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Tonality is the character of music written with hierarchical relationships of pitcheses, rhythms, and chordss to a "center" or tonic. Tonic is sometimes used interchangeably with key. The term tonalité was likely first introduced by Joseph Fétis in 1840 (Reti, 1958 and Judd, 1998). In his influential article on the subject, music theorist Carl Dalhaus provided a broad survey which included seven definitions of tonality he felt had been used with regularity.Tonality, then, may be defined in various ways:
- One is through reference to pre-existing music of a specific time period and location which is assumed to be tonal, such as that of the common practice period.
- Analysis of the above music may be used to define tonal music from the similarities and restrictions inferred from analysis. This includes the use of the major scale or minor scale, their triadicic chords and diatonic functions, and the compositional techniques, procedures, and materials used.
- A definition may be formed from observations or assumptions of the characteristics of sound, organization/order, or perception, possibly combined with aspects of the above analysis, that considers tonality a practice correctly based on physical or psychological constants.
- Tonal music may simply be contrasted with atonal music, music which does not feel as if it has a center.
A distinction is commonly made between functional tonality, or sometimes narrative tonality, and other (nonfunctional) tonality such as the pandiatonicism of Aaron Copland or Steve Reich which often consists of tonal or tonal added tone chords (trouves or "finds" as Aaron Copland described some of his own nonfunctional tonality) in nontonal successions.
David Cope (1997) considers key, consonance or relaxation and dissonance or tension, and hierarchical relationships to be the three most basic concepts in tonality.
Table of contents |
2 Theory of Tonal Music 3 History 4 External links 5 Sources |
In the vast majority of tonal music pitches generally conform to one of four specific seven note scales: major, natural minor, melodic minor, and harmonic minor. The major scale predominates and melodic minor contains nine pitches (seven with two alterable). The basic seven notes of a scale are notated in the key signature, and whether the piece is in the major or minor is either stated in the title, or implied in the piece. While other scales and modes are used in tonal music, particularly after 1890, these two are the scales which are considered the most normal. In notation, each note or degree of the scale is often designated by a Roman numeral, or less commonly solfege:
Vocabulary of Tonal Organization
Many of the terms and symbols necessary to analyze tonal organization follow below.
Function | Roman Numeral | Solfege |
Tonic | I | Do |
Supertonic | II | Re |
Mediant | III | Mi/Mé |
Sub-Dominant | IV | Fa |
Dominant | V | So |
Sub-Mediant | VI | La/Le |
Leading/Subtonic | VII | Ti/Te |
Thus "I" describes the tonic chord at a given time.
Chords, all triadss, are also built upon, in a tertian manner, and named by the scale degree which acts as their root. Chords are then further named according to their quality or makeup, determined by the scale notes which lie a third and fifth (two thirds) above the degree a chord is built upon. If minor the numeral is lower case, if major, uppercase, and other chords are designated in other ways. Quality is generally not as important as the chord's root.
The degree of a scale is both the pitch of that note and that pitches diatonic function, which is why chords are named by scale degree. Thus the notes of a chord do not have to be sounded simultaneously, and one to two notes may function as a three or more note chord. Thus a chord described as "V" is based on the fifth note of the prevailing tonic scale. In C Major, that would be a triad based on G, and would be the G Major triad.
To describe a chord progression, the roman numerals of the chords are listed. Thus IV-V-I describes a chord progression of a chord based on the fourth note of a scale, then one based on the fifth note of the scale, and then one on the first note of the scale. Capital Roman numerals refer to the major chord, and lower case roman numerals refer to the minor chord. This means that in the traditional major scale, the ii, iii and vi are minor chords, where as I, IV, V are major. The chord on the seventh note is a diminished triad and is written vii. Numbers attached to a chord indicate additional notes, one of the most important chords in tonal harmony is the V7 chord which is a four note chord that includes the fourth note of the tonic scale. The "7" refers to a note seven diatonic steps up from the fundamental note of the chord, not the seventh note of the tonic scale.
The traditional form of tonal music begins and ends on the tonic of the piece, and many tonal works move to a closely related key, such as the dominant of the main tonality. Establishing a tonality is traditionally accomplished through a cadence which is two chords in succession - the most common being V7-I cadence. Other cadences are considered to be less powerful. The cadences determines the form of a tonal piece of music, and the placement of cadences, there preparation and establishment as cadences, as opposed to simply chord progressions, is central to the theory and practice of tonal music.
Most tonality is "functional harmony", which is a term used to describe music where changes in the predominate scale or additional notes to chords are explainable by their place in stabilizing or destabilizing a tonality. This is a complex way of saying that it is possible to explain why a particular note was included, and what that note means in relation to the tonic chord. Harmony with a large number of notes which do not have clear structural function is called "nonfunctional" harmony, which is not to imply "disfunctional", but merely that the additional notes are not to be played or heard as restricting or advancing the harmonic progression.
In the context of tonal organization a chord or a note is said to be "consonant" when it implies stability, and "dissonant" when it implies instability. This is not the same as the ordinary use of the words consonant and dissonant. A dissonant chord is in tension against the tonic, and implies that the music is distant from that tonic chord. "Resolution" is the process by which the harmonic progression moves from dissonant chords to consonant chords and follows counterpoint or voice leading. Voice leading is a description of the "horizontal" movement of the music, as opposed to chords which are considered the "vertical".
In the common forms of tonal organization, since a chord has a relationship to the tonic, which note is its fundamental note is set, not by which note is played lower than the others, but by which note establishes the chord's relationship to the tonic. This means that chords are said to be "inverted" when this fundamental note is not sounded the lowest. For example in C Major C-E-G is the tonic chord. If C is not the lowest note played, it is said to be in "inversion". The first inversion would be E-G-C, and the second inversion would be G-C-E.
To summarize, traditional tonal music is described in terms of a scale of notes. On that scale are built chords. Chords in order form a progression. Progressions establish or deny a particular chord as being the tonic chord. The cadence is held to be the sequence of chords which establishes one chord as being the tonic chord, more powerful cadences create a greater sense of closure and a stronger sense of key. Chords have a function when it can be explained how they lead the music towards or away from a particular tonic chord. When the sense of which tonic chord is changed, the music is said to have "changed key" or "modulated". The vocabulary of roman numerals and numbers is used to describe the relationship of a particular chord to the tonic chord.
The techniques of accomplishing this process, are the subject of tonal music theory and compositional practice.
Tonality allows for a great range of musical materials, structures, meanings, and understandings. It does this through establishing a tonic, or central chord based on a pitch which is the lowest degree of a scale, and a somewhat flexible network of relations between any pitch or chord and the tonic similar to perspective in painting. This is what is meant by tonality having a hierarchical relationship, one triad, the tonic triad, is the "center of gravity" to which other chords are supposed to lead. Changing which chord is felt to be the tonic triad is referred to as "modulation". As within a musical phrase, interest and tension may be created through the move from consonance to dissonance and back, an larger piece will also create interest by moving away from and back to the tonic and tension by destabilizing and re-establishing the key. Distantly related pitches and chords may be considered dissonant in and of themselves since their resolution to the tonic is implied. Further, temporary secondary tonal centers may be established by cadences or simply passed through in a process called modulation, or simultaneous tonal centers may be established through polytonality. Additionally, the structure of these features and processes may be linear, cycical, or both. This allows for a huge variety of relations to be expressed through dissonance and consonance, distance or proximaty to the tonic, the establishment of temporary or secondary tonal centers, and/or ambiguity as to tonal center. Music notation was created to accommodate tonality and facilitates interpretation.
The the majority of tonal music assumes that notes spaced over several octaves are perceived the same way as if they were played in one octave or octave equivalency. Tonal music also assumes that scales have harmonic implication or diatonic functionality. This is generally held to imply that a note which has different places in a chord will be heard differently, and that therefore there is not enharmonic equivalency. In tonal music chords which are moved to different keys, or played with different root notes are not perceived as being the same, and thus transpositional equivalency and far less still inversional equivalency are not generally held to apply.
A successful tonal piece of music, or a successful performance of one, will give the listener a feeling that a particular chord - the tonic chord - is the most stable and final. It will then use musical materials to tell the musician and the listener how far the music is from that tonal center, most commonly, though not always, to heighten the sense of movement and drama as to how the music will resolve the tonic chord. The means for doing this are described by the rules of harmony and counterpoint, though some influential theorists prefer the term "through-bass" instead of harmony, the concept is the same. Counterpoint is the study of linear resolutions of music, while harmony encompasses the sequences of chords which form a chord progression.
Though modulation may occur instantaneously without indication or preparation, the least ambigous way to establish a new tonal center is through a cadence, a succession of two or more chords which ends a section and/or gives a feeling of closure or finality, or series of cadences. Traditionally cadences act both harmonically to establish tonal centers and formally to articulate the end of sections, just as the tonic triad is harmonically central, a dominant-tonic cadence will be structrually central. The more powerful the cadence, the larger the section of music it can close. The strongest cadence is the perfect authentic cadence, which moves from the dominant to the tonic, most strongly establishes tonal center, and ends the most important sections of tonal pieces, including the final section. This is the basis of the "dominant-tonic" or "tonic-dominant" relationship. Common practice placed a great deal of emphasis on the correct use of cadences to structure music, and cadences were placed precisely to define the sections of a work. However, such strict use of cadences gradually gave way to more complex procedures where whole families of chords were used to imply particular distance from the tonal center. Composers, beginning in the late 18th Century began using chords (such as the Neapolitan, French or Italian Sixth) which temporarily suspended a sense of key, and by freely changing between the major and minor voicing for the tonic chord, thereby making the listener unsure whether the music was major or minor. There was also a gradual increase in the use of notes which were not part of the basic 7 notes, called chromaticism, culminating in post-Wagnerian music such as that by Mahler and Strauss and trends such as impressionism and dodecaphony.
One area of disagreement, going back to the origin of the term tonality, is whether, and to what degree, tonality is "natural" or inhernet in music, and whether, and to what degree, it is constructed by the composer, performer and listener. The arguments involved are too complex to summarize, and it is difficult to draw clear lines. There is also a disagreement as to how "natural" the practice of Western tonal harmony is versus other forms of harmony, and what grounds would prove or disprove this hypothesis. Since these arguments are often centered around what kind of music should be performed and taught, they often assume a vehemence or dogmaticism which goes beyond the nominal issue of hearing and perception.
Theories of tonal music are generally dated from Rameau's Treatise on Harmony, where he describes music written through chord progressions, cadences and structure. He claims that his work represents "the practice of the last 40 years", however, this is probably not the case. Rameau's work, initially controversial, was adopted by Marpurg in his explanation of the music of Johann Sebastian Bach. The vocabulary of describing notes in relationship to the tonic note, and the use of harmonic progressions and cadences becomes absorbed into the practice of Bach. Essential to this version of tonal theory are the chorales harmonizations of Bach, and the method by which a church melody is given a four part harmony by assigning cadences, and then creating a "natural", meaning in this case the most direct, through bass and then filling in the middle voices.
By the 1840's the practice of harmony had expanded to include more chromatic notes, a wider chord vocabulary, particularly the more frequent used of the diminished seventh chord - a four note chord of all minor triads which could lead to any other chord. It is in this era that the word "tonality" becomes more commonly used. At the same time the elaboration of both the fugue and the sonata form in terms of key relationships becomes more rigorous, and the study of harmonic progressions, voice leading and ambiguity of key becomes more precise.
Fetis described what he termed, tonalité moderne and tonalité ancienne, defined by the functional use of the dominant seventh chord and began with Monteverdi, the latter being represented by Palestrina. Theorists such as Edward Lowinsky, Hugo Riemann, and others pushed the date at which modern tonality began. Also, the cadence began to be seen as the definitive way that a tonality is established in a work of music (Judd, 1998)
In response Bernhard Meier instead used a "tonality" and "modality", modern vs ancient, dichotomy, with Renaissance music being modal. The term modality has been critized by Harold Powers, among others. However, it is widely used to describe music whose harmonic function centers on notes rather than on chords, including some of the music of Bartok, Stravinski, Vaugh Williams, Charles Ives and composers of minimalist music. This and other modal music is, broadly, often considered tonal.
In the early 20th century the vocabulary of tonal theory is decisively influenced by two theorists: composer Arnold Scheonberg whose work "Harmonielehre" describes in detail chords, chord progressions, vagrant chords, creation of tonal areas, voice leading in terms of harmony. To Scheonberg, every note has "structural function" to assert or deny a tonality, based on its tendency to establish or undermine a single tonic triad as central. At the same time Heinrich Schenker is evolving a theory based on expansion of horizontal relationships. To Schenker the background of every successful tonal piece is based on a simple cadence, which is then elaborated and elongated in the middle ground and the background. Though adherents of the two theorists argued back and forth, in the mid-century a synthesis of their ideas was widely taught as "tonal theory", most particularly Schenker's use of graphical analysis, and Schoenberg's emphasis on tonal distance.
The practice of jazz developed its own theory of tonality, stating that while the cadence is not central to establishing a tonality - the presence of the I and V chords and either the IV or ii chord is. This theory emphasized the play of modal elements against tonal elements, in an effort to allow improvisation, and inflection of standard melodies. Among theorists influenced by this view are Meier, Schillinger and the be-bop school of Jazz.
Rudolph Réti differentiates between harmonic tonality, of the traditional homophonic kind, and melodic tonality, as in monophonic. He argues that in the progression I-x-V-I (and all progressions), V-I is the only step "which as such produces the effect of tonality," and that all other chord successions diatonic or not, though being closer or farther from the tonic-dominant, are "the composer's free invention." He describes melodic tonality as being "entirely different from the classical type," wherein, "the whole line is to be understood as a musical unit mainly through its relationship to this basic note [the tonic]," this note not always being the tonic that would be interpreted according to harmonic tonality. His examples are ancient Jewish and Gregorian chant and other Eastern music, and he points out how these melodies often may be interrupted at any point and returned to the tonic, yet harmonically tonal melodies, such as that from Mozart's The Magic Flute below, are actually "strict harmonic-rhythmic pattern[s]," and include many points "from which it is impossible, that is, illogical, unless we want to destroy the innermost sense of the whole line." (Reti, 1958)
Consequently, he argues, melodically tonal melodies resist harmonization and only reemerge in western music after, "harmonic tonality was abandoned," as in the music of Claude Debussy: "melodic tonality plus modulation is [Debussy's] modern tonality." (page 23)
While many regard the works of Scheonberg post 1911 as "atonal", see atonality one influential school of thought, to which Schoenberg himself belonged, argued that chromatic composition lead to a "new tonality", this view is argued by George Perle in his works on "post diatonic tonality". The central idea of this theory is that music is always perceived as having a center, and even in a fully chromatic work, composers establish and disintegrate centers in a manner analogous to traditional harmony. This view is highly controversial, and remains a topic of intense debate.
While tonality is the most common form of organizing Western Music, it is not universal, nor is the seven note scale universal, many folk musics and the art music of many cultures focuses on a pentatonic, or five note scale, including Beijing Opera, the folk music of Hungary, and the musical traditions of Japan. Pre-classical concert music was largely modal, as is much folk and some popular music. In the early 20th century many techniques where developed and applied to tonal music, such as non-tertian secundal or quartal music. Some, such as Benjamin Boretz, consider tonal theory a specific part of atonal theory or musical set theory, which is in turn part of a more general theory of music. Many composers such as Darius Milhaud and Philip Glass have been interested in bitonality. While at one point in the middle of the 20th century classical composers interested in the twelve tone technique and serialism declared tonality dead, many composers have since returned to tonality, including many minimalists and older composers such as George Rochberg. Other composers never abandonded tonality entirely such as Lou Harrison who says he has "always composed both modally and chromatically." (Harrison, 1992) Much music today that is described as tonal is nonfunctional tonality such as in Claude Debussy, Steve Reich, Aaron Copland and many others.
Theory of Tonal Music
Which may be compared with in which the melody returns to the tonic after the first circle, and which returns after the second.General
External links


