The different between simulated reverberation using corner speakers in Research Paper

The different between simulated reverberation using corner speakers in the room and real reverberation - Research Paper Example Another researcher has found that the effects of steady-state suppression are similar in simulated and real reverberant environments. Therefore, there are advances that are closing the gap between the simulated and real reverberant environments, and there are commonalities as well. The following describes the differences between the two environments as well as the common ground that they share. Simulated verses Real Reverberation Simulated reverberation creates a diotic sound field (like loudspeaker in front) prone to spectral cancellations. C.f. to â€Å"amplitude mapping† / â€Å"summing localisation†. The diotic sound field may be replicated by the researcher, such as with the study done by Arai et al. (2007). They wanted to evaluate the effect of overlap-masking on speech intelligibility, so they conducted a study where they presented stimuli diotically through headphones connected to a computer. They were further able to adjust the sound level to the comfort of eac h subject. They found that the intelligibility of speech in reverberation was inversely correlated with the amount of overlap-masking (Arai et al., 2007, p. 440). ... n acoustic field is considered to be perfectly diffuse in a volume V if the energy density is the same on all points of this volume V† (Nelisse & Nicola, 1997, p. 3517). According to Kopco and Shinn-Cunningham (2002), however, this diffusion depends upon where the listener is in the reverberant room. For listeners in the center of the room, the reflective surfaces are located relatively far from the listener, which makes the sounds from all positions in the room diffuse to the listener. On the other hand, when the listener is close to a wall, early reflections are prominent, and these early reflections’ magnitude and timing depends upon where the source is in relation to the listener (Kopco & Shinn-Cunningham, 2002, p. 109). They also found that the reverberation effect on localization varies dramatically depending upon where the listener is positioned in the room, while the effects of room position on localization are modest (Kopco & Shinn-Cunningham, 2002, p. 112). On the other hand, Moorer (1979) found that diffusion is one of the reasons that simulating reverberation does not sound like real reverberation, and found that the effects of diffusion are most prominent when the walls are irregular, as opposed to flat, which is the case with most concert halls. For instance, Moorer cites the case of the Boston Symphony Hall, with its fluted side walls and box well ceiling. This configuration causes a confusion of sounds which are caused by the multiplicity of the diffused sources of sounds that are reflected from every irregularity in the room. Therefore, everything but the first few images are washed out, which means that artificial reverberation has a difficult time simulating the acoustics of a concert hall, which is the source of real reverberation (Moorer, 1979,

Theories of attribution bias Essay Example for Free

Theories of attribution bias Essay Attribution theory is concerned with how individuals interpret events and how this relates to their thinking and behaviour. Heider (1958) was the first to propose a psychological theory of attribution, but Weiner and colleagues (e.g., Jones et al, 1972; Weiner, 1974, 1986) developed a theoretical framework that has become a major research paradigm of social psychology Fundamental attribution error The fundamental attribution error focuses generally on how people explain how and why things happen in a social setting. There is a strong tendency for people to explain their own behavior as a function of external situations, but attribute the behavior of others to internal factors. The fundamental attribution error explains why people often blame other people for things over which they usually have no control. The term blaming the victim is often used by social psychologists to describe a phenomenon in which people blame innocent victims of crimes for their misfortune. The actor-observer bias tends to be more pronounced in situations where the outcomes are negative.For example, someone might say they did poorly on an exam because it was very difficult or unfair. But when explaining anothers behavior, they would be more likely to attribute something internal, like not studying enough. Actor observer effect The actor-observer bias is a term in social psychology that refers to a tendency to attribute ones own actions to external causes, while attributing other peoples behaviors to internal causes. Essentially, people tend to make different attributions depending upon whether they are the actor or the observer in a situation. 3.1 Self-monitoring in social encounters- Snyder 87-95 3.1 self-disclosure in social encounters- wiemann Giles/Jourard71 3.1 self-presentation in social encounters- duck 88 influence people in positive way

