Steve Reich and John Adams’, American Music, Vol. 8, No. 3 (Autumn, 1990), 245-273 M. Steinberg, ‘Harmonielehre’, The John Adams Reader, ed. Thomas May (USA, 2006), 101-105 John Adams, quoted in Michael Steinberg, â€Å"Harmonium, by John Adams,† program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B David Sterritt, â€Å"John Adams and His Nixon in China’: Could This Be Another ‘Porgy and Bess’?† Christian Science Monitor, 19 Oct. 1987, 21-22 John Adams, â€Å"From Nixon in China to Walt Whitman: An Interview with John Adams† interview by Edward Strickland, Fanfare, Jan-Feb. 1990, 46. Websites P. Gutmann, ‘John Adams – Popularity without Pondering’, Classical Notes (accessed 15 November 2011), http://www.classicalnotes.net/columns/adams.html#harmonielehre J. Kosman, ‘Harmonielehre, John Adams’, Chester Novello (accessed 15 November 2011), http://www.chesternovello.com/default.aspx?TabId=2432&State_3041=2&workId_3041=23704 D. Robertson, ‘Transcript of David Robertson: Conductor and music scholar discusses the importance of John Adams’ orchestral work â€Å"Harmonielehre† in helping us understand the way music can look back yet anticipate the new in musical sounds’, The Music Show (accessed 20 November 2011), http://www.abc.net.au/rn/music/mshow/s924166.htm C. Zeichner, ‘Minimalism maximized – John Adams’, Ariama (accessed 21 November 2011), http://www.ariama.com/features/minimalism-maximized-john-adams Discography J. Adams, Harmonielehre, City of Birmingham Symphony Orchestra, Sir Simon Rattle (EMI Classics), 1994, CD B000002RU2 General Comments An excellent response to the question. You have used an admirable range of sources and, most importantly, identified critical material arising from the premiere of the piece. You have not only used music examples effectively, but made your own harmonic analyses where none others were available. Your writing style is clear and concise and citation accurate. Countermarker’s comment: agreed. An outstanding essay, well-done! ——————————————– [ 1 ]. J. Adams, Introductory Notes for Harmonielehre [ 2 ]. Loc. cit. [ 3 ]. J. Adams, Hallelujah Junction: Composing an American Life (London, 2008), p.107 [ 4 ]. K. R. Schwarz, ‘Process vs. Intuition in the Recent Works of Steve Reich and John Adams’, American Music, Vol. 8, No. 3 (Autumn, 1990), p.245-273 [ 5 ]. Philip Clark, Programme Notes for the BBC National Orchestra of Wales, 28 Jan 2011 [ 6 ]. Adams, Op. cit., 104 (Hallelujah Junction) [ 7 ]. Henceforth abbreviated as â€Å"pcs† [ 8 ]. T. A. Johnson, ‘Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach’, Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), 117-156 [ 9 ]. Examples: Harmonium (1980), Common Tones in Simple Tone (1979) and Shaker Loops (1978) [ 10 ]. T. A. Johnson, ‘Minimalism: Aesthetic, Style or Technique?’, The Music Quarterly, Vol. 78, No. 4 (Winter, 1994), 747-773 [ 11 ]. Johnson, Op. cit, 136 (Journal of Music Theory) [ 12 ]. Adams, Op. cit., 130 (Hallelujah Junction) [ 13 ]. M. Steinberg, ‘Harmonielehre’, The John Adams Reader, ed. Thomas May (USA, 2006), 101-105 [ 14 ]. T. A. Johnson, Op. cit, (Journal of Music Theory), 117-156 [ 15 ]. T. A. Johnson, Op. cit. (The Music Quarterly), 747-773 [ 16 ]. T. A. Johnson, Op. cit. (The Music Quarterly), 747-773 [ 17 ]. David Sterritt, â€Å"John Adams and His ‘Nixon in China’: Could This Be Another ‘Porgy and Bess’?† Christian Science Monitor, 19 Oct. 1987, 21-22 [ 18 ]. John Adams, quoted in Michael Steinberg, â€Å"Harmonium, by John Adams,† program notes for the San Francisco Symphony, Stagebill, 4, 6-7 Jan. 1987, 20B [ 19 ]. K. R. Schwarz, Op. Cit. (American Music) 245-273 [ 20 ]. T.A. Johnson, Op. Cit. (Journal of Music Theory), 117-156 [ 21 ]. From the discussion between Jonathan Cott and Adams concerning Harmonielehre in liner notes to Harmonielehre (Nonesuch 79115, 1985) [ 22 ]. John Adams, in an interview held in 1986 [ 23 ]. T. May, ‘Interview: John Adams reflects on his career’, The John Adams Reader, (USA, 2006), 2-28 [ 24 ]. K. Robert Schwarz, â€Å"Young American Composers: John Adams,† Music and Musicians, Mar. 1985, 10. [ 25 ]. Joseph Pehrson, New music Connoisseur, review for Harmonielehre [ 26 ]. T. A. Johnson, Op. Cit. (Journal of Music Theory),754 [ 27 ]. Adams, Op. Cit., Notes for Harmonielehre [ 28 ]. Steinberg, Op. Cit., 103 [ 29 ]. Based on C.G. Jung’s discussion of Anfortas, the king whose wounds could never be healed [ 30 ]. Steinberg, Op. Cit., 105

Hospitality Management Essay