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How to Identify Jersey Cattle
This is an in-depth guide of identifying Jersey cattle. Jersey cattle are the second-most common breed of dairy cattle in North America. They originate from the British Crown-dependent Isle of Jersey, which is located off the coast of France.
1Do a search on the Internet in a Cattle Breeds book for "Jerseys."Ad
2Study the characteristics of the breed. Note the following:
- Colouration: Jersey cattle coat colour ranges from a light fawn to almost black. Some Jerseys may have white on them, from diamond-shaped patches on their shoulders or hips, to white legs and a stripe from the top of the shoulder down to behind the elbows. Black Jerseys almost always has a tan-coloured saddle in the middle of their backs, from the withers to the top of the loins. They also have lighter colouration around their noses and eyes, and on the inside of each leg. A lot of fawn-coloured mature cattle have a darker face from just below their poll or just above their eye-brows to just before their noses. There will often be lighter colouration around their eyes and noses. Bulls often have darker colouration from the base of their heads to their shoulders. All Jerseys have dark eyes and dark pigmented skin around their eyes and their noses. They also have black hooves and a dark tail-switch. Those dark noses and dark eyes in Jersey calves make them look adorably cute, much more so than any other bovine calf of any other breed.
- Body type and characteristics: Jerseys look to be more finer-boned and bodied than most any beef breed or even Holsteins. Just like Holsteins, though, Jerseys are quite angular in body type because they are selected to be a milk-producer and not a beef-producer. They have the same funnel butt characteristics that Holsteins have, and are quite thin and bony as well. Jerseys are a lot smaller than Holsteins though, a bit more than half the size, with a mature weight of only around 1000 lbs for cows and only 1500 lbs for bulls. Jersey cows have a large udder on them to accommodate for the demand for producing more milk than their calves would normally receive.
- Head characteristics: Jersey cows are very feminine looking animals, with a finer, more feminine head than Hereford or Angus cows, with a similar head-shape (though a little less robust) as Shorthorn cows do. Jerseys are a naturally horned breed, though there are genetics for polled cattle as well.
- Other characteristics: Jersey cows are quiet and very pretty animals, but are often known to have quite the sassy-girl attitude at milking time! This is because they are known to be kickers when you're trying to prepare their udders before milking, or just when you're trying to milk them out. But, even though they are notorious kickers, they have milk that is more rich in butterfat than any other dairy cow, which is great to use for dairy products like cheese, butter, and ice cream. Jersey bulls are infamous for their aggressiveness and unpredictability, and are often more dangerous to handle and be around than even Holstein bulls.
3Memorize the details and characteristics of this breed.
4Go on a field trip or road trip and see if you can find farms and ranches with Jersey cattle. Take pictures of what you thought were Jersey cattle, and compare them with pictures of Jerseys on the Internet and in your Cattle breeds book.Ad
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- The dark eyes and nose of Jerseys, along with their fawn-colouration will make it easy to distinguish from other breeds.
- Jerseys are not to be confused with Guernseys. Though both names sound the same, they are two entirely different dairy cattle. Guernseys do not have the fawn colouration nor the dark eyes, nose, hooves and tail switch that Jerseys have, and are more brown than fawn, and have more white on them than a typical Jersey would.
- Jersey bulls are extremely dangerous and are certainly not to be trusted when visiting a herd of Jersey or dairy cows with a bull in the midst.
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Missouri's season-long offensive struggles continued Sunday as the Tigers mustered just six hits in a 4-1 loss to Texas A&M in College Station.
The weekend sweep was the third this season at the hands of a Southeastern Conference foe and dropped the Tigers' record to 15-28 (7-17 SEC).
The Tigers had no answer for Aggies' starter Rafael Pineda, who struck out three batters during 5 2/3 innings to earn the victory.
Aggies catcher Troy Stein had two hits, including a go-ahead RBI double down the left field line off of Missouri reliever Jake Walsh in the fifth.
Texas A&M right fielder Daniel Mengden added a sacrifice fly in the sixth. Texas A&M scored its other two runs on a fielder's choice and an error by Tigers second baseman Kendal Keaton.
Missouri starter Eric Anderson took the loss, giving up two earned runs during 4.2 innings in his second start since returning from Tommy John surgery.
Dane Opel went 2-4 and was the only Tiger to record multiple hits. Missouri's run came on a Dylan Kelly RBI single that scored Logan Pearson.
Missouri next travels to Tuscaloosa, Ala., for a three-game series with Alabama starting Friday.


