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If you've been following this podcast for a while, then you may be wondering, what happened to T.I.M.? If you go to http://theindependentmusician.com you'll notice a landing page, and how things link back to this site. Here's the podcast page now. Blog posts, and show notes are here now. Things are different, right? More than that you've most likely noticed …
Content Marketing For Musicians
In this new series of the T.I.M. Talks podcast, we'll be talking about content marketing for musicians. This post will grow and change as new episodes in the series will be added to it. Listen or download to the episode above! Content Marketing For Musicians Content marketing is all the rage these days. Seems like everyone and there mother's uncle …
#21 What's Your DAW? (And The Winner Of April Drawing)
In this episode I announce the winner of the April TIM Talks drawing… Congrats to Stephen Cowart!! What's Your Favorite DAW? In this episode I ask the question, "what's your DAW of choice?" If you're not sure what a D.A.W. is, it stands for digital audio workstation. It's basically the software you use when you record. So what is your …
#20 Learn How To Launch (Part 2)
Don't just release an album. Learn how to launch it.
#19 Learn How To Launch
This is part one of a talk about learning how to launch. Not just release, but launch. Episodes 19 and 20 are together. Get the show notes here.
BONUS: The Tangible Value Of Art
So I had a thought while driving in the car the other day. I figured I'd just record it…. Literally.
#18 Setting Up Your Own Music Store
Do not lean on iTunes to sell your music. You need to setup your own music store, at your own website. Ecommerce is the way to go. People who know how to do eCommerce well are killing it right now. Why not join them? Payment Gateways Stripe PayPal Authorize.net Store Fronts BigCartel Shopify Square WooCommerce (WooThemes)
#17 Why You Need A Fan Funnel
To make a super fan, you need a fan funnel. Click on the info-graphic below to download the PDF.
The Blue Collar Musician
In episode 16 of TIM Talks, I give you a hypothetical scenario where we look at the numbers of the blue collar musician. After that, we compare those numbers to the numbers of an artist who builds up his or her audience online with a big email list primarily selling exclusive digital releases on their own (not using iTunes or …
How To Turn Heads With Your Music (2 Ways You Can Become A Purple Music Cow)
To get noticed and achieve any measure of success these days, you need to be remarkable. Remarkable. What a big and daunting word right? Being remarkable may seem like this high and lofty thing that only the most talented can achieve, but it doesn't have to be that way. All you need to do is stand out. Be, as Seth …


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Sunday, 5 July 2015
Last updated 1 day ago
Jun 6 2008 | 10:59am ET
In their acrimonious battle with U.S. railroad giant CSX Corp., The Children's Investment Fund has found an ally in an unlikely place.
The U.S. Securities and Exchange Commission yesterday said it disagrees with CSX's interpretation of disclosure rules. The railroad has sued TCI and another hedge fund, 3G Capital Partners, alleging that they illegally used equity swaps to mask its stake in the company and evade disclosure rules.
But the SEC, responding to a request from the judge in the case, rejected CSX's reasoning, saying it believes that a swaps stake is "not sufficient to create beneficial ownership."
"A person that does nothing more than enter into an equity swap should not be found to have engaged in an evasion of the reporting requirements," Brian Breheny of the SEC wrote to U.S. District Judge Lewis Kaplan, who last month asked the agency a pair of questions about its beneficial ownership rules.
Kaplan, who had earlier expressed skepticism about the hedge funds' practices, calling them "opaque to the broader market," is due to rule on the case by Thursday.
Things were less favorable for TCI elsewhere in Washington. Six lawmakers have asked the Treasury Dept. to look into the British activist shop's stake in CSX.
"Very little is known about the investors in the TCI Group or those investors' agenda," the June 3 letter reads. "They are anonymous and invisible to government regulators and the nation."
Jun 26 2015 | 6:47am ET
If you want to set up an offshore hedge fund, like any great team, you're only...
Jun 8 2015 | 12:37am ET
The Wall Street Decathlon — a 10-event physical challenge that will crown "Wall...
Jun 26 2015 | 10:07am ET
In this article, financial expert Greg Silberman explores how to hedge a private...
May 27 2015 | 2:15pm ET
Support Hedge Funds Care, also known as Help For Children (HFC), by participating in this year's raffle. All proceeds go to support HFC's mission of preventing and treating child abuse. Read more…

subset: commoncrawl


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Every time Jamie Whyte opens his mouth the chance of Act having any influence on the next government plummets.
Native Affairs on Monday night was a case in point.
Act has been trying to appeal to Maori leaders with various anti-state policies for some time, promising to roll-back the oppressive burden of government and give autonomy to iwi groups. The latest manifestation of this is of course charter schools. Catherine Isaac asked Dame Iritana Tawhiwhirangi to jack her up a chance to speak at the iwi leaders forum this year to sell them to this influential group.
It's not hard to picture how iwi leaders would have responded when Jamie Whyte goes off on one about rolling back 'Maori privilege', including getting rid of whanau ora (which he, self admittedly, doesn't even know what it is). I doubt too many of them are regretting not putting their hands up for the second round of charter schools – no major iwi groups applied, despite Isaac's best efforts. No need to spell it out to this crowd when someone's trying to pull a swift one.
What's more, Minister Parata's hardly going to be beside herself with joy at National's preferred coalition partner's 'grotesque and inflammatory' comments. Remember, Parata left the National Party after Brash's Orewa speech. Even if, somehow, Act is returned in a National led government, I am sure Parata (who I suspect will still be Minister of Ed should National win) will be absolutely clear that her portfolio has had quite enough damage from the junior partner over the last three years, and it's someone else's turn to cop it.
Of course, Whyte wasn't fussed about the iwi leaders or Minister Parata with his latest rant; this was aimed at Louis Crimp and his type, and was about cajoling him to get out the cheque book again. However, 2014 isn't 2004, and even Act party members are finding this dog-whistle politics grating.