Reflecting from my management shift, restaurant manager has many different kinds of important tasks and responsibilities in the restaurant. Restaurant manager plays an important role in the hospitality and food and beverage department as they can motivate the staff and maintain the high quality service which will help the business run successfully. Manager can provide appropriate ambiance in the restaurant which will provide warm and comfortable environment for the customer. Waiter station and dividing sections of tables should be fully allocated before the start of service shift which starts 10:00AM. After that, checking staff’s five equipment (waiters friend, lighter, handkerchief, pen and note pad), and their grooming (hair, ironing uniform, socks, belt and name badge). In the first briefing time, restaurant manager has to explain required table-set up and finding any problem such as students who are absent. When I was restaurant manager, one waiter called in sick so I had to rearrange the table booking slots to make it fit 12 waiters instead of 13. This can make the service flow more efficiently. If I left the booking slots thee way they were, waiters would have needed to pick up tables in 10 minute gap. A manager should manage and check every time whether staff are doing the right thing. After food briefing, manager should check that all staff are familiar with the menu and kitchen abbreviations as well as the price for each dish. Thus, restaurant manager should lead their team smoothly and know all situation and happening in restaurant including kitchen as well. (Food & Beverage Work Book, Feb 2013) Before doing the restaurant manager shift, I had confidence in myself because I prepared the table time slot sheet, linen order and table and station allocation the night before my shift. But once the service started, unexpected accidents happened such as waiter calling in sick. Also, because it was Thursday and nearly towards assessment night for many people, most of the staff was very tense and unmotivated. Trying to motivate the staff to work faster and efficiently was uneasy at first but I still liked having the responsibility and doing important roles that are unlike to the normal waiting staff, I believed I learned a lot of new knowledge and management skills. I also can confidently say if I become restaurant manager again I would be better than before. Effective duty allocation Restaurant manager: Joanne Suh Host: Pearl Douglas Role: Prepare butter, Prepare silver service cutlery and waiter clothes, Make sure the menu is correct and printed, Welcome the guests arrival, Book reservation for lunch and dinner service for guests. Cashier: Lucy Payne Role: Allocate waiter dockets, record the food and beverage orders on computer for each table and prepare the bill for each table, total and fill up the cash-up sheet and record any alcohol docket received each night. When it is signed by the lecturer, put the money envelop to front office. Room service: Jay Lee Role: Collect the sick list from front office, Prepare tray for room service, take room service order, deliver the food to the rooms, collect the tray back once the food is finished (Usually after 1 hour) which will be placed on the corridor. Bar team leader: Olivia Ann Role: Prepare the mocktail and cocktail of the day, make sure bar, coffee station, water jug, wine service and waiting area and linens are set up and ready for service. Provide drink to order during service including hot beverage. Come early in the morning 6:30am to order butter and milk and other needed items and order linens and others that need time to recover the night before the shift. Bar assistant: Dana Button Role: Help the Bar Team Leader set up the bar, coffee station, waiting area, water jug, and wine service. Provide the drink to order during service. Listen and follow the bar team leader’s instructions. Barista : Make hot beverages when you receive the order from the guest. Prepare the coffee work station neatly and correctly before service shift starts. Help and follow the bar team leader’s instructions when there are no orders. (Usually start of the shift. ) Staff meal: Guy Sinclair, Lit Wang Role: Prepare Breakfast, Take staff meal orders for service and management team, Set up staff meal, Clean up Taranaki Restaurant after shift. Help in the La Vista Restaurant when the jobs are finished. Waiter: Chloe Wang, Abbey Bowater, Noriko Fuji, Shannon Rochford, Marlee Mclaughlan, Nhung Tran, Ginger(Shanshan) Yong, Cindy (Xinshi) Yang, Chris (Trung Toan) Le, James Pitisopa, Hayden Woodbury, Krill This is the list for all staffs that had been worked in my team. Absent : Savneet Singh 2. 