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Web Letter
"The Administration has stumbled from one multibillion-dollar expedient to the next with no plan or even a coherent understanding of what is happening.." And what does Bernaeke have to do with anything? Hoffman doesn't offer his plan, his view.
What is happening? What is/was mismanaged? How is it that we allow private companies to write mortgages that are not so much risky as reckless, deceptive and downright fraudulent, then self-rate those mortgages as AAA and sell them to the Fannie and Freddie and then go write more?
What is wrong is that for eight years, beginning when industry started gambling on a Bush win, the business community knew that Bush would not regulate, would not enforce--didn't, and still doesn't. Heck, we saw that with Enron and California.
Bush's international doctrine is "Who needs you? We'll take it all, thankyouverymuch". His domestic doctrine is sort of like "What, me worry?" It's "look the other way, boys."
Bush is in the White House and that means, at the White House, nobody is home. There is no government.
gerald berke
Kingston, NY
Sep 13 2008 - 12:48pm


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Protection against nerve agent poisoning by a noncompetitive nicotinic antagonist
Turner, S.R., Chad, J.E., Price, M., Timperley, C.M., Bird, M., Green, A.C. and Tattersall, J.E.H. (2011) Protection against nerve agent poisoning by a noncompetitive nicotinic antagonist. [in special issue: Selected papers from the 13th Medical Chemical Defence Conference 2011: New Developments in the treatment of intoxications by chemical warfare agents with focus on neurotoxic agents] Toxicology Letters, 206, (1), 105-111. (doi:10.1016/j.toxlet.2011.05.1035). (PMID:21641979).
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The acute toxicity of organophosphorus (OP) nerve agents arises from accumulation of acetylcholine (ACh) and overstimulation of ACh receptors. The mainstay of current pharmacotherapy is the competitive muscarinic antagonist, atropine. Nicotinic antagonists have not been used due to the difficulties of administering a dose of a competitive neuromuscular blocker sufficient to antagonise the effects of excessive ACh, but not so much that it paralyses the muscles. An alternative approach would be to use a noncompetitive antagonist whose effects would not be overcome by increasing ACh concentrations. This study demonstrates that the compound 1,1'-(propane-1,3-diyl)bis(4-tert-butylpyridinium), which blocks open nicotinic ion channels noncompetitively, is able to reverse the neuromuscular paralysis after nerve agent poisoning in vitro and to protect guinea pigs against poisoning by nerve agents when used as part of a therapeutic drug combination including a muscarinic antagonist. In contrast to the oxime HI-6, this compound was equally effective in protecting against poisoning by sarin or tabun. Further studies should identify more effective compounds with this action and optimise doses for protection against nerve agent poisoning in vivo.
Item Type: | Article |
ISSNs: | 0378-4274 (print) |
Subjects: | R Medicine > RM Therapeutics. Pharmacology |
Divisions: | University Structure - Pre August 2011 > School of Biological Sciences |
ePrint ID: | 190091 |
Date Deposited: | 10 Jun 2011 09:18 |
Last Modified: | 27 Mar 2014 19:42 |
URI: | http://eprints.soton.ac.uk/id/eprint/190091 |
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PeetaPlanet™ is a travel series for the social media generation.
The series airs on Dubai One and Youtube. Two brothers from the United Arab Emirates go on a worldwide, social media influenced, journey of cultural interaction. They seek out inspirational community heroes and their stories. They interact with their audiences through different social media channels asking them to give them ideas on where to go, what to eat, who to meet etc. This is #SocialTravel.
In season 1, we joined PeetaPlanet™ as they visited Dublin, Ireland. It was quite the adventure and much of it was led by locals and locally sourced food. It demonstrated the pride Irish people feel for their homeland – local foods, fashion, music and design. Watch the episode now and use the hashtag #PPDublin on Twitter to join the conversation!
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1935 Packard 1203 Sedan Super 8 Northwest Classic Auto Mall advertises this vehicle for the owner. If you are interested in this vehicle or have any... More
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Puma Catamount Oak Handle 8.1" Fixed Blade with Leather Sheath - PU824100
Part Number: | PU824100 |
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PU824100: Puma Catamount Oak with Leather Sheath
The Puma Catamount Oak features a 3.9 inch, 440C stainless steel drop point blade. It is 8.1" overall and has an oak handle. This knife is handmade by skilled craftsmen, and the Rockwell hardness is custom proofed. The Catamount has a lifetime limited warranty.
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- Edge Type: Fine
UPC Code: 015286824103
Provides a traditional, natural look and feel to a modern tool. Wood absorbs shock well and is popular in axe handles.


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Cabbage and grapes form a great combination and when tossed in with hung curds it forms a healthy salad. Serve this chilled and i used green grapes as i prefer a sweeter taste.
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Multiphase transport model for relativistic nuclear collisions
Title: | Multiphase transport model for relativistic nuclear collisions |
Author: | Zhang, B.; Ko, Che Ming; Li, Ba; Lin, ZW. |
Abstract: | To study heavy ion collisions at energies available from the Relativistic Heavy Ion Collider (RHIC), we have developed a multiphase transport model that includes both initial partonic and final hadronic interactions. Specifically, the Zhang's parton cascade (ZPC) model, which uses as input the parton distribution from the heavy ion jet interaction generator (HIJING) model, is extended to include the quark-gluon-to-hadronic-matter transition and also final-state hadronic interactions based on a relativistic transport (ART) model. Predictions of the model for central Au on Au collisions at RHIC are reported. |
Description: | Journals published by the American Physical Society can be found at http://publish.aps.org/ |
Publisher: | American Physical Society |
Subject: |
MONTE-CARLO ULTRARELATIVISTIC ENERGIES REACTION DYNAMICS PARTON CASCADE EVOLUTION PROGRAM HADRONS MATTER QCD Physics |
Department: | Physics and Astronomy |
URI: | http://dx.doi.org/10.1103/PhysRevC.61.067901 |
Date: | 2000 |
B. Zhang, Che Ming Ko, BA Li and Z. W. Lin. Phys.Rev.C 61 067901 2000. "Copyright (2000) by the American Physical Society."
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Files | Size | Format | View |
PhysRevC.61.067901.pdf | 58.50Kb |
View/ |
This item appears in the following Collection(s)
Faculty Publications [1020]


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Search Results
Keywords: downtown
Historical Items Showing 3 of 318 View All
Item 14900
Title: Downtown Bangor Fire, c. 1910
Contributed by: Hose 5 Fire Museum
Date: circa 1910
Location: Bangor
Media: Photograph
Item 43221
Title: Winter downtown, Bangor, ca. 1895
Contributed by: Bangor Historical Society
Date: circa 1895
Location: Bangor
Media: Glass-plate Negative
Item 33846
Title: Biddeford and Saco downtowns, ca. 1870
Contributed by: McArthur Public Library
Date: circa 1870
Location: Saco; Biddeford
Media: Ink on paper
Tax Records Showing 3 of 597 View All
Item 35772
Address: 40 Brown Street, Portland, 1924
Owner in 1924: Frederick N. Dow
Style: Vernacular Victorian
Use: Apartments
Item 35773
Address: Assessor's Record, 42 Brown Street, Portland, 1924
Owner in 1924: Frederick N. Dow
Use: Apartments
Item 35776
Address: Assessor's Record, 44 Brown Street, Portland, 1924
Owner in 1924: Frederick N. Dow
Use: Apartments
Exhibits Showing 3 of 19 View All
A Parade, an Airplane and Two Weddings
Two couples, a parade from downtown Caribou to the airfield, and two airplane flights were the scene in 1930 when the couples each took off in a single-engine plane to tie the knot high over Aroostook County.
Promoting Rockland Through a Stereopticon, 1875
Frank Crockett and photographer J.P. Armbrust took stereo views of Rockland's downtown, industry, and notable homes in the 1870s as a way to promote tourism to the town.
Maine Streets: The Postcard View
Photographers from the Eastern Illustrating and Publishing Co. of Belfast traveled throughout the state, especially in small communities, taking images for postcards. Many of these images, taken in the first three decades of the twentieth century, capture Main Streets on the brink of modernity.
Sites Showing 3 of 25 View All
The history of downtown Bath as created by the students of Bath Middle School, with assistance from members of the Sagadahoc History & Genealogy Room at the Patten Free Library and Bath Historical Society. Seventeen exhibits examine various historic blocks in the downtown section of the city.
View collections, facts, and contact information for this Contributing Partner.


