The Federal Aviation Act of 1958

In 2000, when I was the Airport Manager at Phoenix-Goodyear Airport (owned by the City of Phoenix), located about 25 miles west of downtown Phoenix, we dedicated a brand new terminal building. The aviation department’s art curator thought it a good idea to hang a picture of a TWA Lockheed Constellation flying over the Grand Canyon in a prominent place in the lobby. I emphatically said, “NO,” and proceeded to tell her the story you are about to read.
~Reflections from Shawn Arena, Course Developer
Read Grand Canyon Collision – The greatest commercial air tragedy of its day! from doney.net, which details the circumstances surrounding one of the most prolific aircraft accidents of all time—the June 1956 mid-air collision between two commercial aircraft over the Grand Canyon. Prepare a case analysis addressing the factors surrounding the enactment of the Federal Aviation Act of 1958.

links:http://www.doney.net/aroundaz/grandcanyoncrash.htm

Sample Solution

President Dwight D. Eisenhower signed the Federal Aviation Act of 1958, which established the Federal Aviation Agency (later the Federal Aviation Administration or the FAA) and disbanded its predecessor, the Civil Aeronautics Administration (CAA). [1][2] The act gave the FAA authority to oversee and regulate airline safety as well as the usage of American airspace by both military and civilian aircraft. Until the Air Commerce Act of 1926, aviation in the United States was unregulated. [3] The Act established an Aeronautic Branch under the US Department of Commerce with civil aviation regulatory authority.

and upper strings. As the movement progresses more instruments are added, and the intensity increases. A melancholy melody is introduced by the first violins and replayed by the woodwinds over the first rhythmic theme. This could be viewed as the serious efforts of the workers as they persevere in building their country. The first thing the listener hears in the first five measures of the music is a very agitated melody from the strings. This motive serves as the most frequently occurring melodic and rhythmic component to the piece and is littered throughout the rest of the work. This rather intense melody quickly loses steam and dies off into the second frequently recurring melodic motive.  In this motive, Shostakovich outlines a Russian folk song in the Violin 1 part starting at rehearsal marking “1” in the attached score. To better reach his audience, he knew he had to incorporate ideas that they would recognize. Shostakovich uses an ostinato on a single pitch beginning in measure 25 to introduce what could be considered a dysphoric motif.   As the movement progresses, the tempo accelerates as well as the dynamics eventually evolving into a march style. This is an indication of the power of the Soviet machine working to a positive end or resolution at the end of the movement with an ascending chromatic glockenspiel solo. Below the surface the first movement screams of tragedy and sadness throughout the beginning section.  Giving up in the end to the oppression of the Soviet machine with a harsh militaristic step in the march introduced by the percussion. The waltzing scherzo feel of the second movement is cumbersome at times and at times comical or light. The waltzes are performed in a series of minor keys. Shostakovich uses dynamics to assist in producing a satirical effect. The listener may feel uncomfortable or agitated due to the intensity of the rhythms.  To the regime, this movement may have seemed joyous or amusing. Possibly the main focal point of the Fifth Symphony as a whole is the incredibly passionate and moving third movement. To achieve this level of

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