Copernicus, Galileo and Hamlet :: Hamlet Copernicus

Copernicus, Galileo and Hamlet If imagination is the lifeblood of literature, then each new scientific advance which extends our scope of the universe is as fruitful to the poet as to the astronomer. External and environmental change stimulates internal and personal tropes for the poetic mind, and the new Copernican astronomy of the late 16th- and early 17th-centuries may have altered the literary composition of the era as much as any contemporaneous political shifts. Marjorie Nicolson, in "The Breaking of the Circle," argues that the heliocentric system greatly influenced the metaphysical poets, especially John Donne, as it necessarily mated the concept of a universal macrocosm with the preexisting notions of a personal microcosm and earthbound geocosm. Nicolson claims that the Elizabethans, Shakespeare included, failed to apply the new motion of heavenly bodies to their own bodies of work, and that their obsolete cosmology confers obsolescence upon their literary endeavors. I will argue that Hamlet, written in the aftermath of Copernicus's De Revolutionibus and Tycho Brahe's cosmological observations, not only follows many of Nicolson's tenets for the metaphysical poetry of the time, but stands as a central metaphor for the ambiguous period between Copernicus's initial theories and Galileo's visual proofs in Sidereus Nuncius. The conflict of Hamlet is the geocentric pitted against the heliocentric; Hamlet the "son/Sun" must revenge his Hyperion father's death by deposition of his traitorous and swinish uncle from the English throne, the center of the action and royally emblematized through the Sun. But the addition of the macrocosmic/heliocentric view to Hamlet's preexisting microcosmic†¹that is, self-centered or, to use a word that rings of etymological irony, solipsistic†¹obsessions does not make for a happy marriage; rather, the two spheres, representing externality and internality, stall Hamlet's geocentric development†¹earthly, physi cal action. Hamlet's legendary propensity to delay stems not from a mere excess of thought but from a divisive thought process that clouded Shakespeare's times: its fractured and debated cosmology. As Nicolson postulates, "'Correspondence' between macrocosm and microcosm, which man had accepted as basic to faith, was no longer valid in a new mechanical universe and mechanical world" (Nicolson, xxi). In Nicolson's eyes, King Lear reflects Shakespeare's preoccupation with the new cosmology more in astrological than astronomical terms: "Disruption in the heavens presaged disruption upon earth, the storms of the geocosm paralleled those in the microcosm, but our attention and Shakespeare's is centered on Lear, the man, rather than on the world and the universe" (Nicolson, 149).