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HOME PAGE Movie Videos Films by Year Films by Director Films by Actor Films by Actress Films by Alphabet Film Characters Film Franchises TOP 100 MOVIES in 2007! 2013 MOVIES 2012 MOVIES 2011 MOVIES 2010 MOVIES 2009 MOVIES 2008 MOVIES 2007 MOVIES 2006 MOVIES 2005 MOVIES 2004 MOVIES 2003 MOVIES 2002 MOVIES 2001 MOVIES 2000 MOVIES 1999 MOVIES 1998 MOVIES 1997 MOVIES 1996 MOVIES 1995 MOVIES 1994 MOVIES 1993 MOVIES 1992 MOVIES 1991 MOVIES 1990 MOVIES 1989 MOVIES 1988 MOVIES 1987 MOVIES 1986 MOVIES 1985 MOVIES 1984 MOVIES 1983 MOVIES 1982 MOVIES 1981 MOVIES 1980 MOVIES 1979 MOVIES 1978 MOVIES 1977 MOVIES 1976 MOVIES 1975 MOVIES 1974 MOVIES 1973 MOVIES 1972 MOVIES 1971 MOVIES 1970 MOVIES 1969 MOVIES 1968 MOVIES 1967 MOVIES 1966 MOVIES 1965 MOVIES 1964 MOVIES 1963 MOVIES 1962 MOVIES 1961 MOVIES 1960 MOVIES 1959 MOVIES 1958 MOVIES 1957 MOVIES 1956 MOVIES 1955 MOVIES 1954 MOVIES 1953 MOVIES 1952 MOVIES 1951 MOVIES 1950 MOVIES 1949 MOVIES 1948 MOVIES 1947 MOVIES 1946 MOVIES 1945 MOVIES 1944 MOVIES 1943 MOVIES 1942 MOVIES 1941 MOVIES 1940 MOVIES 1939 MOVIES 1938 MOVIES 1937 MOVIES 1936 MOVIES 1935 MOVIES 1934 MOVIES 1933 MOVIES 1932 MOVIES 1931 MOVIES 1930 MOVIES 1929 MOVIES 1928 MOVIES 1927 MOVIES 1926 MOVIES 1925 MOVIES 1924 MOVIES 1923 MOVIES 1922 MOVIES 1921 MOVIES 1920 MOVIES 1919 MOVIES 1918 MOVIES 1917 MOVIES 1916 MOVIES 1915 MOVIES 1914 MOVIES 1913 MOVIES 1912 MOVIES 1911 MOVIES 1910 MOVIES |
Movie Reviews - Pan's Labryinth the UNPANb Pan's Labryinth the UNPAN Review Pans Labyrinth is a treat of a film on so many levels: a nihilistic morality tale in which the innocent are swallowed by unheeding evil, a rich political drama, and an unsentimental fairytale where princesses and satyrs exist alongside bodily fluids and temporal pain. But somehow a surprisingly sweet note floats through all the chaos of guerilla warfare, political and personal betrayal, destructive vanity, and lost childhood. It could be the ethereal theme music that weaves in and out of the plot, or the unaffected acting of its lovely young lead. It might also be the juxtaposition of the natural and fantastical, something attempted with far less success in last years disappointing although beautiful Mirrormask. At its heart, Pans Labyrinth is a story of human evil so potent it swallows all light around it. The personification of that evil is Sergi Lopez as the morally bankrupt and vicious Capitan Vidal, callous stepfather to the lonely Ofelia, played with a lovely combination of wilfulness and vulnerability by child actor Ivana Baquero, a thirteen-year-old who has already amassed as significant number of credits. Ofelia is a plaything to her vain, doomed mother Carmen (Ariadna Gil), and a useless accessory to the Capitan, obsessed only with fathering a son to carry on his name. The harsh, repressive reality of 1944 Fascist Spain is no less dark, however, than the fantasy realm the book-loving Ofelia either discovers or imagines for herself in the ancient stone labyrinth on her stepfathers property. Led to its centre by an adoring fairy, Ofelia is given three dangerous tasks to complete to return to the underground kingdom to which she may be the rightful heir. But the challenges her supernatural adventures spill over into the real world, and endanger her physical as well as emotional life. The violence of Pans Labyrinth is unexpected, and cringingly realistic. But nothing is gratuitous, and nothing is wasteful. This is a film that gets under your skin, difficult and rewarding in equal measures. The disturbing juxtaposition of a childs inner world with the unforgiving black and white of its adult antagonist is something more simplistic movies would avoid completely: here, it becomes almost a dare I know you want to look away but dont; youll miss something astonishing. My choice for one of the best films of the year, and one of the most richly and successfully actualized fantasy films of all time. 5/5 stars
Return from Pan's Labryinth ReviewWILDsound Filmmaking Feedback Events home page |


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Tagged: SunGard
LinkedIn leads the way for junior employee salaries in tech industry News
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This is the Perl API for Gearman, a distributed job system. More information is available at: http://www.gearman.org It aims to provide a simple interface closely tied to the C library....
KROW/Gearman-XS-0.15 (1 review) - 02 Aug 2013 09:25:48 GMT - Search in distribution- Gearman::XS::Job - Perl job for gearman using libgearman
- Gearman::XS::Task - Perl task for gearman using libgearman
- Gearman::XS::Worker - Perl worker for gearman using libgearman
- 1 more result from Gearman-XS »
This module provides a simple synchronous concrete implementation to run a Protocol::Gearman::Client or Protocol::Gearman::Worker on top of. It shouldn't be used directly; see instead * Net::Gearman::Client * Net::Gearman::Worker...
PEVANS/Protocol-Gearman-0.04 - 03 Jul 2014 18:28:47 GMT - Search in distribution- Protocol::Gearman - abstract base class for both client and worker
- Net::Gearman::Worker - concrete Gearman worker over an IP socket
- Net::Gearman::Client - concrete Gearman client over an IP socket
- 2 more results from Protocol-Gearman »
*Gearman::Task* is a Gearman::Client's representation of a task to be done....
DORMANDO/Gearman-1.12 - 15 Dec 2014 03:33:33 GMT - Search in distribution- Gearman::Worker - Worker for gearman distributed job system
- Gearman::Client - Client for gearman distributed job system
- lib/Gearman/Taskset.pm
- 5 more results from Gearman »
Alien::Gearman is a wrapper to install libgearman library. Modules that depend on libgearman can depend on Alien::Gearman and use the CPAN shell to install it for you. Win32 is currently not supported, please help supporting it if you're interested....
PLU/Alien-Gearman-0.01004 - 21 Feb 2010 16:09:25 GMT - Search in distributionGearman::Glutch is all in one gearman server management library for casual use. Glutch spawns Gearman::Server and Gearman::Worker automatically....
TOKUHIROM/Gearman-Glutch-0.02 - 28 Sep 2012 23:51:20 GMT - Search in distributionWarning: This framework is still EXPERIMENTAL! Having hundreds of Gearman workers running in separate processes can consume a lot of RAM. Often many of these workers share the same code/objects, like the database layer using DBIx::Class for example. ...
PLU/Gearman-Driver-0.02008 - 16 Jan 2014 20:49:46 GMT - Search in distribution- Gearman::Driver::Job - Handles the POE magic
- Gearman::Driver::Worker - Base class for workers
- Gearman::Driver::Console - Management console
- 10 more results from Gearman-Driver »
You run a Gearman server (or more likely, many of them for both high-availability and load balancing), then have workers (using Gearman::Worker from the Gearman module, or libraries for other languages) register their ability to do certain functions ...
DORMANDO/Gearman-Server-1.12 - 15 Dec 2014 03:37:44 GMT - Search in distributionKHS/Gearman-SlotManager-0.3 - 24 Jun 2012 09:24:17 GMT - Search in distribution
- Gearman::SlotWorker - A worker launched by Slot
- Gearman::SlotManager - Managing Worker's lifecycle with Slots
Test::Gearman is a class for testing Gearman workers. This class only works with C version of gearmand, and Gearman::XS bindings. An actual Gearman daemon is launched, and workers are forked when you instantiate the class. The Gearman and workers are...
ROMANF/Test-Gearman-v0.2.0 - 11 Jun 2013 12:04:12 GMT - Search in distributionThis class has a single method "new" which creates a subprocess that manages the lifecycles of configured Gearman workers. The workers must conform to a simple OO interface, typically by inheriting from Gearman::Spawner::Worker. The Gearman::Spawner ...
ATHOMASON/Gearman-Spawner-1.11 - 09 Aug 2011 22:58:54 GMT - Search in distribution- Gearman::Spawner::Client::Sync - synchronous client for Gearman::Spawner::Worker workers
- Gearman::Spawner::Client::Async - asynchronous Danga::Socket client for Gearman::Spawner::Worker workers
- Gearman::Spawner::Client::AnyEvent - asynchronous AnyEvent client for Gearman::Spawner::Worker workers
- 5 more results from Gearman-Spawner »
AnyEvent::Gearman is a module set of client/worker modules for Gearman for AnyEvent applications. This module provides some shortcuts for AnyEvent::Gearman::Client and AnyEvent::Gearman::Worker. Please read these modules documentation for more detail...
MELO/AnyEvent-Gearman-0.10 - 05 Feb 2013 11:23:14 GMT - Search in distribution- AnyEvent::Gearman::Job - gearman job
- AnyEvent::Gearman::Types - some subtype definitions
- AnyEvent::Gearman::Task - gearman task
- 6 more results from AnyEvent-Gearman »
Gearman::Starter is Gearman worker launcher with register functions from specified modules. This module is Objective backend of gearman-starter.pl....
SONGMU/Gearman-Starter-0.03 - 10 Jul 2014 10:18:23 GMT - Search in distributionLaunches subclasses of Gearman::Worker in their own processes for communication with a gearmand. External Gearman servers may be used, or one can be created for the lifetime of the spawner....
ATHOMASON/Gearman-WorkerSpawner-2.16 - 06 May 2011 23:14:22 GMT - Search in distribution- Gearman::WorkerSpawner::BaseWorker - Base class to simplify the process of creating a Gearman worker for use with Gearman::WorkerSpawner
- Gearman::WorkerSpawner::BaseWorker::Client - Gearman::Client wrapper for use with Gearman::WorkerSpawner::BaseWorker workers
- parallel-get.pl - fetches URLs in parallel
LVALIUKAS/Gearman-JobScheduler-0.16 - 01 Jul 2014 12:49:45 GMT - Search in distribution
- Gearman::JobScheduler::Admin - Gearman administration utilities.
- Gearman::JobScheduler::AbstractFunction - An abstract class for a Gearman "function" which is to be derived by working Gearman "functions".
- lib/Gearman/JobScheduler/ErrorLogTrapper.pm
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This module provides an IO::Async-based wrapper around Protocol::Gearman. It shouldn't be used directly; see instead * Net::Async::Gearman::Client...
PEVANS/Net-Async-Gearman-0.01 - 23 Jun 2014 16:40:28 GMT - Search in distribution- Net::Async::Gearman::Client - concrete Gearman client over an IO::Async::Stream
- Net::Async::Gearman::Worker - concrete Gearman worker over an IO::Async::Stream
This is currently only tested with Gearman v0.10....
PLU/Net-Telnet-Gearman-0.05000 - 16 Jan 2014 20:55:07 GMT - Search in distributionAEREAL/WorkerManager-0.001 - 31 Mar 2015 02:55:43 GMT - Search in distribution
KHS/IPC-AnyEvent-Gearman-0.8 - 04 Jun 2012 12:47:06 GMT - Search in distribution
- AnyEvent::Gearman::Worker::RetryConnection - patching AnyEvent::Gearman::Worker for retrying support
BRADFITZ/Gearman-Client-Async-0.94 - 17 May 2007 20:00:41 GMT - Search in distribution


