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Copyright © 2015 Pearson Canada Inc. 3- 1
Chapter Overview
• Power and politics—differing perspectives on use in
organizations
• Power relationships in the workplace—sources of power
of actors in units/departments
• Positive and negative perceptions of power and politics
in workplace
• Organizational structures that empower employees
Copyright © 2015 Pearson Canada Inc. 3-2

Chapter Overview
• Organizational groups that exert power and how power
operates
• How politics plays out in organizations
• Strategies and games used in health care organizations
• Types of situations that give rise to use of power and
politics

LO #1: Define power and politics and describe
differing perspectives on their use in
organizations
• Power
– “The ability to exert actions that either directly
or indirectly cause change in the behaviour
and/or attitudes of another individual or group”
– In an organization—“the ability to mobilize
resources (human and material) to get things
done”

organizations
• Five bases of power that are most
common:
– Reward power
– Coercive power
– Legitimate power
– Referent power
– Expert power

organizations
• Politics
– Tactical activities or strategies a person takes
to influence the decisions or actions of others
– More likely to evoke a negative image than
power
– Has been seen in organizations as essentially
illegitimate, and has been compared to an
illness

LO #2: Analyze power relationships in the workplace
and the sources of power of the actors or
units/departments of an organization
• Multiple factors affect power relations in an

organization
– Three groups of people in an organization
• Those who are naïve about power and influence in
organization
• Those who are cynics
• Those who are in between

LO #2: Analyze power relationships in the workplace and
the sources of power of the actors or units/departments
of an organization
• Diversity or difference among people

around goals, values, and perspectives
– Cultural, professional
– People are interdependent
– Low interdependence and low diversity
• Easier to resolve conflict
– Multidisciplinary teams

LO #3: Debate the positive and negative
perceptions of power and politics in the
workplace
• Power
– Negative perceptions
• Dominance over others
• Hold-over from pre-democratic periods where
leader was cruel tyrant
• Social inequality, abuse and rule by elites
• Westerners showed a negative association
between power and cooperation.
• Differing cultural views of power may lead to
differing psychological and behavioural
consequences in the workplace.
workplace
• Power
– Positive perceptions
• Contributes to order and effectiveness
• Westerners showed positive association between
power and reward
• Politics
– Positive perceptions
• The constructive reconciliation of competing
causes-by which diverse interests and views can
be sorted out in a just way.
Copyright © 2015 Pearson Canada Inc. 3 - 10

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workplace
• Politics
– Negative perceptions
• Competing interests and goals, jockeying for a
favourable position, or approval of one over
another
• When politics becomes dominant force in
organization, it affects legitimate power.
Copyright © 2015 Pearson Canada Inc. 3)- 11

workplace
• Politics
– Negative perceptions (cont’d)
• “A domain of activity in which participants attempt
to influence organizational decisions and activities
in ways that are not sanctioned by either the formal
authority system of the organization, its accepted
ideology or certified expertise”

LO #4: Discuss how an organization may
be structured to empower employees
[insert Table 3.1 from text, p. 74]

• Empowerment
– Workplace factors that give employees a sense of
power and more influence in the organization.
– Factors Include the ability to act and to make
decisions in their positions
– Requires support (supplies, resources, education and
information) and delegation to the employee

• Types of power used in organizations to

empower employees
– Expert power
– Reward power
– Referent power

LO #5: Describe the groups in organizations who
can exert power and ways in which power can
operate
• Three groups have been described as

being powerful or influential in hospital
decision-making:
– Board of trustees or directors
– Senior administration of the hospital
– Senior physician

operate
• Systems of Influence in Organizations

– Internal coalition
• Top management
• Operators
• Line managers
• Analysts
• Support staff

operate

– System of Authority
• Formal power that accrues to the holder of an
official position, e.g., CEO
• They establish and design the hierarchy or chain of
authority.
– System of Ideology
• Beliefs about the organization that integrate
personal and institutional goals
• Involves a sense of mission and shared goals,
traditions, identification, socialization, and loyalty
operate

– System of Expertise
• Relies on professionals for the complex work
required in the organization
• Relies on less bureaucratic form of organization
– System of Politics
• Employees have delegated power that gives them
discretion to make decisions at some level.
• Discretion in work makes the use of political power
possible.

