text: Ammodramus henslowii (familia Emberizidae, ordo Passeriformes, parvclassis Neognathae, classis Aves). English: 1=Henslow's Sparrow French: 1=Bruant de Henslow ;Notes: This image viewed with a 2:1 reduction. # The original version was incorrectly rotated 90° clockwise (250x174, landscape), this was adapted by a simple counter-clockwise rotation in a first edit to get the correct orientation (174x250, portrait). # Due to the limited original resolution, its resolution was doubled (1:2) in a second edit to 348x500, just to allow better fitting in Wikipedia articles where the image is used in animal taxoboxes with a display width between 200px and 250px (depending on Wikipedia projects), using an adaptive filter that keeps the original contrasts and colors, but avoids jitters. The image will not display very well at its current doubled resolution, but will be much better than what the Wikimedia Commons image loader produced when increasing the requested size of the image, and will display no visible change at 50% (see this image on the right). Typically, this image will display well up to 250px wide. # When Commons will include an adaptative isotropic filter in its image server for the images that must be displayed at higher resolution, such edit wouldn't be necessary. Currently, Commons does not return a larger image (it only creates reduced thumbnails), but specifies the image size in HTML/CSS and let browsers grow the image (this does not work very well in browsers, because they don't have any isotropic filter in their image renderer when they scale the images; in addition, some older browers are unable to resize the image, so the requested size will not be shown).


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thank you so much! i only used a tiny bit of this, but i love your resources. so amny i'm waiting to use.
thank you so much! i only used a tiny bit of this, but i love your resources. so amny i'm waiting to use.
Yummy. Better than all those Christmas chocolates sitting in my kitchen, and a lot less fattening. :3
Danke für deine Erlaubnis - Habe deine Textur benutzt für mein Wallpaper __
Thank you for your permission - I used your texture for my Wallpaper
This one has an Asian art type of feel. Sumi-e or more of Chinese brush. looks great!
i had the same impression, glad that you do as well
Always love your textures!! This one will be used soon, i guess
amazing ,i like it
I see a boy and a girl kissing
wow, love it!
powerful texture!
awesome as always . it has hidden animals.. ? XD
uh, really?
phenomenal! thanks!
thats one amazing texture u got there. I can't tell its a wall stone or paper texture. or was it a cloth...? lol
I see an owl and a snarling cat...... You're right I should keep taking the meds Nice work.
it looks like a middle aged couple in a cave drawing-it's amazing
Gorgeous, definitely one of the best textures I have seen from you. I have tried using these as greyscale displacement maps (using filters) and these yield amazing results!
Thank you for the outstanding job!
Your Texture are amazing. Thank you for sharing.

subset: commoncrawl


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#WavyWednesdays continue with new Playboi Carti as well.
Baby girl, I just need that new magic.
The DC rapper returns.
"All this for a QC chain?"
Fat Trel's girl fell in love with a murderer. He, Ross, and Nipsey rap about it.
Recent MMG signee Fat Trel joins Harry Fraud for vibey new track "How U Feel," a preview of tomorrow's Gleesh mixtape.
Fat Trel chills at Ben's Chili Bowl and channels Rick Ross in the video for "She Fell In Love," his first single on Maybach Music.


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"Miraflores - Lima Peru" Miraflores by littlesam1
Miraflores Travel Guide: 21 reviews and 46 photos
We were very fortunate to be able to spend time with our VT friend Flor de Maria while we were in Lima. Flor de Maria lives in Washington DC near us in Baltimore. She just happened to be at home in Peru visiting her family for the Christmas holidays while we were there also. So we were able to have dinner with her one evening and also get some personal tips on what to do and what to see in Miraflores. Thanks Flor de Maria!
Reviews (12)
Although Lima and Miraflores is very safe today, there was a time in the early 1990's when political terrorists were... more travel advice
Mark and I left Miraflores one afternoon and took a hike to Barranco, which is another suburb of Lima. Its not far from... more travel advice
Pizza Alley is one of the small side streets in Miraflores that attracts lots of tourists and locals in the evening. You... more travel advice
We saw several fascinating Peruvian hairless dogs roaming the ruins at Huaca Pucllana. Our guide told us that the dogs... more travel advice
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""The only thing to do with family skeletons is to take them out of the closet and dance with them.""
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getting mashed off your nut by your self, lose your phone and pulling a bird at a bus stop
"I did a Webby last night: got mashed off my nut by myself, lost my phone and pulled a bird at a bus stop"
by Paul.J.C February 13, 2008
Trending Now
Top Definition
Very charming, outgoing personality. Tough to figure out at first, however worth the effort in the long run.(usually a person)
by Katerina October 14, 2003
You find a Webby on the internet and he slowly worms his way into your heart until you couldn't imagine life without him.
OOOOoooh yay, I found a Webby
by caroline June 11, 2004
a sexual position, the meaning of which is having sexual relations in the backseat of a car.There are many variations such as the yellow webby, or doing it on a school bus, the black webby or doing it in a limo, and the red webby doing it on a firetruck. The blue webby, or on a snowmobile There is also the hot crossed webby which is a threesome in a backseat
whats that sound? Oh two people are webbying in that car.
by jrfredrick January 16, 2011
A slang term meaning "website".
The TV I wanted at Best Buy was not available in the store, so I purchased it on their webby.
by wxflurry February 17, 2014
website/Web site/web site/or, site
Today, I visited the webby of One Direction as well as the webby of The Wanted and found that both bands are boy bands/boybands from the United Kingdom!
by Jesus Chameleon July 16, 2012
A horrible umpire for baseball who has a strike zone six feet high and three feet wide. He will signal safe and call out, while yelling "Fair Ball!" He is almost always drunk before games, and, "Just wants to get out of here." He is hated by almost every player he has every umpired for.
"Dude did you see that call last night?"
No, I was too busy doing homework.
"Yeah, it was crazy. The ump totally blew it."
Sounds a lot like Webby.
"Nah, no one's that bad.
No, I was too busy doing homework.
"Yeah, it was crazy. The ump totally blew it."
Sounds a lot like Webby.
"Nah, no one's that bad.
by falcons52 May 01, 2010
Adjective - Describes the amount of web development involved in creating an online application
This course selector app is really webby.
by Artdg May 09, 2010


text:
I have the only most basic understanding of how to customize WordPress themes, and until yesterday, things were fine. I haven't accessed my site in days, so nothing was changed on my end, but suddenly the background on my home page refuses to load.
Here's my site: http://davesink.com
and the background SHOULD appear as it does on my other pages: for example, http://www.davesink.com/?portfoliocat=illustration
I tried replacing my the index.php file with a backup, but no luck. Is there anyone who could point me in the right direction to fix this? Thanks very much!


text:
How to make a splash in the NFL draft
There are 32 NFL teams. Only one wins the Super Bowl. Seventy percent of the Super Bowls have been won by just eight franchises.
For most teams, trying to win the Super Bowl is futile.
What if NFL teams embraced this fact and drafted players based not on who the best football players are, but who could get them the most buzz? Because if you're not going to win a championship, and history says you won't, you may as well get some attention.
Here are the Top 10 players teams should consider. It's the future Q-rating draft board.
No. 1 -- Tim Tebow, QB, Florida
He's already an American icon. An easy top pick. Wholesome without being boring, men want to be him, women want to de-flower him. Just be careful actually playing him in games. That could potentially ruin it all.
It's time for Friday's Page 2 Podcast with your hosts Mike Philbrick and DJ Gallo. Have a listen and you'll learn why:
• No one is mas macho than Tebow.
• A-Rod doesn't know the rules.
• The 1960 Pirates are back.
• Drew Rosenhaus had a bad night.
• Subscribe to the Page 2 Podcast through iTunes or the RSS feed reader of your choice for automatic updates as soon as the latest show is posted.
No. 2 -- Jimmy Clausen, QB, Notre Dame
Notre Dame players are marketing gold. Notice no one made a movie about a walk-on at NC State or Rutgers. Even casual fans know Notre Dame. And the quarterback for the Fighting Irish stands above. Long before Brady Quinn bounced his first pass off the NFL turf, he was pitching for Subway and EAS and featured in countless magazine spreads. And Jimmy Clausen loves the spotlight even more than Quinn. Don't forget: he announced he would attend Notre Dame at the College Football Hall of Fame, riding up to the venue in a limo. Now that he's a professional? Expect him to take the field by parachuting out of a plane with the cast of "Jersey Shore."
No. 3 -- Myron Rolle, S, Florida State/Oxford
Myron Rolle is a Rhodes Scholar who took a year off from football to get a master's degree in medical anthropology at Oxford. I don't have to have a master's in media coverage from no ascot-wearing, fancy-panted college to know that background will get Rolle a ton of publicity in the NFL, regardless of what he does on the field. Oh, and for bonus points, Rolle does indeed wear ascots and fancy pants.
No. 4 -- Dez Bryant, WR, Oklahoma State
While losing most of his season to suspension hurt Bryant in the regular NFL draft, it only helps him in this one. Why? Because that suspension was due to Bryant lying to the NCAA about spending time with Deion Sanders. The future Hall of Fame self-promoter operates a camp for draft hopefuls called "Prime U." No doubt Sanders drills his students on how to stay in the news and away from any contact. Repeat after me: I'll never be on TV at the bottom of a pile! Yell it! Scream it or you'll have to stay late for extra dancing!
No. 5 -- Anthony McCoy, TE, USC
McCoy tested positive for marijuana at the NFL combine in February. Picking him gets your franchise "cool" points from most everyone in town under 30. Then, if McCoy produces a bit on the field and stays clean, you earn a long cycle of "redemption" stories, and the franchise gets credit for steering this wayward young man along the straight and narrow. All because he apparently smoked a joint sometime this winter. This is a value pick.
No. 6 -- Ndamukong Suh, DT, Nebraska
His name is Ndamukong. While this is not news to most football fans, his name is the sort of thing that gets a city talking. Did you hear we drafted a man named Ndamukong? Why, what a wonderfully unusual name! Consider: Steelers DE Aaron Smith has been one of the most productive defensive linemen of the past decade. But no one knows who he is. Because Aaron Smith is boring. There's no way around it. But Ndamukong Smith? That guy is a Hall of Famer. But NFL teams should know that Suh is more than a name. He even has a personality. Really. You have to have a personality to willingly pose with your pepperoni, pita and olive likeness.
No. 7 -- Toby Gerhart, RB, Stanford
Toby Gerhart just has that certain "something" that will cause a lot of people to pay attention to him throughout his NFL career, however long or short it may be. I don't know what it is. I guess a good comparison might be Larry Bird. He had "it," too. Just a certain ... quality. I just ... I can't seem to put it into words. I'm sorry. For some reason my mind right now is like a big, empty expanse of ... whiteness.
No. 8 -- Everson Griffen, DE, USC
Like Dez Bryant, Griffen is a first-round talent with "character issues" or -- for this draft's purposes -- "high future media coverage probability." Last summer Griffen and a teammate were cited by police for a noise violation. And where did this incident take place? Nantucket. It's hard to pass on a player whose early career can be captured with the line: "There once was a draft pick from Nantucket ... ." Hilarity has no choice but to ensue.
No. 9 -- Zoltan Mesko, P, Michigan
Controversy equals publicity. So controversy therefore must be good. That's why teams can't pass on Mesko, who was one of the leaders of the Hungarian Nazi Party in the 1930s. Oh. Wait. Wrong Zoltan Mesko. Whew! Because I think sometimes publicity can be bad publicity.
No. 10 -- Kyle Bosworth, LB, UCLA
Kyle is Brian Bosworth's nephew. NFL scouts say he might not even get drafted because of speed and strength concerns. As though anyone cares about that stuff. Kyle's true problems are that he doesn't have any lines shaved into the side of his head, nor does he harbor any dreams of being a B-movie action star. But he can still be saved. He has the genes to want those things. He has the genes to be famous. Some savvy NFL team just needs to take a chance on him and then surround him with the wrong people.
DJ Gallo is the founder of SportsPickle.com. His first book, "SportsPickle Presents: The View from the Upper Deck," is available from only the finest bargain book retailers. His next book project will be released soon. You can follow him on Twitter at @DJGalloESPN.