Jazz Concert Review

Concert Evaluation Guidelines: MUS 2014: General guidelines to writing the paper. AFTER THE CONCERT Write your paper as soon as possible after the concert while the experience is fresh in your mind. What you include in you Concert Review will depend largely on the concert you attend. FORMAT Typed: double-spaced, 12 point, Times New Roman, one inch margins Title page: Concert title, performers (do not list performers in larger ensembles), date of concert, course number and section, your name, and date. Length: No more than three pages. Assemble: All concert reports must be stapled, with the concert program stapled behind your paper.Your name should be on each page, and also on the program. Programs: Attendance at a live performance is required; streaming concerts are not acceptable for this assignment. The concert program must be turned in with your paper; papers submitted without programs will not be accepted. Printed PDF programs and Xerox copies will also not be accepted. Be advise d that a well-attended performance may run out of programs; be sure to arrive early to get a program. STYLE Write your paper in the first person. This is about your concert experience and your reactions. Avoid jargon, slang, and wordiness.Points will be deducted for grammatical and spelling errors. CONTENT What do you include in your paper? The most important goal of the concert-going experience is to enjoy the music. If you are busy taking notes and trying to remember everything that you hear, then you are not listening and reflecting. There is not time to analyze the music in great detail in the context of a concert. The primary goals are to listen, enjoy, reflect, and to later articulate your impressions using musical terminology to the best of your ability through the writing of your Concert Review.What to include: Your paper should follow a standard format including an introductory paragraph, body (one paragraph on each work), conclusions, and a closing paragraph. Introduction: Include name of ensemble(s) and/or soloists performing and the genre of music being performed (eg. Swing, Latin, BeBop, etc.. ). Body: Dedicate one paragraph to each work of music. In each paragraph give the name of the piece, composer, and performer(s) (if different from one to the next). For concerts with several shorter works, these paragraphs will be brief. You MUST attend the entire performance. For concerts with several works, a minimum of 4 works is required) †¢ If possible, include historical context. Include the time period. Were there musical characteristics from that time period that you were able to recognize? Did the piece sound like other pieces in that time period that you heard in class? †¢ Most importantly, include your overall impressions of each piece. Did you like or dislike the work? What was it that you liked or disliked? Using musical terminology articulate to the best of your ability what you liked. †¢ Can you relate the piece to anything you have listened to in class? Had you heard the piece before?Conclusions/Closing Paragraph: †¢ Did you enjoy one piece of music more than others? If so, why? †¢ Have you been to a concert of this type before? †¢ How does attending a live concert influence your listening? †¢ What did you think of the quality of the performance? †¢ Given the opportunity, would you go to another concert of this type? Things to Avoid: †¢ Do not give a â€Å"play by play† of the pieces. â€Å"First the piano†¦ † â€Å"Next the Saxophones†¦ † then the percussion†¦. † †¢ Do not take unnecessary space with long lists of instruments, and performers. †¢ Avoid overused words like upbeat, smooth, entertaining, and cool. Avoid redundancies. For example, if an entire concert of music is from the Swing era, this does not need to be stated in each paragraph. †¢ Do not call a piece of music a â€Å"song† unless it has words an d someone was singing. †¢ Do not use additional sources without citing them. THE UNIVERSITY WRITING CENTER The University Writing Center is located on the bottom level of the Belk Library and Information Commons, in Room 008. Consultants will work with you one-on-one and provide assistance with style, organization, content, grammar, and documentation. For more information, visit www. writingcenter. appstate. du; or call 262-3144 to make an appointment. ACADEMIC INTEGRITY As a community of learners atAppalachian State University, we must create an atmosphere of honesty, fairness, and responsibility, without which we cannot earn the trust and respect of each other. Furthermore, we recognize that academic dishonesty detracts from the value of anAppalachian degree. Therefore, we shall not tolerate lying, cheating, or stealing in any form and will oppose any instance of academic dishonesty. This course will follow the provisions of the Academic Integrity Code, which can be found on the Office of Student Conduct Web Site: Jazz Concert Review Mus1104 Concert Review A Night of Jazz with the University Jazz Bands The concert I chose to attend was the University Jazz Bands’ Student Ensemble Concert on Wednesday, March 6, 2013. The concert featured two ensembles, both the Virginia Tech Jazz Ensemble and the Jazz Lab Band. At this concert, I was both a perceptive listener due to my knowledge of music and music performance, and a casual listener enjoying my friends performing a great concert. I enjoy my nature of listening because I can appreciate the music on many different levels, and get much more out of the performances than the casual listener.The concert was entirely jazz music, performing hits by Tommy Wolf, Duke Ellington, Mike Tomaro, and on. The ensembles varied in exact composition, but both contained: alto, tenor, and baritone saxophones; trumpets and trombones; drums, bass, piano, and guitar. A performer of every instrument had a solo and one point or another in the various songs, which provided not only a g reat chance to hear individual musician’s talents, but also a great opportunity to hear how the instrument itself can be used in jazz improvisation and how styles vary from instrument to instrument due to the nature