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Elemental | 25 | |
Get 25 kills with any of the hidden elementally charged Cleavers in Horde. |
For a walkthrough of the Immulsion Cleaver on Jacinto, check the youtube video below. Once you get the elemental cleaver usable (rock bridge raised on Jacinto for instance), just kill enemies with it until it runs out of "ammo".
Note: It seems if you have the Comet mutator on and charge with the elemental cleaver and kill someone in the charge, it counts towards the achievement. It didn't take any of the Cleaver's ammo away and it was definitely counting towards the achievement for me.
You can't die and restart from current wave or the beginning, and you can't use it up and buy it again. This means you'll have to 'activate', use it, and quit all the way out and restart horde a few times or use The Maggot's tip above. |
Rate this achievement | Average Rating (Based on 1 votes) |
You need to register before being able to post comments. |
Genre: Release: September 20, 2011 September 20, 2011 September 22, 2011 |
Collection: | 5972 | ||
Wishlist: | 1152 |
You need to log in or register to use MyAchievements. |


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Stephenson Flute Recital at FSU
Stephenson, an assistant professor in the Department of Educational Professions at FSU, received a masters and doctorate in education from West Virginia University. A native of Sutton, W.Va.,
Stephenson is also a member of Sigma Alpha Iota. Her performance includes works from Robert Schumann, Benedetto Marcello, Gabriel Fauré and Mozart. The performance is free and open to the public. For more information, please contact the FSU Music Department at 301-687-4109.
FSU is committed to making all of its programs, services and activities accessible to persons with disabilities. To request accommodations through the ADA Compliance Office, call 301-687-4102 or use a Voice Relay Operator at 1-800-735-2258. -end-
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Bill was born on the 25th of July, 1920, in Mart, Texas and attended The University of Texas at Austin, where he received a BS degree in Petroleum Engineering in 1941. Among many activities at The University, he played trumpet and lettered in the Longhorn Band.
Following his graduation from UT, he attended Submarine School in Annapolis and served in the U.S. Navy as a Lt. JG aboard the submarine USS-234 Kingfish as diving officer.
Following WWII, he worked for Union Producing Company in various management capacities, and as Union Producing was acquired by Pennzoil Company, Bill was ultimately World Wide Vice President of drilling and production.
Later, Pennzoil spun off its Gulf of Mexico assets and formed Pogo Producing Company, where he was Senior VP of Drilling and Production until he retired in the early 1990's. Bill worked for Union Producing and Pennzoil in many locations including Houma Louisiana, Beeville, Corpus Christi and Houston, Texas.
Bill was always a giving person with God given talents and, while living in Beeville, he was instrumental in helping the community create a local community college (Bee County College, now Coastal Bend College) and a new memorial hospital.
Bill was an avid hunter and golfer and played golf into his late 80's at his club in Houston Lakeside Country Club. Bill was an active long-time member of Memorial Drive United Methodist Church in Houston, where he served on its board in many capacities over the years. His association with The University of Texas included the Longhorn Foundation, Longhorn Alumni Band, The Chancellors Council and many, many others.
He attended virtually every UT home game from the early 1970's through 2008. Bill also enjoyed ranching and raised registered Texas Longhorns at ranches in Bee and Lavaca Counties, Texas. His favorite ranch was near Shiner, where he had many long-time friends.
One of his is most enjoyable activities were taking his grandkids fishing in a pond with farm raised cafish. Bill was married to Inez Phillips for over 56 years, until she died in December 2000. While married, they traveled around the world.
Bill is survived by his two sons, Bill Phillips and his wife Cathy; and their two children, Clayton and Elizabeth of Richardson, Texas; and a son, Tom Phillips of California.
Family and friends gathered to share remembrances during a visitation last Friday evening at Geo. H. Lewis & Sons, 1010 Bering Drive in Houston.
A funeral service was then conducted on Saturday in the Jasek Chapel of Geo. H. Lewis & Sons, where Rev. Thomas Hill officiated.
The graveside service and interment followed at Memorial Oaks Cemetery, 13001 Katy Freeway in Houston.
Bill will always be remembered as a man who always gave everything and asked for nothing in return.