text:
Metalcore (or metallic hardcore) is a fusion genre blending extreme metal and hardcore punk. The name is a portmanteau of the names of the two genres, which is known as metallic hardcore distinguished by its emphasis on breakdowns, which are slow, intense passages that are used for moshing. Pioneering bands, such as Hogan's Heroes, Avenged Sevenfold, Earth Crisis, Deadguy, Hatebreed, Bury Your Dead and Integrity, lean more towards beatdown hardcore Read more on Last.fm.
Our Last Night
Tagged: Post-hardcore Screamo Emocore Hardcore Emo
Motionless in White
Tagged: Metalcore Post-hardcore Screamo Hardcore Metal
Texas in July
Tagged: Metalcore Deathcore Hardcore Christian Christian Metalcore
Like Moths to Flames
Tagged: Metalcore Post-hardcore Hardcore Progressive Metalcore Screamo
Various Artists
Tagged: Electronic Indie Mistagged Artist Jazz Rock
Tagged: Math Metal Progressive Metal Mathcore DJENT Experimental
Plunk tone
Tagged: Metalcore Alternative Russian Alternative Nu Metal Nu-metal
We Came As Romans
Pierce The Veil


text:
A monument to longevity
Dear EarthTalk What is the status of Hawaiian monk seals and how will the new national monument designation in the waters around the Hawaiian Islands affect them? Polly LaBarre New York, NY Easily exploited by hunters, whalers and fishermen in the 19th century, Hawaiian monk seals essentially never recovered. As early as 1976, the Hawaiian... Read more →


text:
Allman's Electric Stove
Larry Wilmore Blasts Fox News' Coverage of Baltimore Riots <iframe title="MRC TV video player" width="640" height="360" src=" http://www.mrctv.org/embed/135317" frameborder="0" allowfullscreen></iframe>
National Anthem - US Marine Corp Band 522 Good Days Bad Days - Kaiser Chiefs 535 Dukes Up - Modest Mouse 548 Rocking Chair - Mr. Scruff 622 Sonnenklang - Artenovum 648 Techno Fan - The Wombats 722 Anna Sun - Walk The Moon 748 Shots - Imagine Dragons 822 Sweet Dispostion - The...
Jamie has his son welcome back new Mom (for a 2nd time), @SandraSmithFOX from Fox News' Outnumbered and Fox Biz's Opening Bell!
Just two years ago the Supreme Court made a decision regarding the definition of marriage. Now, they will decide again. Genevieve and Jamie discuss:
Fox News' Catherine Herridge: Social media analysis shows Protesters Who Incited Ferguson Violence Doing Same in Baltimore.
Toya Graham says 'I didn't want him to be another Freddie Gray': America's favorite mom who chased her son home after catching him rioting reveals she is a 'no-tolerant' mother-of-six who 'just lost it' when she saw him on TV. <
National Anthem - Pat Liston 522 Talk Shows On Mute - Incubus 535 Love Train - The O'Jays 548 Right Here Right Now - Jesus Jones 637 Short Side Of Nothing - Los Lobos 648 Buzz Cut Season - Lorde 737 The Zephyr Song - Red Hot Chili Peppers 748 The Great Divide - The Mowgli's 822...
News hero Erin Burnett with a Baltimore councilman Carl Stokes another oppressor keeping black youngsters down... CLICK HERE to see video and read article
Fox News Reporter Leland Vittert from Baltimore navigates through a crowd of angry proteserts. CLICK HERE to see video and read article


text: When I visit the Akismet stats page, I can see everything BUT the info that should be showing under the Spam, Ham, Missed Spam, etc. tabs. It's just empty white space, no matter how long I wait for it to load. For this reason I can't view any of the messages that Akismet has marked as Spam to make sure that it's working correctly. Do I need to get a new API? I just activated Akismet last week.


text:
It's not every week that we release two infographics, our latest is a year end look at the state of application security! Over the years the growth of the internet and it's users has been exponential and shows no sign of slowing down. As one might expect we've also seen a rise in breaches, hacks and other incidents relating to appsec.
Application:A computer program with an interface, enabling people to use the computer as a tool to accomplish a specific task.
App Sec:Application Security. The use of software, hardware, and procedural methods to protect applications from external threats.
Cross-Site Scripting (XSS): The process of adding malicious code to a website that can execute in a user's browser
SQL Injection: When a coding flaw is exploited to embed malicious code producing a query that can access otherwise inaccessible data


text:
Shopping cart empty
Shopping cart empty
GABA CALM combines three of the main inhibitory neurotransmitters, plus N-acytyl L-tyrosine, a precursor of norepinephrine. The sublingual form is absorbed directly into the bloodstream, via the blood vessels under the tongue and in the cheeks, allowing for quick entry into the system.
Optional: Help others find your review.Enter Descriptive Keywords (ex. heart, cholesterol, arteries)


text:
More Information
Lawmakers derail effort to relieve La. church day-cares of licensing requirements
Published: Thursday, April 22, 2010 at 5:58 p.m.
Last Modified: Thursday, April 22, 2010 at 5:58 p.m.
BATON ROUGE -- An attempt to scrap licensing requirements for church-run day care centers — backed by Gov. Bobby Jindal — was overwhelmingly rejected by the Senate Health and Welfare Committee.
Supporters said the licensing requirements represented unwarranted government regulation into the activities of churches.
"We want to separate the state from our churches," said Sen. A.G. Crowe, R-Slidell, according to The Advocate newspaper.
Opponents said children need to be protected no matter where they attend day care.
Sen. Karen Peterson, D-New Orleans, said the licensing provides parents with "a level of comfort" that when they drop off a child, they will be well-cared for. Just because the centers are operated by churches does not mean there cannot be problems, Peterson said.
Senate Bill 504 is likely dead for the legislative session.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
Thesp to narrate docu for Warner Bros., Imax
Morgan Freeman will narrate animal documentary "Born to Be Wild 3D" for Warner Bros. and Imax.
"Wild," which will launch in Imax theaters on April 8, centers on orphaned baby orangutans and elephants receiving a second chance at life in the wild, thanks to primatologist Dr. Birute Galdikas in Borneo and elephant authority Dame Daphne Sheldrick.
"I feel immensely privileged as a filmmaker that someone of Morgan's stature is involved in this project," said writer-producer Drew Fellman. "His extraordinary voice will profoundly elevate this touching tale of the bond between humans and animals."
The film's trailer made its online debut Thursday on Apple.com and on Friday in Imax theaters with the bow of "Harry Potter and the Deathly Hallows — Part 1."
"Wild" is directed by David Lickley with cinematography by David Douglas.