of playing/performing them.There were nine songs performed at the concert, each with their own unique melody and form, but all following the jazz standards. The first song, â€Å"Rosewood,† was written by Woody Shaw and was performed by the Jazz Lab Band. The song features a fast presto tempo, fast with engineering and a driving bass line. A quarter of the way through the song, there’s a great trumpet solo blaring over a more subdued standard jazz riff, which goes straight into a tenor saxophone solo. The saxophone solo developed nicely upon the trumpet solo, both incorporating the first melody with some minor improvisations.The song had three themes, which were played in an ABACA pattern. The song was generally polyphonic, with one soloist or instru ment group playing a melody (theme) while the other instruments provided harmonies. The contrast between the trumpet section’s unity and the saxophones’ varying parts added depth to the song. The second song was â€Å"Dat Dere† was written by Bobby Timmons but arranged by Mark Taylor. In contrast to â€Å"Rosewood,† this song features a main theme that recurs throughout, with episodes throughout which develop upon the theme before it is repeated in its original form again.It featured a trombone solo which was unique to hear for me, because most pieces I’ve heard feature saxophone and trumpets but never a trombone. â€Å"Dat Dere† also features the typical saxophone and trumpet solos, however those follow the trombone. The tempo is more relaxed than that of â€Å"Rosewood† and is just below an allegro. However, the energy and enthusiasm of the musicians made it lively even though it wasn’t fast-paced. The third piece, Sammy Nest ico’s â€Å"Basie, Straight Ahead† also had a unique solo: the piano.The pianist had been switching between piano and keyboard for the first two songs, and in â€Å"Basie, Straight Ahead† finally got his time to shine. The piece emphasizes syncopation like none other, with the melody being one syncopated measure after another. There was great conversation between the saxophones and the trumpets, firing back and forth at each other with their music. The tempo was similar to that of â€Å"Dat Dere†. Towards the end, the drums really emphasize the syncopation by playing on the beat so that you can clearly hear that everyone else is off the beat.The next song the Jazz Lab Band played was â€Å"C-Jam Blues† by Duke Ellington, a classic jazz piece featuring a distinctive motif that is played over and over again. The theme is then developed upon by a few soloists, taking a simple two measure phrase and turning it into great ditty. The trumpet players make great use of Harmon Wah-wah mutes, keeping in the style of the original song by the Duke. Definitely the most laid back piece with regards to tempo, â€Å"C-Jam Blues† is definitely more bluesy than jazz.After the blues, the Band went into Tommy Wolf’s â€Å"Spring Can Really Hang You Up The Most† which ended up morphing into â€Å"Mercy, Mercy, Mercy† by Josef Zawinul. It opens with a beautiful slow piano solo which is quickly followed by a beautifully flowing saxophone solo. Definitely a song of polyphony to start, the saxophone soloist keeps going while the rest of the band accompanies quietly in the background. As soon as the solo is over though, the song quickly sped up and the background temporarily took over the melody, before the solo began some great improvisation upon the main theme.After the saxophonist, the drummer takes over for some great rhythmic variations. After a brief intermission, the Jazz Ensemble performed four pieces, which were al l more lively, energetic, and engaging than the first half. It was the Jazz Ensemble’s performance that I would recommend to friends, because it was much more enjoyable to watch and listen to than the Jazz Lab Band. Whether it was because of their bigger numbers or just a difference in personality of the performers, they were so much more energetic.The Ensemble’s first piece was â€Å"Max† by John Clayton, which gradually adds instruments in and gives a lot of attention to the saxophones by giving most of the melody and theme to them, unless it is being played by everyone. The trumpets break out their Harmon mutes again, which really does add a great layer of depth to the piece. The tempo was more casual than the other pieces which was a great way to relax into the second half. The next piece was â€Å"Lambeau Leap† by Fred Sturm, which quickly crescendos before a duet between the keyboardist and a trumpeter.Following them was a great guitar solo which wa s quite enjoyable, due to how great jazz guitar sounds. The theme was recurring, with an ABABA pattern throughout, with the B theme being improvisations upon the theme by soloists. The second to last piece was â€Å"Ice Castles† by Marvin Hamlisch, which was an incredible piece and was rich in melody and harmonies. Originally intended to be performed by a trumpet player Dave Detwiler, it was performed instead by the director Jason Crafton due to Mr. Detwiler getting stuck in Washington, D.C. from weather. The trumpet solos throughout the piece are quite smooth and beautiful, giving the piece a nice calm blues feeling. The piece is almost a concerto due to the nature of the trumpet solo. However, it was a great example of polyphony as the ensemble built underneath him, gradually growing in the number of people playing and in dynamic level, all the while accompanying the main trumpet’s theme. The final piece of the concert was â€Å"Minuano†, which is an intriguin g and difficult piece by Pat Metheny and Lyle Mays.Starting with a swirling almost klezmer melody. The song is led by a saxophone soloist until a trombone player takes over and leads the group. A theme and variation of sorts, the main melody is constantly developed upon by various instrumental parts, the tempo changing as they go, starting from a relaxed andante and quickly working their way up. The trumpets’ final use of the Harmon mute was quite enjoyable; a personal favorite of mine. All in all, it was a great concert, with much to talk about! It gave me a new appreciation for jazz music.

