Journal Entry

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Refer to the current Clinical Guidelines found in this week’s Learning Resources and consider how these
guidelines inform your clinical experience.
Refer to your FNP or AGPCNP Clinical Skills and Procedures Self-Assessment Form you submitted in Week 1,
and consider how your self-assessment might inform your Assignment.
Refer to your Patient Log in Meditrek and reflect on Weeks 6–10 of your clinical experience, and reflect on your
observations and experiences with patients during this time.
Journal Entry #2 (450–500 words):
In your journal entry, answer the following questions:
What did you learn from this experience?
What resources did you have available?
What evidence-based practice did you use for this patient?
What new skills are you learning?
What would you do differently?
How are you managing patient flow and volume?
Communicating and Feedback
Ask yourself the following self-reflective questions:
How might I improve on my skills and knowledge, and how do I communicate that back to my Preceptor?
How am I doing? What is missing?
What type of feedback am I receiving from my Preceptor?

 

Sample Solution

s piece educators included Mikhail Gnessin, Reinhold Gli�re, and later at the Moscow Conservatory, the eminent Nikolay Myaskovsky and Sergey Vasilenko. It was after his graduation from the Moscow Conservatory in 1936 that Khachaturian’s melodic yield incredibly expanded. His most remarkable works, including his First Symphony, his piano, violin, and cello concertos, the artful dance Gayane, and the Masquerade Suite were completely composed during this multi year organize from 1936-1948. Truth be told, his set of three of concertos in the blink of an eye became significant staples of Soviet old style music.

In 1939, Khachaturian made a multi month excursion to the Soviet Republic of Armenia. This visit end up being of most extreme significance, as he was welcomed with the chance of seeing his local country, its kin, melodic customs and way of life. “Khachaturyan’s long remain in Armenia presented to him an abundance of distinctive impressions. His fellowship with Armenia’s national culture and melodic practice demonstrated for him, as he put it himself, ‘a subsequent conservatoire’: The melodic impressions which had so impacted the psyche of Khachaturyan the kid and the young introduced themselves in another light to Khachaturyan the develop craftsman”. It was on this outing he gave his spirit to the expressive dance,

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