text:
Exactly what can be sent in a message? Literally anything …Well not exactly anything but any object can be sent as the body of a message. This is made possible by a mechanism known as Serialization.
Serialization is the process of taking objects and converting their state information into a form that can be stored or transported. The basic idea of serialization is that an object writes its current state, usually indicated by the value of its member variables, to persistent storage. Later, the object can be re-created by reading, or deserializing, the object's state from the storage. Serialization handles all the details of object pointers and circular object references that are used when you serialize an object.
In MSMQ, this process refers specifically to converting an object or set of data into a message that can be sent to a queue and then converting messages retrieved from the queue back into objects or data that the receiving application can process. The component that controls this process is the Formatter. The Formatter property of a MessageQueue contains an instance of a Formatter object which transforms messages when your application reads or writes to the queue. In other words when the application sends messages to the queue, the formatter serializes the object into a stream and inserts it into the message body. When reading from a queue, the formatter deserializes the message data into the Body property of a Message.
On the full .NET Framework there are 3 Formatters provided namely, the ActiveXMessageFormatter, BinaryMessageFormatter and XmlMessageFormatter.
However on NETCF the only Formatter provided is the XmlMessageFormatter (Which uses our new publicly exposed XmlSerializer J - this is my pet feature). You can however write your own custom Formatter that implements the IMessageFormatter. In your custom Formatter for instance, you could encrypt and decrypt your message body and you could also do compression. This would be relatively easy to do as the IMessageFormatter has only 3 public methods. This article details how this can be done in C#.
The XmlMessageFormatter is the default formatter that an instance of MessageQueue uses to serialize messages written to the queue. Note however that a queue's default XmlMessageFormatter can be used to write to the queue but it cannot be used to read from the queue until the TargetTypes of TargetTypeNames property on the Formatter is set. This is because the TargetTypes (or TargetTypeNames) property tells the Formatter what schemas to attempt to match when deserializing a message thence allowing the Formatter to interpret the message body. It is recommended that you set the TargetTypes property (instead of the TargetTypeNames property) as type existence will be checked at compile time rather than run time thence reducing the possibility for error.
The following code snippets demonstrates how to use the XmlMessageFormatter to receive an instance of a user defined type (i.e. BookOrder) sent as the body of a message. In this code I assume an instance of a BookOrder has been sent to the private queue and we attempt to retrieve it asynchronously.
string qName = @".\private$\mqdemoAck";
ackQueue = MessageQueue.Create(qName);
ackQueue = new MessageQueue(qName);
System.Type[] types = new Type[1];
types[0] = typeof(BookOrder);
ackQueue.Formatter = new XmlMessageFormatter(types);
ackQueue.ReceiveCompleted += new
private void MyReceiveCompleted(Object source, ReceiveCompletedEventArgs
System.Messaging.Message message =
if(message.Body is BookOrder)
BookOrder bookOrder = message.Body as BookOrder;
//Process bookOrder
MessageBox.Show("Message in Queue is not a book
catch(MessageQueueException e)
//handle Exception
Please see the following documentation for more information on message serialization.
Message Serialization (MSDN)
Formatter Property (MSDN)


text:
Shirtdress With peplum Insets
Product Actions
Cotton blend faille point collar cap sleeve shirtdress tailored with insets on bodice and inset drop waist peplum. Detailed with cuffs on sleeves, two front besom pockets on peplum and thigh high slits on front of skirt, the dress closes with silk crepe de chine covered buttons and cinches at the waist with a silk crepe de chine and faille contrast obi. Inside seams finished with black silk crepe de chine piping. 36" shoulder to hem. Available in Yellow. Made in Italy. Dress: Cotton/viscose; piping 100% silk. Dry clean.
Style # 502403370
Edoardo Fendi and Adele Casagrande found instant success when they opened their small Roman shop, which produced high-quality leather goods and skillfully crafted fur, in 1925. In 1965, Karl Lagerfeld started designing for the brand and launched its first women's ready-to-wear collection in 1977. The men's collection, designed by the founders' granddaughter Silvia Venturini Fendi, followed in 1990. Today, with her and Lagerfeld still at the helm, Fendi is world-renowned for its innovative designs in ready-to-wear, bags, and shoes as well as its iconic "FF" logo.
Need Help? Have Questions? Contact Us.
Please call 1.888.222.7639 to speak with a Customer Service Representative.
We're here to help you:
Monday - Friday, 9 AM - 9 PM (ET)
Saturday - Sunday, 10:30 AM - 7 PM (ET)
If you prefer email, we can be reached anytime at email@example.com.
Free Shipping & Returns on all U.S. Orders. See Details.


text:
When we moved here in 1987, these two Rhododendrons were planted one on each side of the front steps. The one on the left-Gnome has bright pink flowers and the other on the right-Welcome side is a bit more purple. To me, they define the end of Borders at the end of the steps. They have continued to grow steadily and well over the years. We often prune them a bit so they don't totally obscure the front door and steps. They are a hang-out for hundreds of birds all year round, especially the Chickadees and little brown Sparrows. They are getting so content and familiar that sometimes they don't bother to fly away when you go in or out.
The first picture is on the Welcome side and the second is on the Gnome side.
This planting is in the Borders garden .
Already in my garden (I didn't plant it)
Latest Milestone Blooming
Quantity: 2
Dwarf azalea can grow to a height of approximately 120.25 feet (that's 37.00 metres in metric) so ensure you have enough space in your garden for this plant.
Your garden has partial sun light, which is a great match for Dwarf azalea.
Remember to water moderately.
Your garden's USDA Hardiness Zone (6b) is within the ideal range for Dwarf azalea. The recommended range is between Zone 4 and 8.
A soil ph of between 5.0 and 6.5 is ideal for Dwarf azalea as it does best in acidic soil so test your soil acidity often.
More information about Rhododendron is available in the Folia gardener's wiki. All Rhododendron Care Instructions have been kindly provided by our members.
Blooming day 8972
Harvesting day 8813
1.0 x bunch
Dormant day 8112
Blooming day 7898
Growing day 0
Established day 0


text:
Australian farmers could hold the key to providing the safe and healthy resources needed to combat disease in the Middle East. But only if they are willing to export.Continue reading »
Food Nutrition
According to the latest report on junk food advertising aimed at kids, Mars and PepsiCo are leading other global food companies like McDonalds and Coca Cola Amatil in the overall number of compliance breaches.Continue reading »
The online breast milk market is 'booming' and experts are trying to warn consumers of the potential health risks that surround this controversial issue.Continue reading »
The NHS has called for parents to stop 'poisoning' their children with sugary foods and drinks in an effort to reduce the number of obese people estimated to need health care in Britain rises.Continue reading »
Should warning labels be compulsory on foods and drinks that have a higher risk of causing cancer? Considering the huge number of people affected by the terrible disease, some experts are saying yes.Continue reading »
Soft drink giants Coca-Cola and Pepsi have both made the move towards making healthier products by removing the artificial sweetener aspartame from their diet drinks, in favour of a more natural alternative. But how does the new sweetener stack up?Continue reading »
After a bad rap of late, McDonalds have announced that they will begin phasing out the use of antibiotics in their chicken products over the next two years.Continue reading »
A global approach is being taken to restrict marketing of junk foods to children. Would plain packaging of these foods, similar to that which has been implemented for tobacco here in Australia, help to combat the childhood obesity problem?Continue reading »
Popular junk food brands have begun to find new ways of avoiding television advertising restrictions in Australia by promoting unhealthy foods through social media networks.Continue reading »
Australia was outraged when Nestle announced plans to cut the legendary Killer Python in half, but it seems they are not alone, with other sweet treats also set to be shrunk.Continue reading »


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Kidney Stone Surgery at GNH Hospital Gurgaon, Haryana, India
What are Kidney Stones?
Kidney stones are small "pebbles" of salt and mineral in the urine. The most common symptom is severe pain. Most stones pass on their own. However in some cases they may get deposited in the kidney which need surgery to remove kidney stones.
What Causes the formation of Kidney Stone?
- Kidney stones may form when the normal balance of water, salts, minerals and other substances are found in urine changes.
- Kidney stones can run in families, as stones often occur in family members over several generations.
- A person forms kidney stones because the parathyroid glands produce too much of a hormone, which leads to higher calcium levels and possibly calcium kidney stones.
What are the Symptoms for the Kidney Stones ?
According to the doctors at GNH hospital Gurgaon, India the symptoms for Kidney Stones may include:
- If the kidney stones are very small they may not present any symptoms and may be treated by medicine without any surgery
- Sudden and severe pain that gets worse and radiates. Stones may cause intense pain in the back, side, abdomen, groin or genitals.
- Sometimes pain due to kidney stones can be accompanied with nausea and vomitting.
- Blood in the urine (haematuria), which can occur either with stones that stay in the kidney or with those that travel through the ureters.
- Frequent and painful urination, which may occur when the stone is in the ureter or after the stone has left the bladder and is in the urethra. Painful urination may occur when a urinary tract infection is also present.
What are the treatment options available for removal of kidney stones at GNH Hospital, Gurgaon, India?
Surgery is only needed when the kidney stone is very large, caused by an infection (staghorn calculi), blocking the flow of urine out of the kidney or causing other problems like severe bleeding. There are various options available at GNH Hospital for the removal of kidney stones. Our doctors choose the best suited rocedure deending upon the case and symptoms.
Extracorporeal Shock Wave Lithotripsy (ESWL) - ESWL or lithotripsy procedure is best treatment for kidney stone when the size of the stone is not too large and the stone is also not too old. In this procedure the stones are broken into small particles uing shock waves and then the kidney stones pas through urine.
Percutaneous Nephrolithotomy (PCNL) - This is the minimally invasive procedure to remove the kidney stones. This is also the most widely used and one of the best methods for surgical removal of kidney stones. In this case if the kidney stone is big n size then the doctor will break the stone and take out most f the pieces during the surgery and very small particle pass through urine as in case of ESWL.
Ureteroscopic Stone Removal - This procedure is used to remove kidney stones stuck in ureter. This does not need any incision rather a urteroscope is inserted to visualize the location of the kidney stone and take it out. A stent is left for a week for flow of urine and stone particles.
Best Doctors (Urologist & Nephrologist) for treatment of Kidney Stones at GNH Hospital, Gurgaon, Haryana India
Dr Narendra Gupta - Nephrologist


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Brown Sweet Potatoes
12 Oct 2010
|Cooked sweet potatoes
|1⁄2 Cup (8 tbs)
|Salt/Garlic salt / onion salt
|To Taste
Cut sweet potatoes into thin slices.
Melt butter in medium skillet; add potatoes and brown over medium heat.
Season to taste.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size: Complete recipe
Calories 1347 Calories from Fat 809
% Daily Value*
Total Fat 92 g141.8%
Saturated Fat 58 g290%
Trans Fat 0 g
Cholesterol 241.9 mg80.6%
Sodium 615.9 mg25.7%
Total Carbohydrates 124 g41.4%
Dietary Fiber 19.8 g79.2%
Sugars 39 g
Protein 13 g26%
Vitamin A 2362.2% Vitamin C 196%
Calcium 25.5% Iron 23.1%
*Based on a 2000 Calorie diet
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Brown Sweet Potatoes Recipe


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The new warehouse is the first facility in Vietnam to provide a super frozen storage room, which reaches as cold at -58 degrees Fahrenheit.
Meanwhile, just this Friday, the Shanghai Shipping Exchange said its Shanghai Containerized Freight Index declined 6.2 percent from last Friday's reading of 670.29 to a reading of 628.59.
William E. (Bill) Woodhour became president of Maersk Line, Ltd. (MLL) July 1 and will eventually become chief executive officer of the company, taking over from Russ Bruner, who has been president and CEO of MLL since 2014.
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With spot rates at historic lows, carriers "can ill-afford to flood the market with excess capacity," the London-based maritime consulting firm said in the latest issue of Container Insight Weekly.
Former Macy's distribution center manager Rudy Rampertab pleaded guilty in the U.S. District Court in Cincinnati to one count each of mail fraud and money laundering.
Ocean procurement software provider Xeneta reported freight rates may further decline as carriers seek to fill larger ships that are now capable of transiting the expanded Panama Canal.