Professional Ethics Statement: Ethical Foundations Essay

Ron Brown’s your ethical framework and principles are to make amends where possible. Ron Brown must employ the ethics of being concerned for others, empathetic, responsible, accountable, grateful, motivated, and seek God’s grace which will be my only salvation. These character traits shape the makings of the best ethical position which will amount to Ron Brown’s success with mankind and God. Personally, when dealing with people Ron Brown’s ethical view consists of respect, consideration, gratitude, acknowledge of boundaries, cooperation, and honesty, trustworthiness, and kindness influences Mr. Ron’s perception of the people when working with and teaching. These are the area that warrant more care and affect differently the body Many individuals feel sucked into the black-hole or the abyss of empty ethics following a leaders’ vision to personally survive. Michael Joseph’s video suggested that ethics is more likely pushed aside when it comes to complying with an organizational culture. Many of the individuals feel sucked into the black-hole or the abyss of empty ethics to personally survive. This is the body of â€Å"everyday, ordinary life† as Palmer (2004) states there is absorption of jobs where people are working to pay bills, there is a limit on achieving dreams, constant making excuses, the world responsibilities carried on the backs of all human beings. Here it is, sitting in a mess without true deliverance. For example, rationalizations may appear when instructors may take off points on a graduate student’s paper only due to the fact that it was late. Maybe the student did not understand the due date. The ethical sticking to the policy even if it hurts the student represent a higher education’s established ethics despite the destruction of a students moral and grade. Particularly when a student first starts the online venture, the student is not quite sure of all of the procedures. When the ethics of the company or organization fails the people then it is time to reconsider the restructuring of the ethic that hold the mortar of future education and survival of Americans in the world work market (Bonhoeffer, 1995; Palmer, 2004; Borgmann, 2006; Butterfield, 2003). The body of â€Å"everyday, ordinary life† is laden with a heavy exoskeleton. This imaginary yet invisible shell that Ron Brown hides serves to temporarily protect, excrete, sense, support, feed and act as some supportive barrier against terrestrial organisms and desiccation (Butterfield, 2003). Exoskeletons serve to establish defenses from predators, pests and protection from unwarranted possible invasions while clinging to fear. People not comprehending my plight as an artist, musician, scholar, free mind in an over structured society holding fast to their rubrics of life, yet unforgiving and judgmental. Reference: American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: Author. Bonhoeffer, D. (1995). Ethics. (N. H. Smith, Trans.). New York, NY: Borgmann, A. (2006). Real American ethics: Taking responsibility for our country. Chicago, IL: University of Chicago Press. Butterfield, N. J. (2003). Exceptional fossil preservation and the Cambrian explosion. Integrative and Comparative Biology, 43(1) 166–177. Palmer, P. (2004). A hidden wholeness: The journey toward an undivided life. San Francisco, CA: Jossey-Bass.