LO #6: Discuss how politics plays out in organizations
and the strategies and games that can be used in health
care organizations
• Political strategies
– Ways in which people develop and use power
to their advantage to influence a decision
and/or achieve goals
– Actors in political process consider their own
sources of power and that of others to
develop strategies

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Prices of bows.
The bows of Tourte now cost £25 and upward. New silver
mounted bows of best quality cost about 30/-, mounted in German
silver about 18/-. Inferior qualities may be had from 3/- upward. The
worth of a bow to its possessor consists in its firmness and elasticity,
and in its proving fit to execute every kind of bowing with certainty.
Care of the instrument.

The instrument must always be kept clean and in order; every
part should always be in proper condition. The dust from the resin
must, every time after playing, be wiped from the upper table,
fingerboard and bridge with a soft cloth. The strings, fingerboard
and neck are then rubbed with an old silk handkerchief, taking care
not to rub the strings to and fro, but always in one direction, else
small fibres may be loosened. If the strings are dirty through
perspiring fingers, the upper three strings may be rubbed with a
little neats’ foot oil or almond oil, or a notched almond may be used.
The G string may be cleaned with spirits or by rubbing with fine (No.
1) glass paper. The encrustation of resin upon the surface of the
strings may be removed with spirits, observing that nothing drops
upon the upper table, to injure the varnish.
To keep the neck quite smooth it may be occasionally rubbed
with pulverized pumice stone put into a little muslin bag.[10]
The dust that accumulates inside the violin may be removed by
warming some very fine gravel or grains of wheat, and throwing
them inside. The instrument is then shaken about, and on shaking
the grains out again through the f holes, the dust comes away also.
To make the pegs work easily and yet hold fast, they must
frequently be rubbed with dry soap and then with chalk, where they
come in contact with the peg box.
Cleaning the hair of the bow.
If dirty, unscrew the nut from the stick, and wash the hair with
warm water and soap. Then rinse in cold water, and hang up the
bow to dry. When again screwed up, powdered resin is rubbed into
the hair with a little brush. Spots of grease are extracted by rubbing
with salt in blotting paper, or by a hot iron with blotting paper
wrapped around it.
Naming and tuning of the strings.

The four strings of the violin are tuned in perfect fifths. The first
is the E string (1ᵃ), the second the A (2ᵈᵃ), the third the D (3ᵃ), and
the fourth the G (4ᵃ). The usual practice, when the pitch of the A is
determined, is to tune the D to it, the G to that, and lastly the E to
the A.[11]
Compass of the violin.

The compass of the violin extends over about 4½ octaves. In the
orchestra to this extent at most:—
PART II.
The technique of violin playing.
Attitude of the player.

When playing from notes the player places himself opposite the
desk a little to the left, so that the violin does not hide the notes from
view. The body should be erect, but not stiffly so. The right foot is put
outward, the left straight, so that the toes are in a line. The weight of
the body must rest chiefly on the left foot.
Holding the violin.

The violin is held with the left hand and rests
on the left collar bone. The instrument must be
horizontal. To give a firm grip, a small pad is often
placed between the violin and the left shoulder. A
chin-rest screwed to the ribs, and covering a part
of the upper table, is also to be recommended.
The chin-rest serves also to protect the varnish.
Chin-rest. To prove that the violin is held securely and
well, the left hand may be removed.
Position of the left hand and the left arm.
The left hand is placed so that the neck of the violin is held
between the lower joint of the thumb and the third of the index finger.
The neck must not be gripped, but lightly held[12], and care taken
that between the neck and that part of the hand which connects the
thumb and first finger, there is an open space. The inner part of the
hand is kept away from the fingerboard, so that the fingers may fall
upon the strings from above. The position of the left arm must be
such as to bring the elbow far enough to the right to place it
underneath the middle of the violin. To attain a correct manner of
holding, place the first finger on
the second on the 2ⁿᵈ note of the A string,
the third on the D string,
and the fourth on the G string,

so that the fingers lie as follows:
The fingers being lifted simultaneously, and allowed to remain in

position over the strings, the position of the hand will be correct.
Holding the bow.

The thumb is placed with its fleshy part close to the projection
from the curved part of the nut, taking care that the middle knuckle is
not bent inward, but always in an outward direction. The second joint
of the index finger must rest against the stick. The middle finger is
placed opposite the thumb upon the stick, whereupon the other two
fingers follow, close to these. The little finger will then about rest with
the lower part of its point on the stick.
Position of the right hand and arm.

The right hand must project somewhat forward, and above the
bow, and must be suitably arched. The carriage of the arm must be
light, and the elbow not prominently lifted. When playing on the lower
strings, the position of the hand and the lower part of the arm will
naturally be higher.
Testing the position.