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Clinical Interviewing
List price: US$120.00
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The Fourth Edition of the classic Clinical Interviewing by John and Rita Sommers-Flanagan reflects current research in the field as well as an important expansion of multicultural content throughout. Fully revised, this invaluable text will help you sharpen your counseling skills with thoughtful insight into critical interviewing techniques that will result in more effective and compassionate therapy. Complete with real-world case examples, this essential guide equips you to master the skills necessary in mental health interviewing.show more
Product details
- Hardback | 504 pages
- 180.34 x 254 x 35.56mm | 1,020.58g
- 05 Dec 2008
- John Wiley and Sons Ltd
- John Wiley & Sons Ltd
- Chichester, United Kingdom
- English
- Revised
- 4th Revised edition
- 0470183594
- 9780470183595
- 179,476
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Back cover copy
Praise for "Clinical Interviewing," Fourth Edition"Thorough, thoughtful, and well-written, John and Rita Sommers-Flanagan do an outstanding job demonstrating the scientist-practitioner model in action. The text provides excellent coverage of the basic skills involved in clinical interviewing, and the material is brought to life through an engaging literary style, numerous case examples, and informative and amusing anecdotes. The authors also confront important ethical issues pertaining to clinical interviewing, such as informed consent, confidentiality and its limits, and documentation according to HIPAA standards. The review of the literature is current, summarizing many contemporary issues and controversies, such as revisions to be included in "DSM-V.""--James C. Overholser, PhD, ABPP, Professor of Psychology, Director of Clinical Training, Case Western Reserve University Editor in Chief, Journal of Contemporary Psychotherapy"It is a delight to see the Fourth Edition of the Sommers-Flanagans's excellent work. They understand counseling and therapy, their writing is clear, and this book will be enjoyed by students and faculty alike."--Allen E. Ivey, EdD, ABPP Professor Emeritus, University of Massachusetts Amherst President, Microtraining Associates, Inc."The "Fourth Edition" of this classic by John and Rita Sommers-Flanagan is simply a triumph! This book has both extraordinary depth and breadth. The authors do an exceptional job of describing mundane--but critical--details of learning to interview while still capturing and articulating the essential 'big picture' aspects of contemporary clinical interviewing. The book has it all: theory, research, case material, and the essential 'how to's, ' all presented in an accessible and lively format. It is hard to imagine a better book for beginning clinicians."--David A. Jobes, PhD, ABPP, Professor of Psychology, Co-Director of Clinical Training, Catholic University of AmericaThe classic text featuring practical strategies for conducting effective interviewsBlending a personal and easy-to-read style with a unique emphasis on both the scientific basis and interpersonal aspects of interviewing, "Clinical Interviewing," Fourth Edition reflects current researchEand includes an important expansion of multicultural content throughout. Fully revised, this invaluable text provides thoughtful insight into critical interviewing techniques that will result in more effective and compassionate therapy.The new edition features: A stronger emphasis on evidence-based practiceA new chapter on diagnosis and treatment planning related to clients with addictions and other challenging problemsNew content on motivational interviewing, solution-focused and constructive approaches, and a new section on therapeutic questionsComplete with real-world case examples, "Clinical Interviewing," "Fourth Edition" equips readers with a realistic yet intuitive guide to mastering the skills necessary to be an effective interviewer.show more
Table of contents
Preface. Part One: Becoming a Mental Health Professional. Chapter 1 Introduction: Philosophy and Organization. Welcome to the Journey. Theoretical Orientations. Basic Requirements for Clinical Interviewers. Goals and Objectives of This Book. Summary. Suggested Readings and Resources. Chapter 2 Foundations and Preparations. Defining Clinical Interviewing. Self-Awareness. The Physical Setting. Professional and Ethical Issues. Summary. Suggested Readings and Resources. Part Two: Listening and Relationship Development. Chapter 3 Basic Attending, Listening, and Action Skills. Attending Behavior. Moving Beyond Attending. Nondirective Listening Responses. The Pull to Reassurance. Directive Listening Responses. Summary. Suggested Readings and Resources. Chapter 4 Directives: Questions and Action Skills. Using Questions. Directive Action Responses. Summary. Suggested Readings and Resources. Chapter 5 Theoretically-Supported and Evidence-Based Relationships in Clinical Interviewing. Carl Rogers's Core Conditions. Evidence-Based Psychoanalytic and Interpersonal Relationship Concepts. Evidence-Based Behavioral and Social Psychology Concepts. Evidence-Based Feminist Relationship Concepts. Evidence-Based Solution-Focused and Constructive Relationship Concepts. Summary. Suggested Readings and Resources. Part Three: Structuring and Assessment. Chapter 6 An Overview of the Interview Process. Structural Models. The Introduction. The Opening. The Body. Applying Interventions. The Closing. Termination. Summary. Suggested Readings and Resources. Chapter 7 Intake Interviewing and Report Writing. What Is an Intake Interview? Objectives of Intake Interviewing. Factors Affecting Intake Interview Procedures. Brief Intake Interviewing. The Intake Report. Summary. Suggested Readings and Resources. Chapter 8 The Mental Status Examination. Objectivity. What Is a Mental Status Examination? The Generic Mental Status Examination. When to Use Mental Status Examinations. Summary. Suggested Readings and Resources. Chapter 9 Suicide Assessment. Personal Reactions to Suicide. Suicide Statistics. Key Components in a State-of-the-Science Suicide Assessment Interview. Suicide Risk Factors and Suicide Risk Factor Assessment. Conducting a Thorough Suicide Assessment. Suicide Intervention. Professional Issues. Summary. Suggested Readings and Resources. Chapter 10 Diagnosis and Treatment Planning. Principles of Psychiatric Diagnosis. Diagnostic Assessment: Methods and Procedures. The Science of Clinical Interviewing: Diagnostic Reliability and Validity. A Balanced Approach to Conducting Diagnostic Clinical Interviews. Treatment Planning. An Integrated (Biopsychosocial) Approach to Treatment Planning. Summary. Suggested Readings and Resources. Part Four: Interviewing Special Populations. Chapter 11 Challenging Clients and Demanding Situations. Part One-Challenging Clients. Part Two-Demanding Situations. Summary. Suggested Readings and Resources. Chapter 12 Interviewing Young Clients. Special Considerations in Working with Children. The Introduction. The Opening. The Body. The Closing. Termination. Summary. Suggested Readings and Resources. Chapter 13 Principles and Tips for Interviewing Couples and Families. Some Ironies of Interviewing Couples and Families. Interviewing Stages and Tasks. Special Considerations. Summary. Suggested Readings and Resources. Chapter 14 Interviewing in a Diverse and Multicultural World. Relationship in the Context of Diversity. Four Large Worldviews. Other Diverse Client Populations. Cultural Complexities and Identities. Assessment and Culture-Bound Syndromes. Professional Considerations. Summary. Suggested Readings and Resources. References. Author Index. Subject Index.show more
About John Sommers-Flanagan
JOHN SOMMERS-FLANAGAN has a PhD in clinical psychology and is Associate Professor of Counselor Education at the University of Montana. He serves as a psychological consultant with Trapper Creek Job Corps. His research interests include clinical interviewing, parent consultations, and adolescent psychotherapy. RITA SOMMERS-FLANAGAN earned her PhD at the University of Montana where she is now a Professor of Counselor Education. She provides mental health consultation at the Missoula Vet Center and Trapper Creek Job Corps. She has taught and written in the area of applied, practical ethics for the past fifteen years. John and Rita have coauthored seven books, including Becoming an Ethical Helping Professional: Cultural and Philosophical Foundations and Counseling and Psychotherapy Theories in Context and Practice: Skills, Strategies, and Techniques (both from Wiley).show more