Tips for Successful Late Night Studying

Tips for Successful Late Night Studying What is your best study time? Do you feel most like studying in the wee hours of the night? If so, you are not alone. But  that can be a problem for parents and school officials. While some students like to get up early in the morning and study, most will say that late night studying is most productive. When it comes to brain power, students will say they perform better at nightand the fact that parents might find surprising and  interesting is that  science seems to agree. That can be a problem. School starts early in the morning for most students, so the benefits of studying at night can be eliminated by the drowsiness of missing sleep! Science also shows that the amount of sleep you get will affect your academic performance. Here Are a Few Tips for Maximizing Study Time Figure out if you are a morning person or a night person. You might surprise yourself. Try getting up early to study and see if it works out.Have a talk with parents to tell them that teen brains do perform better at night, so you won’t have to deal with miscommunication. Show them the science. You might be able to come up with a solution.Agree on an absolute â€Å"start time† for studying if you need to study late. Turn off the TV! Your brain should be just fine at six or seven o’clock. You don’t need to start after dark.Agree on a solid deadline for closing books and getting to sleep.Dont waste time on texts, games, and social media. You can do all of that early evening and get serious later in the evening if youre a night owl.Upon occasion, you may be able to go to school a little late if you have to study for an afternoon test. As long as you are communicating with your parents, and as long as the tardiness doesnt hurt your grades, you may be able to w ork this out. Sources: Improved Academic Success. ScienceDaily. Retrieved November 7, 2009, from sciencedaily.com ¬ /releases/2009/06/090610091232.htm Teens. ScienceDaily. Retrieved November 7, 2009, from sciencedaily.com ¬ /releases/2007/05/070520130046.htm