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Free Software News ArchivesLibreOffice 4.1 Beta Arrives With New FeaturesThe first beta of the LibreOffice 4.1 open-source office suite was released this past weekend.
28 May 2013 - LibreOffice 4.1 - 39 Comments NGINX Might Be Included With Ubuntu Server ISOsWhile Apache is the predominant open-source web-server software currently used by Linux systems, including Ubuntu, NGINX continues to rise in popularity. NGINX continues its push with high performance while having a smaller memory footprint and carrying a BSD license. The NGINX server might be included in future releases of the Ubuntu Server and part of the Ubuntu "main" repository.
28 May 2013 - NGINX - 15 Comments OCLint: Another Way For Clang Static Code AnalysisFor those looking at new static code analysis tools, OCLint is an open-source utility powered by LLVM's Clang foundation to provide a variety of features when inspecting C, Objective-C, and C++ code-bases. In recent testing of OCLint for an internal C-based Phoronix code-base, OCLint proved to be quite useful.
28 May 2013 - OCLint - 4 Comments CGit Update Adds Exciting Features, Security FixCGit, the widely-used replacement to GitWeb, has out a new release today. Besides incorporating some useful new functionality, it also takes care of a security fix where out-of-date CGit installations could allow arbitrary access to files from the system.
27 May 2013 - CGit Libjpeg-Turbo Gets New ReleaseThe libjpeg-turbo library, which is the increasingly-used fork of the JPEG library that provides faster performance through SIMD optimizations, has out a new release.
26 May 2013 - libjpeg-turbo - 9 Comments Hot Relocation HDD To SSD Support For BtrfsIn working to enhance the performance of the Btrfs file-system in cases where certain data/files are frequently used, a set of patches for providing hot relocation support has been posted.
22 May 2013 - Hot Relocation System - 20 Comments SQLite Now Faster With Memory Mapped I/OSQLite 3.7.17 was released yesterday. What makes this new release of the popular lightweight SQL database software noteworthy is that it introduces support for memory-mapped I/O.
21 May 2013 - SQLite 3.7.17 - 5 Comments Handbrake 0.9.9 Supports OpenCL OffloadingThe Handbrake open-source video transcoder program now supports using OpenCL for accelerating certain operations along with introducing other new features to its brand new 0.9.9 release.
20 May 2013 - OpenCL Video - 19 Comments PyPy 2.0 Python Alternative ReleasedVersion 2.0 of PyPy, an alternative implementation of the Python language, has been released.
15 May 2013 - PyPy 2.0 - 11 Comments Canonical Shows Mir, Unity-Next Running On MacBook ProA video has been posted to show off Unity-Next (Unity 8.x) running atop the Mir Display Server in its early development form atop an Apple Retina MacBook Pro with Intel HD graphics.
14 May 2013 - Ubuntu - 98 Comments Mozilla Firefox 21 Hits The Web With New FeaturesWhile the official release announcement has not yet come down, as usual, the early binaries for the next Firefox release are now available. The Mozilla Firefox 21.0 release that's now available from FTP servers features numerous new features.
13 May 2013 - Firefox 21 - 28 Comments Go 1.1 Language Brings Performance ImprovementsAfter more than one year since the release of the Go 1.0 programming language by Google, Go 1.1 has been unveiled as the first major update to the programming language.
13 May 2013 - Go 1.1 - 12 Comments Colord 1.0 Released To Manage Open-Source ColorsColord 1.0.0 has been released as the system service/daemon that makes it easy and straight forward for managing/installing/creating color profiles for managing colors on Linux input and output devices.
13 May 2013 - Colord - 16 Comments PostgreSQL 9.3 Props Up New Database FeaturesThe first beta of the PostgreSQL 9.3 open-source database software is available. This beta release is feature-complete for PostgreSQL 9.3 with several major features.
13 May 2013 - PostgreSQL 9.3 - 10 Comments The State Of PackageKit, AppStream, & ListallerMatthias Klumpp has written about the current state of PackageKit, AppStream, and Listaller for cross-Linux distribution package management and installation.
12 May 2013 - PackageKit - 25 Comments DRM Moves Ahead With HTML5 SpecificationThe W3C has decided to go ahead and publish the first public draft of the Encrypted Media Extensions (EME), a form of Digital Rights Management for HTML5.
11 May 2013 - DRM HTML5 - 111 Comments FreeType 2.4.12 Features New CFF EngineLast week Adobe open-sourced their CFF rasterizer engine -- in conjunction with Google -- for use by FreeType. Now FreeType 2.4.12 has been released to ship these CFF font improvements.
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Staff Reporter
Rs. 1-cr. diamond necklace unveiled ahead of the exhibition
VIJAYAWADA: It may be okay to say that the diamonds are forever, but the exhibition and sale of some eye-popping and glittering export diamond jewellery, organised by Vaibhav Jewellers at Hotel Fortune Murali Park, is only for two days. It will be open from 11 a.m. to 7 p.m. on Sunday and Monday.
London-based Model Rose Keech inaugurated the two-day exhibition on Saturday by unveiling a diamond necklace set priced a whopping Rs. 1 crore.
Impressive start
The inauguration was an elaborate affair, opening with an invocation dance to Lord Ganesh by the students of dance exponent Anand Shankar. This was followed by a couple of youngsters dancing to the rhythm of a jazzy Hindi film song and a dazzling fashion show by some models wearing designer diamond jewellery. Models draped in white designer wear showcased some exquisite necklaces and chokers.
Vaibhav Jewellers managing director Manoj Kumar Grandhi recalled his childhood in Eluru, where he was born. Eleven years ago, he established jewellery business at Visakhapatnam with the help of his father. In a short span, his business grew manifold. As Vaibhav had been attracting customers from West Godavari, Krishna and Guntur districts, the two-day exhibition was being organised for their benefit.
Mr. Kumar said Vaibhav usually sold diamond jewels in the price range of Rs. 5,000 to Rs. 50 lakhs. But the diamond necklace priced Rs. 1 crore was a novelty made exclusively for the exhibition. "My dream is to bring diamonds within the reach of everybody," he said.
The exhibition showcased the latest in international designs. A variety of jewels with diamonds set along with other precious gems like rubies and emeralds in gold and white gold were put on display. A separate counter with jewel-studded watches with prices ranging from Rs. 5,000 to Rs. 35,000 is also part of the exhibition.


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Dentists in Havant, Hampshire
It´s the most feared of professions and yet, the next time you have a toothache, you know you´ll be searching high and low in Havant to find a dentist to register with. Whether you´re hoping to sign up to one of the few remaining NHS dentists or plan to go private you´ll find masses of dentistry in Havant. Don´t wait until you´re in agony before you find about a new dentist check out the Cityvisitor online guide to dentists in Havant where you´ll find everything including Dental Surgeons, Dentist, Dentures, Oral Hygiene, Teeth. Use this guide to find Havant businesses so you can find Dentists in Havant.
The Brace Place
Studio House, 50 East Street, Havant, PO9 1AQ 023 9248 0556
W Davies
Magnolia House Dental Practice, 27 East Street, Havant, PO9 1AA 023 92483167
S Walker
Magnolia House Dental Surgery, 27 East Street, Havant, PO9 1AA 023 92483167
Eastern Lodge Dental Paractice
58 East Street, Havant, PO9 1QT 023 92475111
Amir Moughadam Dental Surgery
2 Prince George Street, Havant, PO9 1BG 023 92453025
Aspire Dental Care
Havant Health Centre Civic Centre Road, Havant, PO9 2AZ 023 92451245
R Brown
Rear Surgery, 139 London Road, Waterlooville, PO8 8XJ 023 92252003
C Mulcahy
Lake Road Health Centre, Nutfield Place, Portsmouth, PO1 4JT 023 92826117
Lammiman C D A Dental Surgeon
18 Broadway, Sandown, PO36 9DQ 01983 405937
Vance A G H Dental Surgeon
London Road, 3a Central Buildings, Bognor regis, PO21 1PW 01243 828514
Emsworth Dental Practice
55 High Street, Emsworth, PO10 7AN 01243 375588
A Press
Dental Surgery, 4 Hampshire Terrace, Portsmouth, PO1 2QF 023 92823779
Bembridge Dental Practice
Hapgood House, Station Road, Bembridge, PO35 5NN 01983 872224
Southsea Orthodontic Practice
7 Victoria Road South, Southsea, PO5 2DD 023 92839673
Chichester Orthodontic Clinic
20 Westgate, Chichester, PO19 3EU 01243 786620
Gosport High Street Dental Surgery
2 High Street, Gosport, PO12 1BX 023 92510785
Specialist Orthodontic Referal Centre
37 East Street, Fareham, PO16 0DF 01329 284419
Studio Dental Surgery
3b Little London, Chichester, PO19 1PH 01243 532992
Judith Wickens
The Dental Practice, 169 Park Road, Cowes, PO31 7NJ 01983 293771
Avenue Road Dental Practice
Avenue Road, Freshwater, PO40 9UT 01983 759567
Collison Motor Co Ltd
127-129 London Road, Waterlooville, PO8 8XJ 023 92259311