Having succeeded in acquiring a firm hold of the instrument and of
the bow, it is best to examine before a looking-glass the attitude of
the whole body, which must be natural and unconstrained. The body
and head should be held erect, the shoulders somewhat back. When
beginning to draw the bow across the strings the manner of holding
should be examined and corrected after every stroke before
proceeding further.
Bowing.
The bow is placed on the string at the nut, or lower part of the
bow, the stick being tilted towards the fingerboard. The bow must be
drawn steadily to its point, and exactly parallel with the bridge,
whereby the wrist is compelled to move, and at the end of the stroke,
on reaching the point of the bow, sinks so that the little finger only
rests at its extreme tip upon the stick.
The upper arm is so held that with down strokes the elbow
remains below the shoulder, until a third of the bow is left over. If the
production of a louder tone is desired, the bowing is made closer to
the bridge and in piano passages further away from it. The necessary
power for producing louder tone is obtained only from the thumb,
index finger, and wrist and the fore-arm is held as independently as
possible of the upper arm.
Principal signs used for the left hand

and for the Bowing.
○ open string ∏ down bow
1 1st finger ٧ up
2 2nd ” Sp. (Spitze) at the point of the bow.
3 3rd ” M. in the middle of the bow.
4 4th ” Fr. (Frosch) at the heel (nut end) of the bow.
G.B. (Ganzer Bogen) whole bow.
H.B. half bow.
Use of the down and up bows.

As a rule, in every piece beginning with a full bar a down bow is
used for the first note, and in a piece beginning with a single stroke
on the up-beat (unaccented beat) or an up-beat consisting of several
notes bound together, legato, the up bow is used. If the up-beat
contains several notes, it must be so arranged that the last of these is
played with an up bow. For example:—
[Listen]
Exceptions to the rule of beginning a full bar with a down bow
often occur; for instance, if the first bar begins piano, gradually to
forte, as in the opening of the Freischütz overture:—
[Listen]
Here one begins with the up bow, because afterwards at the nut
end more power can be brought to bear, thus bringing the forte into
effect. A further example of exceptional treatment is the beginning of
the Euryanthe overture:—
[Listen]
Equally there are exceptions to the rule of beginning up-beats with
the up bow:—
[Listen]
[Listen]
The first bowing exercises.
The violin being properly held, and the entire attitude being
correct in every particular, the fingers of the left hand are placed on
the strings as follows:—
Upon lifting them, let them remain over the strings in the same
position.
The open strings are then bowed, and preferably at first the D
string.
After each bow, let a pause be observed, to examine every detail
of the position, and to revise it. The bowing exercises on the open
strings are to be continued until at last notes varying in value from
semibreves to crotchets are played with ease and certainty, and an
even tone of good quality produced. The first bowing exercises are
usually as follows:—
Each of these exercises should also be played upon the other
strings. The exercise in minims and crotchets in half strokes and in the
middle.
Placing the fingers.

The first exercise consists in setting the first finger on all the
strings in succession, then the second in conjunction with the first, the
third in conjunction with the other two, and finally the fourth is added.
In the same manner on the other strings. If one desires to remain

in the key of C[13], the first finger when on the E string must be
drawn back a semitone to stop F, and on the G string, the 2ⁿᵈ finger
must be put forward a semitone to play the note B. The remaining
notes are stopped alike on all the strings. It is better at first not to
adhere to the scale, but to stop the notes of the other strings as
shown above on the D string; thus producing the following tones:—
Next must be practised the putting back of the first, and the
advancing of the second fingers on all the strings, then the advancing
and withdrawal of all the fingers. Example:—
The fingers must so descend upon the strings that the first joint
stands perpendicularly upon them. The pressure of the fingers upon
the strings must always be in excess of the pressure of the bow.
According to one’s playing, whether forcible or light, so the pressure
of the finger is increased or decreased. In slow movements and long
notes only that finger is pressed down which has to play the note. The
others are lifted, yet so that each one is suspended exactly over its
proper place. In ascending scale passages in quick time, the fingers
are allowed to remain; in descending passages, one finger is lifted at
a time. The observance of this rule greatly facilitates true intonation in
descending scale passages, as, each finger being already in its place
upon the note to be played, these places have not again to be
separately found. There are, however, exceptions which will come
under notice later. After the setting back of the first finger and the
putting forward of the second finger have been successfully practised,
the “free”[14] setting of the 2ⁿᵈ, 3ʳᵈ, and 4ᵗʰ fingers follows.
All the notes in regular order from the open G on the G string to B
on the E string must now be played.
To attain certainty of fingering in the lower position, one of these

two methods must next be adopted. Either intervals—thirds, fourths,
fifths, sixths, sevenths, and octaves from each note on each string, in
C major, must now be practised, or all the major and minor scales
may next be played, with the practice of the intervals in all the keys.
Choice must be made as to which method of study be next pursued,
according to the individuality and intelligence of the learner.
Practice of intervals in C major:

[Listen]
[Fourths.]
[ Fifths. ]
[ Sixths. ]
[Sevenths.]
[Octaves.]
Here great care must be taken to distinguish between the
differences that exist in these intervals, whether the 3ʳᵈ is minor or
major; the fifth perfect or imperfect, etc.
Simultaneously with the practice of intervals for the left hand,
bowing exercises for the passing of the bow from one string to
another must be taken, also skipping over a string as in sevenths and
octaves. The scales, and, later, intervals and chords, must likewise be
studied with various bowings and also legato. First, two notes should
be taken to one bow, then gradually more, also with single notes and
bound notes mixed. The practice of intervals may now be extended to
the following.
Chord exercises in arpeggio form.
[Listen]
Stretching the little finger.

To reach the C in the second octave with the little finger,—whose
natural position on the E string is on the note B,—it must be
stretched, care being taken to avoid moving the wrist and altering the
whole position of the hand.
[Listen]
The various kinds of bowing.

These are best classified into “primary” bowings (Grund-
Bogenstriche) of which there are six different examples, and
“secondary” bowings (Neben-Bogenstriche).
Primary bowings.
1. The rapid detached stroke with the whole bow (Grand detaché).
This is executed in such a manner that the bow moves quickly from its
nut to its point, and back again in the same line,—parallel to the
bridge. Between each stroke there must be a pause, but during it the
bow must not leave the string. It must be so quickly executed that a
crotchet is made to sound like a semiquaver.
Rendering:—
[Listen Line 1]
[Listen Line 2]
The stick must be firmly held between the thumb and the first and
second fingers. The elbow, at the commencement of the down stroke
must rest close to the body, and, on reaching the point of the bow,
not be raised above the stick. Especial care is needed in order to
make the up strokes equal in power to the down strokes.
2. The “singing” stroke. Also executed with the whole bow. The
first contact must be delicate, and the single tones must follow each
other without interruption. The player, drawing the bow quite parallel
with the bridge, must press more and more as the point is reached. At
the change of stroke, the wrist makes a slight movement, and the
elbow assumes the same positions as in the previous grand detaché
bowing.
3. The detached hammered (martellato) bowing. This stroke is

chiefly made at the point of the bow, which must not leave the string.
With every note the stick is pressed or pushed by the thumb in the
direction of the index finger, so that each tone is sharply cut out, but
with a musical quality. The up strokes must receive a stronger
pressure.
This bowing can also be played at the nut end, and of course
entirely with the wrist, which must be held lightly over the strings.
The elbow must be tolerably close to the body. The martelé bowing is
an excellent preparatory study for staccato, which is really only one
out of a number of martelé notes taken in one bow.
Rendering:—
[Listen Line 1]
[Listen Line 2]
4. Detached stroke with the fore-arm. As indicated by its name, is
executed by the fore-arm and the wrist, and from the middle to the
point of the bow. The upper arm must remain quite still. In this
bowing no pause must be made between the notes, but they must be
connected easily and agreeably together.
[Listen]
5. The “skipping” stroke. This stroke is made at the middle of the
bow, which must be lightly held between the fingers and controlled by
the wrist. The stick is made to vibrate strongly, whereby the bow is
caused to move up and down. It is difficult to attain an agreement
between the placing of the fingers and the skipping movement of the
stick, for which reason this bowing must first be practised on one
note:—
Afterwards several notes may be taken on one string, then on the