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iPhone 5 came to India on November 2 with much fanfare. Expectations from the phone were at minimum, after earlier iPhone launches in the country having received responses that ranged from tepid at best, to downright hostile, with huge outcry over the pricing.We sensed the mood was different this time on the opening day itself, when we reported encouraging opening day sales. (See: Apple's iPhone 5 makes strong India debut) Now more reports have confirmed that the iPhone 5 is certainly the best-received iPhone in the country.According to a report in The Wall Street Journal's India Real Time, between 10,000 and 15,000 units were shipped to the country and the entire lot is now sold out. WSJ further adds:
Apple's service-provider partners in India and local mobile phone retailers are hoping fresh stock will be available for sale by the end of the week. In the meantime, they are taking early bookings for the next round of sales.So far, the iPhone 5 has done much better than earlier iPhone models. Around 200,000 iPhones are expected to be shipped to India by the end of December, said Rachel Lashford, managing director for mobile at Singapore-based research firm Canalys, which closely tracks handset sales. By comparison, between April and June, Apple had shipped fewer than 50,000 earlier iPhone models to India, according to Canalys.
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An introduction to the use of the Occidental electronic music studio and the creation of electronic music with synthesizers, computer and digital recorders.
1 unit
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100 - Introduction to Electronic Music
An introduction to the use of the Occidental electronic music studio and the creation of electronic music with synthesizers, computer and digital recorders.
101 - Materials of Music
An introductory course in the techniques of music for the student who has little or no previous musical training. Topics will include notation, modes, intervals, melody, harmony, rhythm, and structural elements of music.
102 - Music of Latin America
This course will examine the diverse forms and social contexts of Latin American and Caribbean music, while exploring the ways that musical performance has been used to negotiate power relations in the social, political, and economic spheres since the Conquest. Focusing on musical genres and movements from Argentina, Brazil, Cuba, Haiti, Mexico, Peru, and Trinidad, students will learn to recognize the techniques and instruments used in a wide array of traditional and contemporary styles, particularly those which have grown out of the hybridization of African, Middle Eastern, European, Asian, and Native American performance strategies. While knowledge of music theory and performance skills are not necessary, it is essential that students be prepared for intensive music listening in and out of class.
CORE REQUIREMENT MET: LATIN AMERICA • FINE ARTS and REGIONAL FOCUS
103 - Music of Asia and the Pacific Islands
This course surveys the musical styles and genres of Asia from India through the southeastern part of the continent and includes the countries and islands of the Pacific. Within an ethno-historical framework established at the beginning of the course, emphasis is placed on 1) the region's important musical genres, their social function and musical characteristics, and 2) the instruments used in performing these musical genres. Where appropriate, distinctions will be made between classical and folk genres. While knowledge of music theory and performance skills are not necessary, it is essential that students be prepared for intensive music listening in and out of class.
CORE REQUIREMENT MET: CENTRAL/SOUTH/EAST ASIA • FINE ARTS and REGIONAL FOCUS
104 - Music of Africa and the Middle East
This course surveys the musical styles and genres of the African continent and the Middle Eastern world. Within an ethno-historical framework established at the beginning of the course, emphasis is placed on 1) the region's important musical genres, their social function and musical characteristics, and 2) the instruments used in performing these musical genres. While knowledge of music theory and performance skills are not necessary, it is essential that students be prepared for intensive music listening in and out of class.
CORE REQUIREMENT MET: AFRICA AND THE MIDDLE EAST • FINE ARTS and REGIONAL FOCUS
105 - African American Musics
This course surveys music of African Americans, with an emphasis on 20th century classical and vernacular genres. We will examine this musical web in three units: Classical, Jazz & Blues, and Rock & Contemporary Vernaculars. Featured artists include William Grant Still, Marian Anderson, Margaret Bonds, Duke Ellington, Fats Waller, Big Mama Thornton, Sam Cooke, The Five Blind Boys of Alabama, Motown, Stax Records, and Atlantic Records, Jimi Hendrix, Sweet Honey in the Rock, and Mos Def. Through extensive listening, reading, and group dialogue, this class will explore how the paradigms of African American cultural experience are deeply interwoven within the musical narratives of the U.S. and its cultural satellites. No prior musical training is necessary.
CORE REQUIREMENT MET: DIVERSITY IN THE U.S. and FINE ARTS
111 - Topics in Jazz History
A nontechnical survey of jazz from its origins to the present, with special emphasis on informed listening. Extensive listening assignments will supplement readings.
CORE REQUIREMENT MET: UNITED STATES • FINE ARTS and US DIVERSITY
112 - Topics in Popular Music: Digital Music-Cultures
Pop music blogs, online social networks, home recording studios, and mashup/remix communities are emerging musical spaces in the digital era. In this course we will study music-cultures that are enabled and generated by digital media and technology. We ask how digital media shape the mode of production, transmission, and reception of contemporary popular music. Using principles of ethnomusicology, we will examine how music as a "digital vernacular" creates a sense of place and self in the increasingly globalized world; how social, media, and technological institutions organize 21-century music participation at the grassroots, independent level. A laptop computer is required.
114 - Introduction to the Orchestra
This class introduces students to the world of the orchestra, beginning with its historical development and followed by an in-depth exploration of its instruments. Each class will focus on a different instrument, its history and its fundamental properties (range, characteristics, timbre, etc.). Performance faculty and proficient student instrumentalists will provide routine in-class demonstrations of the instruments we study. In-class listening will supplement weekly listening assignments covering orchestral music from the Baroque to the present. The course will emphasize the relationships between instruments (e.g., what does an oboe and trumpet sound like when playing the same line simultaneously), and how these relationships inform a composer's decision-making process when writing for an orchestra. No music theory background is required, only an ability to read music notation at a basic level (treble clef, bass clef, scales, etc.). This course will serve as a prerequisite to MUSC 258 (Introduction to Film Scoring) starting Fall 2016.
CORE REQUIREMENT MET:FINE ARTS • Intercultural • Global Connections
115 - Topics in Opera
Since its beginnings in late 16th-century Florence, opera has occupied the most diverse of minds: whether lovers of authority (from Louis XIV to Rudy Giuliani) or lovers of the folk (from Jean-Jacques Rousseau to Rufus Wainwright); whether masters of horror (from Edgar Allen Poe to William Friedkin) or masters of the humane (from Søren Kierkegaard to Toni Morrison); whether purveyors of the scholarly (from Friedrich Nietzsche to Kwame Anthony Appiah) or purveyors of the popular (from Scott Joplin and George Gershwin to Beyoncé Knowles and Woody Allen). In this historical survey course, we will examine this diversity of responses to and in opera by studying 1) the precise musical forms and styles of the most famous operas, and 2) the primary source documents written as responses to individual operas and opera writ large. We will thus study individual operas in their political, philosophical, and cultural contexts. Required listening and reading will be supplemented by required trips to the Los Angeles Opera, for rehearsals of operas by Mozart, Verdi, and Puccini. No prior musical experience is required.
117 - Topics in Music for Film and other Media
This course will survey film music from its silent film era origins to the present, focusing on its many functions through in-class viewing, analysis, and critique of film clips. The works of many prominent film composers as well as some lesserknown figures will be examined in terms of style and approach, as well as their own views on the film-scoring process. Fundamental information on music, film, and psychology of music will be introduced, and the role of music in other media (such as TV and experimental video) will be explored.
119 - Why Music Matters
This course provides a general introduction to the elements and history of Western music over the last three centuries. Students will focus on learning how to listen to music, with an emphasis of identifying musical forms, genres, and styles. This focus will serve the larger goal of the course, which is to show how understanding music can not only lead to our greater enjoyment of it but also help us to better understand history and culture. Students with no musical experience are especially welcome.
128 - Chamber Jazz & Improvisation
This course will serve as an intensive laboratory component to the Occidental jazz program by having students learn the fundamentals of jazz theory, including the following: extensions of common practice tonality; modes; form; notational practice and reading from charts; basic arranging and instrumentation; and transcription. Weekly written theory and listening assignments will be supplemented by performance assignments. In class, students as well as instructor will critique one another's performances. Prerequisite: Music 150 or permission of instructor.
150 - Introduction to Music Theory
Designed for students with some beginning experience in music theory and an ability to read music. Covers scales, keys, modes, intervals, and basic tonal harmony. Prerequisite: MUSC 101, or a passing grade on the Music Theory placement examination, or an AP Music Theory score of 3 or higher, or permission of instructor. Requires concurrent enrollment in MUSC 150A.
151 - Theory and Practice of Music I
This course presents the basic principles of musical form and analysis, including modal counterpoint and harmonic practice through tonicization. Students will engage in analytic and compositional projects in consultation with Music History faculty. Prerequisite: Music 150/150A, or AP Music Theory score of 4 or higher. Requires concurrent enrollment in Music 151A.
197 - Independent Study in Music
Prerequisite: Permission of department.
2 units
215 - Making Opera in Los Angeles
The history of opera is a history of the continuous reinvention of a genre in order it to accommodate the time, place, and tastes of its audiences; as such, opera provides a lens for studying cultural, intellectual, political, and economic history. With now even non-operatic companies, like the Los Angeles Philharmonic, staging operas in Disney Hall, opera has, in the past three decades especially, become a terrific lens for studying Los Angeles.T his course will study opera as delimited by its production and reception in Los Angeles over the past century. We will research what operas were first produced in Los Angeles, where, and for what audiences, and how the production and reception of opera, and later zarzuela, evolved over the course of the twentieth century and into the new millennium, as Hollywood directors such as Woody Allen and William Friedkin have turned to directing opera. Students will attend operas principally at LA Opera, our community partner, but also at Long Beach Opera, the Los Angeles Philharmonic, and other SoCal venue.
Prerequisite: sophomore standing.
CORE REQUIREMENT MET: GLOBAL CONNECTIONS and FINE ARTS
230 - Topics in Electronic Music
Topics include the continued study of theoretical, historical and aesthetic principles underlying computer/electronic music, leveraging the study of software applications (Logic, MaxMSP, Digital Performer, ProTools, Cloud Generator, MetaSynth) towards the creation of electronic, electro-acoustic, and/or interactive, multimedia composition. The class may include an emphasis on collaborative multimedia artwork such as film, theater, dance, and multimedia installations, covering the conceptual and practical aspects of creating and producing electro-acoustic music within that framework. Prerequisite: MUSC 100 or MUSA100 or permission of instructor.
2 units
240 - Music Production
Production skills are at the heart of every recording since the onset of music technology. Since then, we cannot speak of something that is "the music itself" and another thing that is its production: "music" is embedded in its production, regardless of style or genre. Professional musicians are increasingly expected to have an understanding of audio engineering and to navigate digital audio workstations in order to record and produce polished tracks for themselves and others. In this course, students will learn to understand and manage complex sound systems, including recording studios and live sound reinforcement, microphone and recording techniques, acoustics and signal flow/processing, mixing and mastering, and digital audio workstations platforms such as Digital Performer, Pro Tools, and Logic. Through the hands-on production and analysis of state-of-the-art digital audio samples, student will gain skills to successfully navigate the private recording studios, large sound stages and control room environments in which the soundtracks for film, television, radio, and digital media are produced.
245 - Music Business