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Rachel Carver and Louisa Pattisson raised money for WLT when they spent two days 'fossil fuel free' in Summer 2008, camping and eating only locally produced food cooked over a dead-wood fire, using a pond to keep food cool.
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It's taken 12 albums for Dream Theater to release a self-titled album, but their forthcoming album lives up to all the connotations that come with naming an album after your band. It's truly a new beginning, as it's their first album with new drummer Mike Mangini fully involved with the creative process. The band themselves were on hand yesterday at New York's Germano Studios, where they mixed the album, to host an album playback. Keeping with the new beginning, this was the first time the band have hosted a listening part fpr of one of their albums. The self-titled album is dynamic, heavy and catchy, and while it will certainly appeal to longtime fans of the band, definitely has the potential to reach new ones as well. Following the playback, we caught up with Mangini to talk about his involvement with the new album, playing live vs. in the studio, and Dream Theater's rabid fanbase.
This is the first album with you actually playing drums on it and writing.
How involved were you with the writing of the album?
Involved enough that I – and this is going to sound interesting – that I knew when to be quiet and when to offer something. It's interesting, because it took a lot of years to learn how to do that. It really did. But the bottom line is that the vibe of this album, because it reflects what we were feeling, what I was thinking when I was in there was 'you know something? These guys are all just pouring out stuff that I don't want to disturb. At times just let it go.' I was either doing that or when I had something to offer, I just spoke up.
Were they ever like "hey, you should do a little more here", or did they just kind of let you feel it out?
There are two different things. There's the drumming and there's the actual song composition. And that's what I'm talking about when I say I won't say anything when say, a melodic landscape is being constructed. And then there's times when I need to chime in for that. And I was careful when not to do that. I followed my gut. But with the drumming, I loved it. I just played. I loved it when they had suggestions for things or vice versa. Because we're always suggesting little bits for each other or showing each other what we're doing. A lot of the time, they said "go."
How comfortable were you laying down the album in the studio with the band? You've toured with them obviously. But touring and studio are different animals.
Comfortable enough that what you just heard – a lot of that was like "alright, let's try that and see what it sounds like" and it stuck. I mean, the first time through. And we all had our days. I had my drum day to go back after evaluating what I had played the previous day or two. If I wanted to redo a section or if I had a different idea, I had the prerogative to do that. Or if someone else had an idea. But basically, this is from us being in a room. So I was comfortable.
What do you enjoy more: playing live, or creating something and making an amazing record that's going to be your legacy in the studio?
It's funny. "Me hit drum," you know? I see them as almost both the same because there are pressures associated with both that are the same. But it is pressure. The pressure for recording…I can only quote Bill Bruford, who once said [puts on British accent] "the record is forever." The record is forever, so that kind of pressure is "everyone is going to hear this." And it can get to you. Unless you have a management program which I put in like an operating system to not worry about that stuff. You just play it. Because there are so many options, who's going to play the perfect thing all the time? Why don't you just play something that works and be happy with it and move on? And live is different because I'm playing for that one person that's staring at everything I do. It doesn't matter how many people are there. If there are 14 or 14,000 or 35,000, it doesn't matter. I'm always finding that one person, and I'm playing for that person.
Sure. And that brings me to my next question: Dream Theater fans are pretty fanatical. What is it like dealing with that level of dedication from fans?
It's fantastic, because what I get out of it is that they are an educated bunch. And a lot of them, when I dig in and we come, a lot of them have great senses of humor. And they call you and they recognize everything, and you get a lot of people that are genuinely good, saying things that if they maybe bust your chops here and there, it's all good. It's all good stuff. And even for the fans that haven't seen me, or won't embrace us maybe until they hear this record, that's ok with me, because even if Mike [Portnoy] is their prototypical favorite drummer, well then I applaud that, because who am I to say who your favorite musician is? It's fine. It's all good to me, because we're in forward motion, OK? We are going to the next thing, and the next thing, and the next thing. It's like creating a wig. I'm not looking too far behind me. I'm looking in front of me so I don't hit a tree. So I'm not worried about that stuff.
Great. And you were talking a little bit about listening to the album at half speed while showering. Is that really how you're learning the album or learning how to play it?
Again, I improvised so much of it that it's nice to have the time –because I'm under no pressure now – just to dig in and hear it from different perspectives. And one of the perspectives is not being on the drum set.
Right. And do you literally put it on half time?
That's how I prepared for the audition. That's how I learn songs for bands that I'm not the drummer in. Especially with what I did, I have to slow it down. Someone says "what was that?" and I say "that's a twenty-nine-tuplet." And I've got to sit there and I say "oh, that's right, that's X amount on each drum times this plus five equals OK, now I know what I did."
So it's like algebra. A little bit like calculus.
Well it is. And interestingly enough, calculus is an important model for me, because it's like it takes life and slices it up. So slowing it down is like slowing down life into slices that are manageable. Otherwise I might not remember every single note that I play, because it's whipping by at nine thousand miles an hour.
Do you know how much of the record you are going to be playing live when you tour?
I hope we play every single stinking note.
Tags: Dream Theater, Mike Mangini
Categorised in: Interviews
30 Comments
You just know this is going to be outstanding!!!
I cannot wait till the album is released. I'm a little worried that because of all the hype its not going to be as great as everyone is saying but i'm staying positive!
"This is the first album with you actually playing drums on it and writing?"
so he did not play on the previous album?
what the hell kinda question is that …
and you guessed the answer yourself without facts ..because you never heard of the band -
That question coulda been phrased better,but i think he meant to say, "this is the first album where you were involved in the writing,right?" Mangini played drums on the last album but was NOT involved in the writing process for the last album.
You seem to have misunderstood the question,,,
Without Portnoy on it, the album can only be so good…..
mangini so calm, but greatest one off more drummer in the world. yesss !
Without Portnoy to let it stale and repetitive, DT can once again explore and push the musical boundaries that they once helped create long ago.
He played the drums, but did not write it. Most of the drum tracks were written by Rudess and/or Petrucci.
Mangini – should have said more. Rudess and Petrucci steering I'm sure it could be good, but I'm not exactly enthused by the early review thanks to very recent experience with the likes of Opeth and Megadeth. It is a single review and anything you can take with a grain of salt but maybe less biased than "this is the greatest thing we've ever done."
no.. read it ..can't you see?
i know..i know..read the damn question..you can't phrase it like that
People need to get over Portnoy. He left of his own accord, and Mangini is every bit as creative and proficient. I love Portnoy, he is one of my favorite drummers, but come on.
… Yes you can?
He's such a humble guy and incredible musician.
How can you be so retarded? Rudess/Petrucci wrote the drum tracks, and Mangini played them on 'A Dramatic Turn Of Events.' Seriously, Go and learn English before criticizing it.
playing drum at this level IS a creative process… maybe he did not wrote the songs but he created the drum part
"This is the first album with you actually playing drums on it and writing." go back to school and ask your teacher if it´s right …the phrasing of the question..CAN YOU READ!
btw ..i´ve been listening to Dream since the first album..so go play with your ajiphoney instead
he didn't work on writing process
Considering your name is s2weden2000, and I am born from the UK, that statement is completely invalid. You are obviously far too naive to understand the English language correctly.
Let me reword this for your simple mind –
He is playing the drums (like he did previously) AS WELL as writing, as opposed to playing the drums WITHOUT the writing.
It does NOT mean that he didn't play the drums on the previous album at all.
And if you say you've listened to Dream Theater since the birth, then you would know that Mike Mangini played on ADToE, therefore an invalid argument anyway.
Please get your facts right before throwing childish comments that like.
what the hell ..can´t you read..i haven´t said anything about that ..READ THE FIRST POST …gawd damnit …i am talkimg about the phrasing of the question
seriously, can we not just move on?
MP had a big influence on the bands direction, and I think MM has brought a completley new outlook and feel to DT. It's almost a different band.
>> Rudess/Petrucci wrote the drum track
Not realistic. If anything, Myung would have been the influence.
You're write, I mean right about the phrasing.,, +1 on your English
MM is fuel for the existing creative engine running on 3 of 4 cylinders. No doubt, in time, he'll be the fourth spark. MM is after all completely amazing.
Err… should have said 4 of 5.
Holy shit. Just; holy shit. Mangini is operating on such an elevated level, it's just mind-blowing. That calculus analogy is brilliant.
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CB5 Manhattan Shoots Down Lionel Ohayon's Behemoth Restaurant Complex
Plans include a ground-floor bistro, food market, two dining rooms, a sidewalk café, a cellar-level restaurant, and several lounges.
Plans include a ground-floor bistro, food market, two dining rooms, a sidewalk café, a cellar-level restaurant, and several lounges.
Plus: Sting waits for a table at Sons of Essex, Lindsay Lohan shut out of a Cat Power party, and more in this week's celebrity dining.
Plus, Kate Upton at Boom, Rumer Willis at the Tippler, and more of this week's celebrity sightings.
Plus, pro athletes in a dogpile at SL, Mayor Bloomberg and Jamie Dimon double-date at Strip House, and more of this week's celebrity dining.
Plus: a brunch menu named after 'Bored to Death' at the Waverly Inn, and more, in our weekly roundup of celebrity dining.
Plus: Starbucks drive-through menus drop talls, and chains test delivery, all in our morning news roundup.
$30,000 bottles of Champagne + $88 porterhouses = $10 million in revenue. And more!
Looks like Snooki is even further "on the outcast."
The landlord got too greedy for the fusion chain.
"We claim to hate the scene but we know it's not true / There's a city full of sushi but there's only Mizu."
Will it be enough to keep Jersey's finest from swarming the East Village, Lower East Side, and the meatpacking during the weekends? We shall see.
Plus: Beer is no longer recession-proof, and recipes from your favorite fashion designers, all in our morning news roundup.
Can we expect to see her performing at The Box soon?


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The New Orleans Military and Maritime Academy Annual Budget
Meeting will be held from 6 p.m. -7 p.m. at the school's campus, located at
1912 L.B. Landry Ave, New Orleans LA 70114. Copies of the budget proposal are available now for review
at the NOMMA Main Office. For more information, call 504.227.3810.