different strings.
[Listen Line 1]
[Listen Line 2]
6. The rebounding or springing (sautillé) bow. This bowing differs
from the foregoing in that the bow rebounds from the string after
each note, and is then permitted to fall upon it again from above. In
order to avoid too great dryness or hardness in the tone, the bow
when falling on the string must be gently controlled.
Rendering:—
[Listen Line 1]
[Listen Line 2]
Secondary bowings.
1. The bound, or legato bowing. In this, as many notes are played
at one stroke as may be found connected by the curved legato sign,
or as necessitated by the phrasing. In passing from one string to
another the wrist will require special watchfulness.
[Listen]
2. The staccato stroke. This is, as already stated, a series of
martelé notes taken in one bow, and must first be slowly practised
with the up bow, to the point, and with a free wrist; the thumb only
exerting a slight pressure upon the stick. The staccato is also
executed with the down bow, beginning near the nut.
[Listen]
3. The springing staccato stroke. This consists of a series of
rebounding notes (“Primary bowing” No. 6) taken in one bow, and can
be rendered both by the up and the down bows.[15]
[Listen]
[Listen]
[Listen]
4. The Tremolo is a succession of quick notes in very short strokes,
and is executed with a loose wrist, the upper half of the bow lying
upon the strings.
[Listen]
Another species of Tremolo is the following:—
[Listen]
Here two notes are included in one bow, thus causing it to
resemble the skipping stroke. Only the upper half of the bow is used,
and it is held lightly with the thumb and first two fingers.
5. The Ponticello. This is executed with the bow lying quite close to
the bridge, whereby the tone becomes somewhat nasal. When so
produced by the whole string orchestra it often makes a fine effect.
6. Flautando. Also with the bow resting on the string, but, unlike
the foregoing bowing, it is executed just over the fingerboard. The
notes so played yield a delicate flute-like quality of tone.
Arpeggi.
By arpeggi is meant the intervals of a chord in quick succession.
These may be extended over three or four strings with the most
varied bowings and rhythms. Particular care must be taken to keep
the wrist flexible.[16]
[Listen]
[Listen]
[Listen]
[Listen]
[Listen]
The Vibrato or close shake

is a trembling similar to the vibrato of a vocalist. Employed
occasionally and with discretion it is of good effect. On the violin it is
produced by setting the finger in tremulous movement upon the
string, so that the pitch slightly rises and falls. Only the thumb and
the finger in use must participate in the holding of the instrument.
There is no special sign for the close shake in general use, its
employment depending upon the player’s taste. Sometimes it is
indicated by the word vibrato.[17]
The Trill.
The trill is an even alternation,—usually quick,—of two adjacent
notes and may be executed on all the notes of the violin. The note
played alternately with the principal note may be either a tone or a
half tone distant. The trill is made both with and without a turn at the
end. The turn is played in one bow with the shake, and at the same
speed. Exceptions exist in shakes ending with a full close. In a series
of shakes the turn is reserved for the last:—
[Listen]
Various kinds of turns:—
[Listen]
Final shake.
[Listen]
Usually the lower note of the two constituting the trill is taken first.
If it is intended that the upper note should begin the trill, it will be
indicated by a small note before the principal note:—

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Copyright © 2015 Pearson Canada Inc. 3-2

Copyright © 2015 Pearson Canada Inc. 3-3

Copyright © 2015 Pearson Canada Inc. 3-4

Copyright © 2015 Pearson Canada Inc. 3-5

Copyright © 2015 Pearson Canada Inc. 3-6

• Multiple factors affect power relations in an

Copyright © 2015 Pearson Canada Inc. 3-7

• Diversity or difference among people

Copyright © 2015 Pearson Canada Inc. 3-8

Copyright © 2015 Pearson Canada Inc. 3 - 10

Copyright © 2015 Pearson Canada Inc. 3)- 11

Copyright © 2015 Pearson Canada Inc. 3 - 12

Copyright © 2015 Pearson Canada Inc. 3 - 13

Copyright © 2015 Pearson Canada Inc. 3 - 14

• Types of power used in organizations to

Copyright © 2015 Pearson Canada Inc. 3 - 15

• Three groups have been described as

Copyright © 2015 Pearson Canada Inc. 3 - 16

• Systems of Influence in Organizations

Copyright © 2015 Pearson Canada Inc. 3)- 17

• Systems of Influence in Organizations

• Systems of Influence in Organizations

Copyright © 2015 Pearson Canada Inc. 3 - 19

Copyright © 2015 Pearson Canada Inc. 3 - 20

Care of the instrument.

Naming and tuning of the strings.

Compass of the violin.

Attitude of the player.

Holding the violin.

the third on the D string,

and the fourth on the G string,

The fingers being lifted simultaneously, and allowed to remain in

Holding the bow.

Position of the right hand and arm.

Testing the position.

Principal signs used for the left hand

Use of the down and up bows.

Placing the fingers.

In the same manner on the other strings. If one desires to remain

To attain certainty of fingering in the lower position, one of these

Practice of intervals in C major:

Stretching the little finger.

The various kinds of bowing.

3. The detached hammered (martellato) bowing. This stroke is

Afterwards several notes may be taken on one string, then on the

The Vibrato or close shake

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