2Explain whether you think the allocation of the duties and tasks were helpful or destructive for the team and give your reasons why. I prepared most of the jobs that I should do on my management shift but what I had missed out on was plan what the â€Å"staff† should be doing on their service shift. I had to plan out which person will be doing which task on the spot. This has resulted me giving people jobs that they are not the best at. For example giving the vacuum job to a weak female staff. Also as the staff were allocated jobs that they do not like, they refused to do the jobs I ordered them to do or made excuses to do them later. This has slowed down the cleaning time of service. But because we were already in our 8th week of operation, most of the staff were already capable of doing jobs themselves without being told to do them. We finished a little later than my expected time at lunch shift which was 2:30pm. We finished at 2:40pm. This was due to customers dining in for a long time. We had three tables of industry placement interviewers. Delegation 3. 1 Making decision For the making decision, when I organised table planning I gave three tables for most people and four tables for a couple of people due to absent waiter on the floor. There were some tables already set up from the last dinner shift so I tried to allocate one set up table for each waiter to make them prepare and set up tables quicker and fair. Also I allocated the staff meal waiters to help the floor waiters when they finished preparing for staff meal to speed up the process and we can open the restaurant on time. Explain whether you think this was effective. Think about the theory. What could be done differently? When I allocated the jobs I asked people in a polite way with a soft tone of voice so the staff do not get to tense about the jobs that they have to do. I tried to be fair for example if someone did a hard job such as vacuuming La vista, I made them do an easy job afterwards like taking menu papers out from the menu. I also thanked the staff and especially the staff members who worked harder than others to acknowledge them their work. Overall I think my theory has worked out better than ordering them harshly what to do as it was my first time being the restaurant manager and staff are not used to it they might think it too personal if I order them to do jobs in a harsh way. But I think giving more volume to my voice and seriousness at time to time would have made the staff actually listen and do the jobs I allocated them efficiently. 3. 3 Identify shift outcomes and tasks. Describe how you achieved the outcomes required in this role. It very nice outcome after shift because I went to talk around with all customers. They told me that service was very good there were only few complaints about the food taste which the service team cannot control. Overall cleaning up was a little slow for lunch but everyone picked themselves up and dinner shift flowed through a lot faster than lunch. The staff members worked hard for both service and cleaning even though many staff members were stressed about the assessment week coming up and tired. I thank all the staff members and I think my first time being the restaurant manager, I did exceptionally well. Managing conflict 4. 1 Was there any conflict or disagreement in your team? Yes, between me and my bar team leader. Because bar team leader is also a type of manager as well as they manage the bar, I should have treated the bar team leader more like a manager and different from the floor staff but instead I ordered the bar team leader to do some jobs in the bar and that had made the bar team leader unpleased as the bar team leader obviously knew what sort of jobs needed to be done. But because I am still the restaurant manager for that day, I believe I had my part and reason to say the things I have said to the bar team leader. I didn’t want to make too much of a big fuss about this matter as whether or not there are customers in the restaurant it is still a working environment and restaurant manager should behave and look professional at all times or else staff and customers will look down on both me and the bar team leader. If yes, what was done to resolve this conflict? If not, why not? I resolved this problem by pretending to not hear anything that the bar team leader said behind my back. Because I thought if the bar team leader realise that I heard our relationship will become awkward. There was also dinner shift left and I really didn’t want to make any big deal out of this matter so I just pretended I heard nothing. This was a good resolution because afterwards she worked really hard and was a great bar team leader which made the service run more smoothly which was good for everyone and the restaurant possible. But later I talked in the briefing that if the restaurant manager tell you to do something do not ignore them or refuse and treat the managers like a real manager in a work place. 4. 2 What are some other options for dealing with the same situation? I believe motivating the staff and complimenting when the staffs finish their jobs can make the staff more willing to work and follow my orders. More motivated staff can give happy energy vibe to the workplace which will be transferred to the customer which will give warmer ambiance in the restaurant. 