Casablana Conference during World War II

Casablana Conference during World War II The Casablanca Conference occurred on January 1943 and was the third time President Franklin Roosevelt and Prime Minister Winston Churchill met during World War II. In November 1942, Allied forces landed in Morocco and Algeria as part of Operation Torch. Overseeing operations against Casablanca, Rear Admiral Henry K. Hewitt and Major General George S. Patton captured the city after a brief campaign which included a naval battle with Vichy French vessels. While Patton remained in Morocco, Allied forces under the direction of Lieutenant General Dwight D. Eisenhower pressed east into Tunisia where a stalemate with Axis forces ensued. Casablanca Conference - Planning: Believing that the campaign in North Africa would be quickly concluded, American and British leaders began debating the future strategic course of the war. While the British favored pushing north through Sicily and Italy, their American counterparts desired a direct, cross-Channel attack directly into the heart of Germany. As this issue, as well as several others, including plans for the Pacific, required extensive discussion, it was decided to schedule a conference between Roosevelt, Churchill, and their respective senior leadership under the codename SYMBOL. The two leaders selected Casablanca as the site of the meeting and organization and security for the conference fell to Patton. Choosing the Anfa Hotel to host, Patton moved forward with meeting the logistical needs of the conference. Though Soviet leader Joseph Stalin was invited, he declined to attend due to the ongoing Battle of Stalingrad. Casablanca Conference - The Meetings Begin: The first time an American president had left the country during wartime, Roosevelts trip to Casablanca consisted of a train to Miami, FL then a series of chartered Pan Am flying boat flights that saw him make stops in Trinidad, Brazil, and Gambia before finally arriving at his destination. Departing from Oxford, Churchill, weakly disguised as a Royal Air Force officer, flew from Oxford aboard an unheated bomber. Arriving in Morocco, both leaders were quickly whisked to the Anfa Hotel. The center of a one-mile-square compound that had been built by Patton, the hotel had previously served as housing for the German Armistice Commission. Here, the first meetings of the conference commenced on January 14. The next day, the combined leaderships received a briefing on the campaign in Tunisia from Eisenhower. As talks pushed forward, an agreement was quickly reached on the need to bolster the Soviet Union, focus bombing efforts on Germany, and win the Battle of the Atlantic. The discussions then bogged down when the focus shifted to allocating resources between Europe and the Pacific. While the British favored a defensive stance in the Pacific and a total focus on defeating Germany in 1943, their American counterparts feared allowing Japan time to consolidate their gains. Further disagreement arose in regard to plans for Europe after victory in North Africa. While American leaders were willing to mount an invasion of Sicily, others, such as US Army Chief of Staff General George Marshall desired to know Britains ideas for striking a killer blow against Germany. Casablanca Conference - The Talks Continue: These largely consisted of a thrust through southern Europe into what Churchill termed Germanys soft underbelly. It was felt that an attack against Italy would take Benito Mussolinis government out of the war forcing Germany to shift forces south to meet the Allied threat. This would weaken the Nazi position in France allowing for a cross-Channel invasion at a later date. Though the Americans would have preferred a direct strike into France in 1943, they lacked a defined plan to counter the British proposals and experience in North Africa had shown that additional men and training would be required. As it would be impossible to obtain these quickly, it was determined to pursue the Mediterranean strategy. Before conceding this point, Marshall was able to secure a compromise calling for the Allies to maintain the initiative in the Pacific without undermining efforts to defeat Germany. While the agreement allowed the Americans to continue seeking retribution against Japan, it also showed that they had been badly outmaneuvered by the better-prepared British. Among the other topics of discussion was obtaining a degree of unity between French leaders General Charles de Gaulle and General Henri Giraud. While de Gaulle considered Giraud an Anglo-American puppet, the latter believed the former to be a self-seeking, weak commander. Though both met with Roosevelt, neither impressed the American leader. On January 24, twenty-seven reporters were called to the hotel for an announcement. Surprised to find a large number of senior Allied military leaders there, they were stunned when Roosevelt and Churchill appeared for a press conference. Accompanied by de Gaulle and Giraud, Roosevelt forced the two Frenchmen to shake hands in a show of unity. Casablanca Conference - The Casablanca Declaration: Addressing the reporters, Roosevelt offered vague details about the nature of the conference and stated that the meetings had allowed the British and American staffs to discuss a variety of key issues. Moving forward, he stated that peace can come to the world only by the total elimination of German and Japanese war power. Continuing, Roosevelt declared that this meant the unconditional surrender of Germany, Italy, and Japan. Though Roosevelt and Churchill had discussed and agreed on the concept of unconditional surrender in the preceding days, the British leader did not expect his counterpart to make such a blunt statement at that time. In concluding his remarks, Roosevelt stressed that unconditional surrender did not mean the destruction of the population of Germany, Italy, or Japan, but it [did] mean the destruction of the philosophies in those countries which [were] based on conquest and subjugation of other people. Though the consequences of Roosevelts statement have been greatl y debated, it was clear that he desired to avoid the vague type of armistice that had ended World War I. Casablanca Conference - Aftermath: Following an excursion to Marrakesh, the two leaders departed for Washington, DC, and London. The meetings at Casablanca saw the mounting of a cross-Channel invasion delayed by a year, and given the Allied troop strength in North Africa, the pursuance of a Mediterranean strategy had a degree of inevitability. While the two sides had formally agreed on the invasion of Sicily, the specifics of future campaigns remained ambiguous. Though many were concerned that the unconditional surrender demand would reduce the Allies latitude to end the war and would increase enemy resistance, it provided a clear statement of war aims which reflected public opinion. Despite the disagreements and debates at Casablanca, the conference did work to establish a degree of kinship between the senior leaders of the American and British militaries. These would prove key as the conflict pushed forward. The Allied leaders, including Stalin, would meet again that November at the Tehran Conference.