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Published: Jan 1995
  | Format | Pages | Price |   |
Complete Source PDF (11M) | 18 | $139 |   ADD TO CART |
Source: STP1230-EB
A series of instrumented impact tests have been carried out using two different CFRP laminates, IM6/937 with a relatively brittle matrix and T800H/3900-2 with a toughened matrix. Two impactor masses differing from each other by a factor of 20 were used to study the effect of impact velocity and rate of loading.
Differences in the target impact response were found when the panels were impacted with the same energy but at different velocities. The higher velocities led consistently to slightly higher measured peak forces, but lower maximum deflections. This difference is reflected in the resultant damage state. The measured delamination area is larger for the high-mass impacts at the same incident impact energy, particularly for the tough matrix system. However, when the delamination size is correlated with the impactor energy loss, the mass effect disappears. The low-mass, high-velocity impacts create large contact forces, which leads to significant fiber breakage on the impact face. Fiber breakage throughout the rest of a panel is lower, which can be explained by the lower maximum panel deflections observed in low-mass impacts. An energy balance that takes into account the work done in delamination and fiber breakage gives good agreement with the measured impactor energy loss over the complete range of impact energies tested.
CFRP laminates, instrumented impact testing, impact velocity, delamination, fiber breakage
Author Information:
Delfosse, D
Research associate and assistant professor, Composites Group, Department of Metals and Materials Engineering, The University of British Columbia, Vancouver, BC
Poursartip, A
Research associate and assistant professor, Composites Group, Department of Metals and Materials Engineering, The University of British Columbia, Vancouver, BC
Coxon, BR
Director of Research, Integrated Technologies, Inc., Bothell, WA
Dost, EF
Senior specialist engineer, The Boeing Commercial Airplane Company, Seattle, WA
Committee/Subcommittee: D30.04


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A foggy morning Fall colors. Oliver, B.C., Canada
wonderful………..like it
Thank you very much, Manik!
– John Poon
Gorgeous light and color, beautiful softness, like a whisper! Dee
I am in love with this…..wonderful softness and colours!
Absolutely beautiful. Love the colours, composition, and the soft treatment.
(Oh I thought you were already on my watchlist. No wonder I've been missing out!)
Thank you so much, Carol! I am honored to have you around :)
– John Poon
Wow, what an explosion of color. You live in a beautiful part of Canada! Great shot.
Cheers :)
– John Poon
"*!We Sell Art!* ":http://www.redbubble.com/groups/get-art-promoted
" ":http://www.redbubble.com/groups/get-art-promoted
Thank you very much, Richard!
– John Poon
Brilliant!!!! In more ways than one!!!!!!!!! :)
Cheers, Monica :))
– John Poon
Absolutely beautiful, John.
Thank you so much!!!


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When it comes to creating useful, intuitive, and easy-to-use features, Eventbrite often looks to its legion of experienced and savvy event organizers who know what they need. Well, we received our marching orders on Waitlist Management and we're excited to let you know that attendee overflow management is no longer a pain point!
Read more
Tag: waitlist.
Be All That You Can Be! Enlist Waitlist Management Today
November 11, 2009


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Foxtel Links London to Australia With Thomson Video Networks
RENNES, France -- Nov. 15, 2012 -- Thomson Video Networks announced today that Australian pay-TV operator Foxtel relied on the company's technology to send HD video from London to Sydney for Foxtel's coverage of the London Games. In London, Foxtel used Thomson ViBE(TM) EM3000 HD encoders and NetProcessor 9030 multiplexers to prepare eight HD channels of live content for transmission to Australia via an IP link.
Foxtel in Sydney operates one of the largest Thomson Video Networks platforms in the Asia-Pacific region, incorporating several generations of encoders, multiplexers, and video servers. For the London Games, both the Sydney head-end and the installation at the broadcast center in London were integrated with Foxtel's Thomson XMS(TM) Management System, giving the broadcaster a complete and integrated solution for monitoring and controlling the contribution feeds from city to city. Thomson Video Networks' technical staff in Australia, London, and France worked closely with Foxtel to implement this highly efficient HD solution.
"Getting it all together for an event of this scale requires really good teamwork and a great understanding between the collaborating partners," said Brett Paton, head of product solutions design for Foxtel. "With Thomson Video Networks, we knew we could deliver the best-possible quality for our coverage with a fully integrated system at both ends."
Thomson's ViBE EM3000 HD MPEG-2/MPEG-4 AVC encoder sets the benchmark for HD encoding for satellite and terrestrial broadcast, high-end IPTV operations, and other content aggregation applications. The EM3000 combines compression efficiency and advanced preprocessing to deliver clearer pictures with increased depth and clarity, broadcasting high-quality HD content even at low bit rates. The ViBE EM3000 also helps to simplify head-end infrastructure with features such as Dolby(R) E decoding, Dolby Digital plus, and Dolby Pulse surround sound.
About Thomson Video Networks
From the very onset of digital TV broadcasting, the Thomson name has been synonymous with supplying expertise, quality, and reliability to the world's leading broadcasters. Since delivering the world's first large-scale direct-to-home satellite system, Thomson Video Networks has been a global leader in compression systems for satellite, terrestrial, cable, IPTV, mobile TV, and Web streaming. The company helps its customers deliver superior quality video to anything from small handheld devices to large 3D HD screens, with the lowest bandwidth to ensure a profitable business model. A trusted supplier to more than 20 percent of the active channels deployed worldwide, with a global support presence and a reputation for delivering quality at every stage, Thomson Video Networks offers the experience and range of products to meet every need, from hybrid multi-format compression systems to contribution links for content exchange networks.
Information about products from Thomson Video Networks is available at www.thomson-networks.com.
Photo Link: www.wallstcom.com/ThomsonVN/ViBEEM3000MPEGHDEncoder.zip
Photo Caption: Thomson Video Networks ViBE(TM) EM3000 MPEG HD Encoder
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Message board »Message Board home »Sign-in or register to get started
Online now: 0 members ; 4 anonymousDiscussion: South Bend SPA
Posted | Discussion |
June 5, 2011 DRob 34 posts | South Bend SPA Just got home from the SPA tournament in South Bend, IN. Momma said "If you can't say somethin' nice, don't say nothin' at all" so............... The burgers and brats were pretty good! |
June 5, 2011 rabbit Men's 65 297 posts | Sounds like a typical South Bend SPA tourney without you even saying anything,that is why we quit going too it, one year we had a tie game ??? in softball,go figure |
June 5, 2011 ffdonnie Men's 50 96 posts | So is it just the South Bend tourny that's the problem, or all of SPA. There's one in Sparks in Sept. we are thinking of going to. Can anyone expand on this? Never played in SPA before. Thanks. |
June 5, 2011 rabbit Men's 65 297 posts | just the way it is ran, SPA is not the problem, |
June 5, 2011 DRob 34 posts | Sorry, Momma. It was FUBAR start to finish! |
June 5, 2011 titanhd Men's 50 348 posts | Great facility! Tourney Director hasn't a clue. |
June 6, 2011 mad dog Men's 65 3973 posts | tell you if SPA has a tourney in reno it will be worth going to... |
June 6, 2011 einstein Men's 50 3114 posts | Something to agree about, Robert? The world must be coming to an end. I've had great times playing in SPA tournaments. Ridge and his boys are interested in playing well and having a good time. Dalton last year was a gas and would be a welcome relief for all the unseasonably cold/damp weather we've been having lately. |
June 6, 2011 ffdonnie Men's 50 96 posts | Good to hear, thanks. |
June 6, 2011 lemons Men's 65 302 posts | Other than Dalton 2 years ago, SPA in general runs many great tournaments. The problem here lies in South Bend. Some of the 60 and 65 year old teams had to play as many as 8 games on Saturday and, if successful, return for more on Sunday morning. Would have been a great venue for a cardiologists convention. Never again! |
June 6, 2011 UMBACH 36 posts | Good ball, wasnt golf ball like ssusa uses, games lot more competitive, scores like 15 0r 16 not 25 0r 30 |
June 8, 2011 Corky Men's 55 451 posts | entirely too many games in one day....rules changed 3 times during tournament....and by the way, we lost an outfielder in the tall grass............if you find him could you please point him in the direction of Indianapolis. |
June 8, 2011 garyheifner 385 posts | Got to play 5 games on Sat. and 1 on Sunday. Too many for 65s in one day. 1st time I have been in a tourney when after 3 prelim games, the 2-2 team was seeded 1st, the 3-0 and 2-1 teams were seeded 4-5 and the 0-3 and 1-2 teams were seeded 2nd and 3rd. We got to the point we had to view the event as simply practice games for the SSWC ring tournies later in the year as some of the rules changed often. Nothing against the ASA umps but as catcher, I found myself explaining our senior rules often. Thought the ASA 375/44 ball was average minus and for the most part the basic umpiring was good and consistant-no big complaints. |
June 9, 2011 lemons Men's 65 302 posts | South Bend provided a venue to renew old friendships and start some new ones. Particularly because we were at the ball park for such a long time. However, there are other tournaments that are not endurance contests. I want to continue our fellowships and not mourn the injuries or deaths of any of our friends because of poorly run tournaments. |


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Denis Blanchard
Denis Blanchard is a gifted young Canadian song writer, instrumentalist, vocalist and arranger. He combines his native talent with instruments and technology to create an indie rock sound that is both original and irresistible.
Sliding Doors | Orca Cover | |
Chant | Ambience | |
Crazy Man | Fog Cover | |
The 101 | November | |
Snow Capped Mountains | Jig | |
Not yet Named | Another one | |
Play All Tracks |
Denis Blanchard in traditional Acadian Folk Costume Denis would like to thank the Canada Council for its generous funding under the Native Costumes Support Program |


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follow Dictionary.com
What word does your mother always say?
1530s, back-formation from participation, or else from Latin participatus, past participle of participare "to share, share in, participate in; to impart," from particeps "partaking, sharing," from parti, past participle of partir "to divide" (see part (n.)) + -cip-, weak form of stem of capere "to take" (see capable). Related: Participated; participating.


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Weight Watchers Weigh-In 2/13/08
I'm losing weight on burritos!
One user shares her Weight Watchers experience. She talks about her struggle to become a vegan, and her second weigh-in. However, she proves that you can eat Mexican food and still lose weight on Weight Watchers.
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(Page 1 of 1, 1 total comments)Hard to hear, off topic for most of video