4. 3 Would you do thing differently next time you need to work with a team? For the next time that I have to work in a team, I would try to improve myself on delegating staff. I will make sure that everything in the restaurant such as preparations and second plans for times when something goes wrong again so I have a backup plan which will make me panic less. Also next time I will plan the job allocations for cleaning and preparations before service to be more efficient with time management as a manager. 5. 1 Identify a challenge or problem that occurred during your management shift. The biggest challenge I had faced was I had one waiter absent and I had 13 slots on my booking sheet that was made and finished last dinner shift. Waiters are supposed to serve each table with 20 minute gap. This made me very busy until the last minute of service and waiters were confused as their time for booking was all changed. It also confused both the waiters on floor and the management team. 5. 2 What was your response to this challenge? After ii had found out that one waiter on floor will not show up for service, I fixed the booking sheet and made the time slot 12 instead of 13. I put tables of two people together and called rooms to move the tables to a later time to make sure each waiter received 20 minute gap between each table so they had enough time to manage their tables on time efficiently. I had to reallocate some tables and stations to distribute the absent waiter’s tables and informed the staff. 5. 3 Analyse whether your reaction/response was effective and identify what you would do differently (if anything). I think in terms with the time I had, my decision was the most effective decision that was possible and best for my staff as well. If I gave tables in 10 minute break the staff will be more stressed about their time management and make mistakes on their sequence of service and have delays which will also be unpleasing to the customers as well. If I could change one thing I would make extra booking sheets for 11 waiters and 12 waiters even though I have 13 just to make sure and be safe. 5. 4 Have you identified any skills where you need to improve? What skill do you need to improve? I think I need to improve on leadership skills as I am not good at giving people commands and orders. Asking nicely could result staff refusing to follow my request. Also leading the team well so the staff are not lost and can reply on the manger is the kind of skill I need to improve on as well. Learning about yourself 6. 2What were your strengths leading the team? Figuring out solutions and making the service run fast and efficient as well as making the staff feel comfortable is my strengths in terms of leading the team. Because I found my way through problems fast and prepared for the service well, the staff trusted me and had felt comfortable. Even with extra barriers I still managed to make service flow fast. 6. 3Have you identified any areas where you need to improve? What areas do you need to improve? I think I need to improve how to be a good leader because I don’t think I have that quality just yet when I was a restaurant manager, Also I want to improve my eight management skill such as leadership, flexibility, adaptability, inventory management, conflict resolution, ability to work under to pressure, ability to multi-task, and organization skill. To be a successful manager, I need to improve all of this skill and learn from the mistake that I had got to achieve in the future. 6. 4Identify what remedial strategies you will put in place to develop the areas that are identified above. The eight management skill: leadership, flexibility, adaptability, inventory management, conflict resolution, ability to work under pressure, ability to multi-task, and organization skill and comunication. Statistic data At lunch shift, we had 126 customers coming to dine and our total food revenue was $1,962 and total beverage revenue was $2194 Hence, our average food check is $15.6 per person. It means that we sold entree and main food more than one person, which is good but it is not so good. Our team needed upselling skills at this moment. Thus, Total revenue should be $ but we received money only $ which means we lost $. The reason why this happen was that students did not pay properly and just left without paying, but it is very serious problem in real world and somebody should be to blame. That would be restaurant manager. Hence, I think that the statistic data show us how much money we make and can find the problems such as money stolen or not.

Teach YOur Children Well essays

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