In this course, students will learn about copyright, non-profit organizations, distribution and marketing, contracts, licensing, publishing, royalties, artist management, development and representation, and other important aspects of music business. Drawing from the study and analysis of industry standard documents and systems, students will develop critical skills in the creation and application of essential aspects of music business management and entrepreneurship.
2 units
250 - Theory and Practice of Music II
This course deepens students' exposure to techniques for analysis and composition in the style of 18th-19th century common practice. We will study imitative genres and sectional forms (ternary, sonata, rondo), exploring chromatic extensions of diatonic practice. Students will engage in analytic and compositional projects in consultation with Music History faculty. Prerequisite: Music 151/151A. Requires concurrent enrollment in Music 250A.
257 - Composition and Orchestration
Writing exercises to develop technical facility; study of characteristics of instruments; exercises in scoring for various vocal and instrumental combinations. This course may be repeated three times for credit. Prerequisite: Music 150 or permission of the instructor.
M258 - Introduction to Film Scoring
This course introduces students to the art of film scoring and provides an in-depth exploration of the field. We will discuss the functions of film music and analyze preexisting scores that demonstrate varying dramatic situations, while also investigating the aesthetic relationship between film and music. Students will be required to score several preexisting scenes throughout the course. Prerequisite: Music 230 or basic experience using Logic or other DAW (Digital Audio Workstation)
261 - Western Music and Culture: 1600-1789
This course surveys the two centuries that gave rise to European art music's most enduring legacies: opera, instrumental art music, and, especially, the major-minor tonal system, which, as the system that informs most music today, is arguably Europe's greatest-ever cultural export. The emergence of this tonal system will enable instrumental music to sustain a listener's attention through dramatic forms and without the aid of words; comprehending how these forms behave will be one of our central tasks. In turn, the cultivation of instrumental genres will fuel the operatic accomplishments of Classical composers, notably Mozart. Our study of vocal and instrumental music will proceed chronologically and focus on individual cities, starting with Florence and ending with Vienna. With the only prerequisite in taking this course being the ability to read musical notation, students from other disciplines who are eager for music-intensive study are especially welcome. Music majors and minors taking the course will be given assignments tailored to their knowledge and departmental expectations. Freshmen may not enroll in this course. Prerequisite: sophomore Status
CORE REQUIREMENT MET: PRE-1800 ● EUROPE ● REGIONAL FOCUS ● FINE ARTS (Any two can be used for this class)
262 - Western Music & Culture in the 19th Century
This interdisciplinary course will survey the music of the long 19th century, from the French Revolution to the beginning of World War I. We will commence by considering Beethoven's response to Napoleon, the Eroica Symphony, in the context of post-Revolution European geo-politics, and end with the musical cultures of turn-of-the-century Vienna, Paris, and New York City. Topics to be explored include the following: the Industrial Revolution and emergent technologies (including photography); landscape painting and poetry; nationalism (including "folk" music); aesthetics and philosophy; science and medicine; the expansion of tonal and formal musical language, and the essaying of new musical forms; the public concert, and music for home performance; and Richard Wagner and artistic responses to his music and writings. No prerequisites.
263 - Western Music & Culture in the 20th Century
This course surveys Western musical practice of the 20th century, commencing with the wide-ranging artistic responses to the music and writings of Richard Wagner, in Europe and in the United States, and the emergence of a "musical modernism," as new forms and new pitch systems take hold. We will then follow the radical experimentation of the 1920s ultra-modernists through to the post-minimalist eclecticism of John Adams and Kaija Saariaho at the century's end, throughout alert to the political, philosophical, and cultural forces shaping the music at issue. With the only prerequisite in taking this course being the ability to read musical notation, students from other disciplines who are eager for music-intensive study are especially welcome. Music majors and minors taking the course will be given assignments tailored to their knowledge and departmental expectations.
CORE REQUIREMENT MET: FINE ARTS ● INTERCULTURAL and GLOBAL CONNECTIONS
268 - Vienna, 1890-1914
This multidisciplinary course takes the crucible that was fin-de-siècle Vienna as its object of study, beginning with the city's 1890-92 expansion to include the suburbs south of the Danube, to the beginning of World War I, which brought an end to the Hapsburg dynasty and Austria-Hungary. Our approach to studying Vienna will be prismatic: each week will consist of one seminar on its music (principally the music of Gustav Mahler and Arnold Schoenberg) and one guest lecture on one of the following aspects of the city at this time: urban planning, economics, political history, architecture, art, dance, psychology, medicine, science, and religion. The last three weeks on campus will be devoted to German language instruction and individual research projects. The on-campus component of the course will culminate in transforming Bird Studio into a Viennese coffee house, which will welcome the campus community and during which students must impersonate, through knowledgeable conversation, a contemporaneous Viennese figure central to their field of research. This immersive on-campus study will crescendo to the downbeat of the course: the week after Commencement, you will board a flight for Vienna for three weeks of intensive study there, convening as a class each day, attending lectures, classes (including a cooking class!), and concerts, and visiting the historical, cultural, and musical sites we studied on campus. We will take three, three-hour guided walking tours, of architectural monuments, of historical (including music-historical) monuments, and of Viennese coffee houses. Arriving during the cultural festival Vienna Festival Weeks, we will attend as many of its offerings as time permits. Students must apply and participate in an interview for this course, whose enrollment will be limited to sixteen students. Frosh may not apply for this course. Prerequisite: sophomore standing
CORE REQUIREMENT MET: FINE ARTS and REGIONAL FOCUS
272 - Instrumental Conducting
Basic principles and gestures of instrumental conducting in a variety of genres: symphony, concerto, opera. We will also discuss the "business" of conducting and running rehearsals. Prerequisite: MUSC 150
2 units
273 - Choral Conducting
Introduction to conducting technique from a choral perspective. Students will learn to develop musical interpretation through score study, analysis, and a clear gestural vocabulary. Prerequisite: MUSC 150
2 units
280 - Introduction to Ethnomusicology
Offers an introduction to the principal concepts and methodologies of the field of ethnomusicology as well as the style and practices of selected world musical traditions.
CORE REQUIREMENT MET: INTERCULTURAL • FINE ARTS • Global Connections
282 - Introduction to North Indian Classical Music
North Indian (Hindustani) Classical Music is one of the most complete systems of musical expression found in the world today. Hindustani music is a vibrant contemporary art form that draws from an ancient historical tradition and rigorous theoretical structure to create performances that combine spontaneous creativity with virtuosic musicianship. In this course students will explore the musical and cultural aspects of this system through historical analysis and hands-on practice. Beginning with those elements of structure that Hindustani music shares with Western music (including the major scale) students will integrate theory, practice and musicianship as part of a comprehensive introduction to North Indian music. The ability to read Western staff notation is highly recommended.
CORE REQUIREMENT MET: FINE ARTS ● GLOBAL CONNECTIONS ● PRE-1800 (any two can be used for the class)
284 - Sonic Latinidad: Latino/a music in the United Stats
Although they have often been marginalized within official histories of North American music-making, Latino/a musicians have contributed to the production and development of every major genre of music in the United States. In this course we will review the history of Latino/a music in the United States, focusing on regional musical movements in Texas, California, New York and Florida. In addition to exploring Spanish-language genres including cumbia, salsa, merengue, conjunto, banda and reggaeton which have been shaped by musical innovators in the United States, we will trace the influence of Latino/a musicians on rock n' roll, punk, jazz, hip hop and country. In particular we will be interested in exploring how music has helped to shape emerging patterns of racial, ethnic, class and gender identification, while fanning the flames of social protest movements from the Chicano Movement of the 60s and 70s to the pro-immigrant rights movement of the past two decades. Finally, we will consider the emerging soundscape of U.S.-based protests on behalf of the 43 students massacred in Iguala, Mexico. In addition to written assignments, students will also collaboratively develop a digital project incorporating maps, storytelling, and data visualizations. No prior study of music or digital humanities is required.
CORE REQUIREMENT MET: FINE ARTS and US DIVERSITY
285 - The Music Video
288 - Music and Festival
Defined by anthropologists as "a sacred or profane time of celebration, marked by special observances" (Falassi 1987) and a "themed, public celebration" (Getz 2005), the festival has been theorized in recent years as an important site of social, cultural and economic activity. Since the age of antiquity festivals have included musical performances that draw audiences from far and wide, confirm and strengthen community alliances (and in some case, religious commitments), and create economic opportunities for musicians and cultural brokers. Engaging contemporary academic work on the festival, in this course we will theorize the role of music in historic and contemporary festivals including Carnival, Mardi Gras, Burning Man and Electronic Dance Music Festivals. Key questions we will consider include how festivals change through time and are similar or different from other touristic experiences; to what extent they offer radical, lasting alternatives to normative political and social hierarchies; how festival organizers strike a balance between cultural and economic aims; and which discourses of authenticity and tradition circulate among musicians and fans.
315 - Musical Theater Performance
The American musical presents unique challenges to performers. They act and they sing, and most importantly, they must act while singing. They also need to understand both the literary and musical meaning of a work of musical theater, and how the two are intertwined. In this course, designed for the novice performer as well as the advanced actor or singer, we focus on the literature of musical theater, introducing students to the art of acting a song. We place character within the context of the music and the story, and explore how the elements of healthy singing (including breath control, phrasing, and placement) express character. Through solo and collaborative selections from contemporary and classic musical theater, we examine the intersection of singing, acting and movement unique to musical theater. Can be repeated one time for credit. Prerequisite Must be at least sophomore status or instructor approval. Prerequisite: at least sophomore standing or permission of the instructor.
350 - Music Analysis: Form, Genre, Point of View
This seminar approaches musical form from a stylistic point of view. Intense focus on details at both the surface and background levels of musical activity – melodic, harmonic, rhythmic, and sonic (texture, density, articulation, dynamics, timbre) -- will yield a broad understanding of the ways in which all aspects of musical language influence musical form and style. Readings will also reinforce the connection between culture and style, yielding discussion of issues around links between intellectual history and musical genre. For example, why did the fugue evolve and flourish during the Enlightenment and the scientific revolution? What happened to opera's da capo aria after the 18th century, and why? Repertoire will include music from the Renaissance to the 20th century. The final project will be an analytic paper and a classroom presentation based on this work. Prerequisite: Music 150 or permission of instructor.
2 units
351 - Theory and Practice of Music III
Students will explore extensions of chromatic harmonic practice through the turn of the 20th century, and will be introduced to the musical language of iconic 20th-century composers (Schoenberg, Stravinsky, Debussy, Bartok). Students will engage in analytic and compositional projects in consultation with Music History faculty. Prerequisite: Music 250 or permission of instructor. Requires concurrent enrollment in Music 250A.
374 - Junior Recital Preparation
Preparation for junior recital. Requirements include more extensive practice expectations as well as research and preparation of program notes. Prerequisite: approval of the department. May be repeated once for credit.
2 units
385 - Advanced Topics in the Critical Study of Music
385 - Advanced Topics in the Critical Study of Music
Music and Food. This interdisciplinary research seminar will examine the relationship between music and food, and thus hearing and taste, in Europe and the United States, beginning with the 16th-century category of musical composition called "table music" and culminating in the present-day gastropub. Along the way we will explore topics such as the 18th-century emergence of aesthetics as a branch of philosophy, the rise of the restaurant and gastronomy, Dandyism and Decadent literature, and "fine dining" in the United States. We will read scholarly literature from the fields of philosophy, history, cognitive science, sociology, literature, and music. Students will carve out an area of research early on and develop it over the course of the semester, culminating in a research presentation and final argument-driven research paper. The course will conclude with the recreation of a historical banquet.
