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A very similar improvement in my appreciation of music has occurred with cannabis. For the first time I have been able to hear the separate parts of a three-part harmony and the richness of the counterpoint. I have since discovered that professional musicians can quite easily keep many separate parts going simultaneously in their heads, but this was the first time for me. Again, the learning experience when high has at least to some extent carried over when I’m down. The enjoyment of food is amplified; tastes and aromas emerge that for some reason we ordinarily seem to be too busy to notice. I am able to give my full attention to the sensation. A potato will have a texture, a body, and taste like that of other potatoes, but much more so. Cannabis also enhances the enjoyment of sex – on the one hand it gives an exquisite sensitivity, but on the other hand it postpones orgasm: in part by distracting me with the profusion of image passing before my eyes. The actual duration of orgasm seems to lengthen greatly, but this may be the usual experience of time expansion which comes with cannabis smoking.

A rather short essay for my music appreciation class

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Essay Music Appreciation Concert Review

In the United States, critical reception generally seemed to follow the leads of the European critics, although a tendency to dismiss the work as "difficult" and overly "academic" can also be discerned. American concert-hall performance records for the 1870-1900 period are sketchy at best, but the seems to have enjoyed modest popularity until shortly after 1930, when its performances (and those of Brahms' other works as well) skyrocketed, as we shall see. The earliest documented performances were the partial performance of several movements by the New York in January 1875, and the full premiere of the entire work, together with a Bach Cantata and excerpts from Gluck's , by the New York in March 1877. Critics were tame in their enthusiasm, but appreciated the grandeur and earnestness of the work. One rather amusing review came from the , claiming that "it is exceedingly scholarly, but its length and monotonousness are such that it is scarcely likely to impress any but students." Milwaukee, owing perhaps to its German heritage, saw an early premiere of movements 5 and 6 only in October of 1875, and Cincinnati produced a partial performance in 1878, but had to wait until 1884 for the entire work. 1888 marked the full performance of the in both Boston and Chicago, thus guaranteeing a greater audience as well as more critical attention. Again, contradiction was the rule: while the , echoing Hanslick's historical contextualization, emotes that in order to find the equal, we must "go back to the soulful conventionality of Handel and Haydn ... the inspired technique of Mozart's Masses and Requiem ... and the works of the preacher of the musical gospel, Sebastian Bach," another reviewer of the same concert writes in the that "while it shows the hand of a skilled musician, its vagueness and fragmentary themes do not offer much satisfaction."

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In the past four years of my life, no activity has affected me more than wrestling. Four years of varsity wrestling and the honor of being a team captain has instilled many qualities in me. First, through years of hard work and continuous dieting, wrestling has given me discipline. This discipline has spread to other parts of my personality, including my moral character, work ethic, and perserverence. Another quality wrestling has given me is leadership. As a team captain, I have learned to lead by example, both on and off the mat. Above all, though, wrestling has given me a love of life. Through this sport, I have experienced pain, sacrifice, adversity, and success. Exposure to these feelings-which are, in my opinion, the essence of being-has allowed me to truly appreciate life. I hope to continue wrestling at Georgetown.

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The Bremen performance was not marred by any such mistakes as had clouded the Vienna premiere, and the critical response was one of resounding approval and appreciation. Nearly all critics recognized the extraordinarily complex nature of the composition, stressing in particular the incorporation of traditional elements such as counterpoint together with a modern-sounding modulation and rhythmic structure. Even the few negative comments, usually minor, were expressed with a respect for the composer's achievements, which had been completely lacking in the Viennese diatribes. One critic remarked on a "somewhat notable unease in modulation," while another lamented Brahms' "ascetic Greco-German composition" and hoped "that he will withdraw himself from this subjectivity in the course of time." Just as the regional preferences of Vienna played a role in the reception there, so too in Bremen were the responses at least in part due to the city's Protestant heritage; telling is also the criticism of the second movement, which, with its slow tempo set in 3/4 time, was seen as a rather ridiculous-sounding Ländler waltz, so beloved in Austria; one critic even considered this movement an "undeniable lapse." In general, however, critical and public acclaim was so positive that a second performance had to be immediately scheduled in Bremen, only two weeks later on April 28. Brahms had found his success; although Vienna would still present its own resistance, performances throughout Germany began immediately, and reception was, with a few notable exceptions, overwhelmingly respectful.

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As we have seen, critical attitudes in Germany slowly consolidated themselves during the latter years of the 19th century: where at first there had been sharp divisions in judgment, a consensus was reached by 1900 which acclaimed the for its technical as well as aesthetic appeal in combining older traditions such as counterpoint with new or "modern" tonal and harmonic structures. A delayed but similar consensus was also reached in England and America, not surprisingly: while concert-hall acceptance was never in question, music journalists and critics did express some distaste towards the academic nature of Brahms' use, but these voices were gradually replaced by a more appreciative younger generation, who recognized the innovative and even "progressive" qualities in Brahms' compositional style. In Britain, for example, Bernard Shaw, a staunch Wagnerian, had disparaged the in no uncertain terms, comparing it unfavorably to Mozart's and lamenting the "Bachian" fugues and tedium in glib statements such as: "I do not deny that the is a solid piece of musical manufacture. You feel at once as though it could only have come from the establishment of a first-class undertaker. But I object to requiems altogether." Later critics such as Britten and Tippet were slightly more lenient, objecting not to the traditional elements but to what they considered its aesthetic failings: Tippet wrote that Brahms had tried to fill the "Beethovenian mould without realising its inherently dramatic nature." Gradually, however, in England as well as in the United States, negative criticisms disappeared, to be replaced by serious academic studies of the origins and construction. Spurred perhaps by the continued public interest in hearing the piece performed, more and more critics began to analyze the so-called "Bachian" elements of the counterpoint, the textual and musical connections to earlier German masses, and, eventually, the compositional form and structure as well. In the eyes of the critics and the public alike, Musgrave concludes, Brahms' standing "changed imperceptibly from the context of `modern' to that of `classic.'"

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Appreciating someone’s efforts is not an act that makes you feels shy but it’s an act that proves your character. This act shows that you are living down to earth. Therefore it is necessary to appreciate a person whenever possible. It is a good way to make things easier and simpler.