386 - Performance and Politics of the U.S.-Mexico Border
This course examines the ways that the United States-Mexico border has been represented as a space of violence and creativity, limits and possibility in music, theater, literature, and film. Shuttling back and forth between the border as a geopolitical boundary and as a trope of emergent identity, the cultural texts we will examine challenge dominant narratives of national belonging, self and other, gender and racial hierarchy, and economic marginalization. Engaging in a historically situated analysis of cultural texts that offer alternative perspectives on the lived experiences of those who inhabit the dynamic contact zone between the United States and Mexico, students will critically engage the concepts and issues that have shaped the master narrative of the border. In addition to writing a twelve-page research paper, students will produce a multimedia digital project. Not open to 1st year students.
CORE REQUIREMENT MET: GLOBAL CONNECTIONS and FINE ARTS
397 - Independent Study in Music
2 units
474 - Senior Comprehensive Preparation in Music
This course provides individual coaching and advisement to students preparing to present their senior comprehensive project. May be repeated once for credit Prerequisite: Junior Standing
2 units
490 - Senior Seminar in Music
In this fall semester seminar students will work through a staged process to complete a draft of their senior comprehensive paper. In this critical, persuasive essay students will engage recent scholarship in the fields of musicology, ethnomusicology and/or music theory in order to develop and support an original thesis. Students undertaking research and/or fieldwork for their senior comprehensive projects will produce a complete draft of their twenty-five page (6,250 word) critical essay. Students undertaking composition, conducting, instrumental or vocal recitals for their student comprehensive project will write a thesis-driven, ten-page (2,500 word) paper that explores a musical topic related to the materials they will present. Recitalists will also research and produce a draft of their recital program, with program notes, while composers will complete their recital portfolio and begin work on their recital program. Over the course of the semester students will discuss and share their work, as well as analyze and discuss exemplary academic papers, program notes, liner notes, and music reviews in order to develop their ability to write about music for academic and non-academic audiences in compelling ways. Prerequisite: junior standing
Ensemble membership is open to all students of the college by audition. All ensembles are graded Credit/No Credit, and may be repeated for credit.
120 - College Chorus
Study and performance of choral music. Development of singing ability and sight-reading skills through the preparation and performance of works for full chorus. The chorus rehearses one evening each week and performs on-campus each semester. Students may enroll for one or both semesters. Prerequisite: Enrollment is by audition with the instructor during the first week of each semester. No previous musical experience required.
1 unit
121 - Women's Glee Club
Advanced study and performance of choral music. Emphasis is placed on the more difficult traditional choral repertoire, but the study of world music and popular music is included. Includes many performances with Men's Glee Club, both on and off campus. Enrollment is for the full year and is by audition during the first week of the fall semester. 2 hours rehearsal per week plus 2.5 hours rehearsal per week with Men's Glee Club. Sight reading ability and previous musical experience highly recommended.
2 unit
122 - Men's Glee Club
Advanced study and performance of choral music. Emphasis is placed on the more difficult traditional choral repertoire, but the study of world music and popular music is included. Includes many performances with the Women's Glee Club, both on and off campus. Enrollment is for the full year and is by audition during the first week of the fall semester. 2 hours rehearsal per week plus 2.5 hours rehearsal per week with Women's Glee Club. Sight reading ability and previous musical experience highly recommended.
2 unit
123 - Afro-Cuban Drumming
Semester-long instruction with music tradition-bearers allows students to develop the technique and language to approach musical styles from outside the Western art music canon, while exposing them to alternative modes of musical pedagogy. In addition to practicing secular rumba drumming, students will study the sacred rhythms of Santería and learn to sing the songs of the Orishas in the Yoruba dialect of Lucumi. In addition to weekly rehearsals with the ensemble, students will be expected to practice on their own and to participate in a public performance at the end of the semester. No prior music experience is required.
1 unit
124 - Son Jarocho Ensemble
Son Jarocho Ensemble introduces students to the songs and instrumental techniques of son jarocho, a musical genre from Veracruz, Mexico that mixes indigenous Mexican, African, Spanish and Arabic sounds. The course will be taught by a master musician who brings over twenty years of musical experience to his classes. Students will learn to play jarana, the eight-stringed guitar that provides the harmonic scaffold for son jarocho. In addition to weekly rehearsals with the ensemble, students will be expected to practice on their own and to participate in a public performance at the end of the semester. No prior music experience is required.
1 unit
125 - Orchestra
A symphonic ensemble for qualified instrumentalists from the college communities of Occidental and the California Institute of Technology (students, faculty, staff, and their families). The orchestra presents several concerts on both campuses each year.
1 unit
126 - Concert Band
A symphonic wind ensemble for qualified instrumentalists from the college communities of Occidental and the California Institute of Technology (students, faculty, staff and their families). The Band presents concerts on both campuses during the year. Prerequisite: audition with instructor.
1 unit
127 - Jazz Ensemble
The Occidental Jazz Ensemble consists of instrumentalists from Occidental who are interested in performing jazz of various styles. Charts and styles are determined according to the instrumentalists in the ensemble and their particular jazz interests. The Jazz Ensemble presents several concerts during the academic year. Enrollment is by audition with the instructor.
1 unit
129 - Chamber Music
Study and performance of chamber music for diverse combinations of instruments and voices. Prerequisite: audition during the first week of the semester.
1 unit
130 - Occidental Sinfonia
The Occidental Sinfonia is an orchestral chamber ensemble focusing on the standard repertoire from the Baroque through the present. The mission of the Sinfonia is to provide a rigorous learning environment that will expose students to an eclectic range of music specifically written for a chamber-orchestra-sized group, though occasionally the size of the group will be augmented to perform larger works. The Sinfonia aspires to create an environment that emulates the music industry. Through its close collaboration with the Composition program, Sinfonia members will participate in reading workshops, original film scoring projects, and recording sessions, as well as premiering new compositions throughout the academic year. In the spring semester, the Sinfonia will collaborate with the Glee Club and College Chorus to perform a significant choral work with orchestral accompaniment. Members must audition and be selected, or receive approval by the music director, in order to participate in the ensemble. Open to music majors, music minors, non-majors, as well as alumni and community members.
2 unit
Instruction in applied music is available to all students of the College. Information regarding scholarships for applied music study is available at the Music Department office.
Applied Music Fees per semester:
Half-hour private lessons: $375.00
One-hour private lessons: $750.00
Class lessons in electronic music, voice, piano, guitar, jazz improvisation, Alexander Technique: $195.00
Fees apply to all students regardless of full or part-time status.
Policies for Applied Music Lessons: Private lessons in instruments and voice are offered for one unit of credit, and can be taken for either one half-hour or one hour a week. Private applied music lessons are assigned a letter grade at the end of the semester. Students who are not music majors, or who are not receiving applied music scholarships, are welcome to elect CR/NC grading by the published deadline if their instructor approves. Please be sure to file the necessary form from the Registrar by the published deadline if you are interested in this option.
Applied music class lessons (group lessons) require a minimum of four students. If fewer than four students sign up for the class, the registered students will be contacted and given the option of enrolling in private lessons or dropping the course. All applied music class lessons are graded Credit/No Credit.
Students enroll for class and private applied music lessons through the regular online registration process or with an ADD form each term. Class and private applied music lessons and classes must be added by September 11, 2015 (Fall), and February 5, 2016 (Spring). Your instructor will contact you to schedule your lessons. All music majors, and all students receiving an applied music scholarship will perform a jury at the end of each semester of study (excluding semesters in which a student is performing a junior or senior recital). Applied music lessons may be repeated for credit.
Refunds for class and private applied music lessons will not be given after the third week of each semester. Students who elect to drop must complete an ADD/DROP form and submit it to the Registrar no later than September 18, 2015 (Fall) or February 12, 2016 (Spring). Any student who drops class or private applied lessons after these dates will be billed for the FULL lesson fee(s) for that semester. If a student drops class or private applied music lessons on or before each semester's deadline, s/he will be billed for the number of lessons taken up to that time.
101 - Voice Class
Fundamentals of singing: voice production, diction, repertoire, musicianship.
Recommended as preparation for private lessons. Fee: $195.
1 unit
102 - Piano Class
Basic keyboard technique at the beginning through lower intermediate level. Fee: $195. Graded on a Credit/No Credit basis only.
1 unit
103 - Classic Guitar Class (Beginning)
An introduction to classical guitar including basic technique and musicianship. The traditional repertoire as well as 20th century and flamenco will be explored. Fee: $195.
1 unit
104 - Classical Guitar Class (Intermediate)
A further exploration of classical guitar with emphasis on a thorough treatment of musicianship, technique, and expansion of the repertoire for the guitar soloist. Prerequisite: Music 133 or permission of instructor. Fee: $195.
1 unit
105 - Alexander Technique Class
The Alexander Technique helps students move naturally. They learn to prevent excess tension and replace it with a more effectively balanced movement pattern throughout the body. Does not satisfy Music Major applied music requirement. Fee: $195.
1 unit
201-280 - Private Applied Music Lessons
All private applied music lessons are one unit each, whether the duration of the lessons is one-half hour or one hour per week. Private applied study carries a fee of $375 (1/2-hour lessons) or $750 (one hour lessons).
MUSA 201 PIANO (1/2-hour lessons) / MUSA 202 PIANO (1-hour lessons)
1 unit
MUSA 203 JAZZ PIANO (1/2-hour lessons) / MUSA 204 JAZZ PIANO (1hour lessons)
1 unit
MUSA 205 PIANO IMPROVISATION (1/2-hour lessons) / MUSA 206 PIANO IMPROVISATION (1-hour lessons)
1 unit
MUSA 208 COLLABORATIVE PIANO (1-hour lessons)
Prerequisite: two semesters of applied piano study at Occidental, or permission of instructor.
1 unit
MUSA 211 VOICE (1/2-hour lessons) / MUSA 212 VOICE (1-hour lessons)
1 unit
MUSA 213 JAZZ VOICE (1/2-hour lessons) / MUSA 214 JAZZ VOICE (1-hour lessons)
1 unit
MUSA 221 FLUTE (1/2-hour lessons) / MUSA 222 FLUTE (1-hour lessons)
1 unit
MUSA 223 OBOE (1/2-hour lessons) / MUSA 224 OBOE (1-hour lessons)
1 unit
MUSA 225 CLARINET (1/2-hour lessons) / MUSA 226 CLARINET (1-hour lessons)
1 unit
MUSA 227 BASSOON (1/2-hour lessons) / MUSA 228 BASSOON (1-hour lessons)
1 unit
MUSA 229 CLASSICAL SAXOPHONE (1/2-hour lessons) / MUSA 230 CLASSICAL SAXOPHONE (1-hour lessons)
1 unit
MUSA 231 JAZZ SAXOPHONE (1/2-hour lessons) / MUSA 232 JAZZ SAXOPHONE (1-hour lessons)
1 unit
MUSA 241 FRENCH HORN (1/2-hour lessons) / MUSA 242 FRENCH HORN (1-hour lessons)
1 unit
MUSA 243 TRUMPET (1/2-hour lessons) / MUSA 244 TRUMPET (1-hour lessons)
1 unit
MUSA 245 TROMBONE (1/2-hour lessons) / MUSA 246 TROMBONE (1hour lessons)
1 unit
MUSA 247 TUBA (1/2-hour lessons) / MUSA 248 TUBA (1-hour lessons)
1 unit
MUSA 249 Afro-Cuban Drumming (Half-Hour Lesson) / MUSA 250 Afro-Cuban Drumming (One-Hour Lessons)
1 unit
MUSA 251 PERCUSSION (1/2-hour lessons) / MUSA 252 PERCUSSION (1hour lessons)
1 unit
MUSA 253 HARP (1/2-hour lessons) / MUSA 254 HARP (1-hour lessons)
1 unit
MUSA 261 VIOLIN (1/2-hour lessons) / MUSA 262 VIOLIN (1-hour lessons)
Prerequisite: prior experience playing the violin.
1 unit
MUSA 265 CELLO (1/2-hour lessons) / MUSA 266 CELLO (1-hour lessons)
Prerequisite: prior experience playing the cello.
1 unit
MUSA 267 STRING BASS (1/2-hour lessons) / MUSA 268 STRING BASS (1-hour lessons)
1 unit
MUSA 269 ELECTRIC BASS (1/2-hour lessons) / MUSA 270 ELECTRIC BASS (1-hour lessons)
1 unit
MUSA 271 CLASSICAL GUITAR (1/2-hour lessons) / MUSA 272 CLASSICAL GUITAR (1-hour lessons)
1 unit
MUSA 273 JAZZ GUITAR (1/2-hour lessons) / MUSA 274 JAZZ GUITAR (1-hour lessons)
1 unit
MUSA 276 ADV. CLASSICAL GUITAR (1-hour lessons)
1 unit


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Hi Daniel, > Hello Matthias, > > On 28.11.2011 14:12, Matthias Schmalz wrote: >> Hi Michael, >> >> Here is some feedback on the Rodin handbook. >> >> 1) Actually I have already used the email feedback feature. I asked for >> a confirmation that my feedback has been received, but I never got a >> confirmation. Apparently, there is a problem with the email feedback. > we have received several feedback messages from you. The feedback is > collected in a spreadsheet first and not all messages are attended to > yet. I'm sorry if you might had the impression that we do not read the > feedback. Thanks for explaining. Apparently, the problem was on my side. > First, thank you for your feedback. This is exactly the kind of feedback > I hoped for because I'm a little bit unsure regarding some topics of the > reference section. I still have some questions about what you said about > section 3: > >> 2) Proving / Provers: [...] >> 3) On Mathematical Notation / Sets: >> >> I have some feedback on how you introduce the various operators. >> I focus on the example of subset (\subseteq), but it applies to other >> definitions as well. Here is the "definition": >> >> S \subseteq T \triangleq \forall e\qdot e \in S \limp e \in T >> >> There is some room for interpretation what this actually means; here is >> what I understood: >> - It is not entirely clear whether S and T range over only well-defined >> or also over ill-defined values. I assume the latter. For, otherwise the >> statement L(S \box T) \triangleq L(S) \land L(T) would be pointless. > > My intention was this: Under the assumption that the predicate is > well-defined (as defined by the statement > "L(S \ T)<: L(S)& L(T)"), "S<: T" is logically equivalent to "!e. > e:S => e:T". > I think in this context "L(S<:T) == L(S)& L(T)" is not pointless, > because it just defines under which conditions the equivalence holds. My question is whether S and T may be ill-defined. Is this the case? Also, your intention is not obvious from what you have written. Maybe you should write "L(A) => (A \triangleq B)" instead of "A \triangleq B" >> - Then it is not entirely clear what the \triangleq means. A logic of >> partial functions has many notions of equality. I assume that A >> \triangleq B means that A is true/false/ill-defined iff B is >> true/false/ill-defined, respectively. This emphasizes that the left- and >> right-hand side of a definition are interchangeable. > I agree with you here. There is currently no definition of the operator > in the handbook yet. My understanding is that A \triangleeq B means A is > true/false iff B is true/false. There is a syntactical difference between mine and your definition of \triangleeq. ("true/false/ill-defined" vs. "true/false") On a closer look, they have the same semantics. I take that as a confirmation for my definition. > As said above, the ill-defined case is > ruled-out by the WD-condition. See above. >> With this in mind, I spotted some problems: >> >> - Did you introduce "\in"? I could not find it. I admit, it is not >> possible to define "\in". But maybe you should say at some point what >> you take as granted and what you define on your own. That prevents >> readers from searching for definitions that do not exist. > Yes, \in is defined in 3.3.2. Somewhat arbitrary, maybe it fits better > into the sets section. Okay. I have overlooked it. >> - The left- and right-hand side are actually not interchangeable. For, >> if S is the empty set and T ill-defined, then the lhs is ill-defined and >> the rhs is true. >> One may go one step further: the two equalities >> S \subseteq T \triangleq \forall e\qdot e \in S \limp e \in T >> and >> L(S \box T) \triangleq L(S) \land L(T) >> imply >> L(\forall e\qdot e \in S \limp e \in T) \triangleq L(S) \land L(T), >> which is certainly not the case. > But is this still the case if we assume S and T as well-defined? Or am I > too naive here? You are right (and not too naive). If you assume that S and T are well-defined, the problem with L(\forall e\qdot e \in S \limp e \in T) \triangleq L(S) \land L(T) disappears (both sides are true). >> - Actually you have two kinds of variables and two kinds of equalities >> in the handbook. This makes it difficult to infer what is actually >> meant. I would make the difference between the two kinds of variables >> syntactically visible, and explain the semantical difference between the >> two kinds of variables/equalities up front. > With two kinds of variables you mean > a) a variable as a placeholder for an arbitrary expression and > b) an Event-B identifier? Yes. > I'm not sure what you do mean by the second equality? Do you mean > statements like: "S \/ T = { x | x:S or x:T }"? > In that case, does that really leads to any confusion? The two equalities are "=" and "\triangleq". I see two sources of confusion: - It is not explained what "\triangleq" means. - In some definitions, \triangleq is used; in others, it is "=". >> I believe that almost every reader of the handbook has already seen the >> subset relation and will find the equation >> S \subseteq T \triangleq \forall e\qdot e \in S \limp e \in T >> rather obvious. So he will not learn anything from reading this >> definition. Instead of emphasizing what the reader already knows, the >> handbook should point out how Event-B's operators deviate from the >> reader's intuition. > I do not agree fully here. For most (if not all) it is obvious. But > where do we draw the line? Using prose everywhere just to avoid a formal > notion would make the reference much more clumsy to read. First off, I do not suggest to kick out the definition of \subseteq or to avoid formal notation altogether. Currently, it is rather clear that \subseteq is somehow the subset relation. The details on well-definedness are currently rather implicit, and on a closer look also contradictory. >> 4) Some miscellaneous comments: >> >> In Section 3.3 you refer to the Z reference manual. There was never an >> agreement how partial functions are handled in Z. I would therefore not >> try to understand Event-B from the Z reference manual. > I agree. But the note is a reference for handbook writers as an example > for a handbook for a mathematical notion, not for Z's foundations. The > note will be removed before the final release. Good. The overall problem remains: - You have to clarify whether your variables range over well-defined values or over arbitrary values. In my thesis, I need two kinds of variables: well-defined variables x, y, z, and operator variables $x, $y, $z that range over arbitrary values. - You have to clarify the definition of "\triangleq". Under the current definition "$A <: $B \triangleq ! x. x : $A => x : $B" is invalid. I see two ways out: -- Use ordinary variables, i.e., "A <: B \triangleq ! x. x : A => x : B" -- Use \sqsubseteq instead of \triangleq, where "$P \sqsubseteq $Q" iff "L($P) => ($P \triangleq $Q)". The definition is then: "$A <: $B \sqsubseteq !x. x : $A => x : $B" Good luck, Matthias
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