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I was very pleased with the staff at this hotel. Everyone was so nice and helpful, especially Latisha. She is very nice and always willingto help. The rooms were very spacious. I never was without something I needed. The hotel was always clean and well kept. I would definitely recommend this place to a friend and I will continue to stay here whenever I am in Richmond, VA.
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Connect With Us800-299-9470
How Will My Product(s) Be Delivered?When purchasing a large appliance from AppliancesConnection, a representative will contact you 48 hours prior to arriving to your location to schedule a delivery date and a 4 hour time window. Upon delivery, your product will be unloaded and ready for you to open and inspect. If you have chosen White Glove service, the item will be placed in your room of choice and the debris will be removed.
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The Sophie collection is built and designed to make worthwhile contribution to the lifestyle of any young and beautiful lady. This white trundle drawer under the bed features delicate ribbon and rosettes overlay. There is also incorporation of antique white hardware to enhance visual appeal for girls of all ages.
Dimensions: 40" W x 75.6" D x 10.5" H
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Moms & BabiesThe Furness-Jackmans
See how these Aussies – Hugh Jackman, wife Deborra-lee Furness, son Oscar and daughter Ava – explore the Big Apple and beyond
Credit: Ramey
Updated: Wednesday Jan 18, 2012 | 05:00 PM EST By: Karen J. Quan
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Summer School
3rd Summer School
Human Rights – A Recurrent History
Istanbul 12 - 26 June 2015
Set in Istanbul, this summer course offers students from the Nordic countries and Turkey a unique possibility to deepen their knowledge of the concept of human rights and its application together with an international group of scholars and practitioners. Our aim is to go beyond the Eurocentric narrative of how human rights have evolved by investigating legal, political and cultural transformations in both Europe and the Ottoman Empire/Turkey. Students acquire an in-depth understanding of the ways in which human rights have been understood, institutionalized, and contested, with special reference to the Nordic countries and Turkey. How historical injustices have become matters of contemporary human rights and how cultural heritage is conceived of as a human right will also be investigated.


text: Have been going to here for almost 30 years.....Over that time, have never had a bad meal or poor service. Prices are reasonable and portions will feel you up, just don't fill up on the chips and salsa....They are way above average... They have more than Mexican menu. I have been told by several... read more


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Watch below as ESPN's Kirk Herbstreit talks about Sam Bradford's return to the field and Texas' need to win out and control their own destiny if they want any hope of another national title:
- 5-star center Myles Turner commits to Texas
- The Good, the Bad, and the Ugly from the Spring Game
- Former Texas DT Andre Jones dead at 24
- Video: Charlie Strong signing day press conference
- USC QB possibly transferring to Texas?
- Live: National Signing Day 2014 (All 19 are in, 10:51am)
- Mack Brown responds to reports that he told recruits to look around
- Three-star OT Elijah Rodriguez has flipped from Colorado to Texas
- Changes Charlie Strong needs to bring to Texas Football
- Texas beats Kansas State with Johnathan Holmes' buzzer beater
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Churchill's Wizards: The British Genius for Deception, 1914-1945Paperback
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- Publisher: FABER & FABER
- Format: Paperback | 704 pages
- Dimensions: 128mm x 196mm x 46mm | 540g
- Publication date: 7 May 2009
- Publication City/Country: London
- Sales rank: 107,705
Product description
The real story of how Winston Churchill and the British mastered deception to defeat the Nazis - by conning the Kaiser, hoaxing Hitler and using brains to outwit brawn. By June 1940, most of Europe had fallen to the Nazis and Britain stood alone. So, with Winston Churchill in charge the British bluffed their way out of trouble, drawing on the trickery which had helped them win the First World War. They broadcast outrageous British propaganda on pretend German radio stations, broke German secret codes and eavesdropped on their messages. Every German spy in Britain was captured and many were used to send back false information to their controllers. Forged documents misled their intelligence. Bogus wireless traffic from entire phantom armies, dummy airfields with model planes, disguised ships and inflatable rubber tanks created a vital illusion of strength. Culminating in the spectacular misdirection that was so essential to the success of D-Day in 1944, Churchill's Wizards: The British Genius for Deception 1914-1945 is a thrilling work of popular military history filled with almost unbelievable stories of bravery, creativity and deception. Nicholas Rankin is the author of Dead Man's Chest, Telegram From Guernica and Ian Fleming's Commandos. "This is a story clamouring to be told. We could not have imagined the scope of the inventiveness, the daring of these people's imaginations...I could not stop reading this book." (Doris Lessing).
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Author information
Nicholas Rankin spent twenty years broadcasting for BBC World Service where he was Chief Producer and won two UN awards. His first book for Faber, Dead Man's Chest, followed in Robert Louis Stevenson's footsteps from Scotland to Samoa and was much enjoyed by Graham Greene. His second, Telegram from Guernica, was a widely praised biography of the groundbreaking war-correspondent and front-line propagandist George Lowther Steer. His bestselling Churchill's Wizards, was 'a completely delightful and entertaining read' in the Daily Telegraph. His most recent book is Ian Fleming's Commandos.


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Life On Earth Simple Bingo
Introduce your child to the joy of playing games as a family! This sweet bingo set features gentle images of wildlife from all over the world. Be the first to complete your playing board and call out "Bingo" to win. Not only is this a fun game, it's also a wonderful vocabulary building exercise.
- Recommended for children 5 years and older, but many children as young as 3 years old will enjoy this game
- Includes 6 sturdy game boards and 36 playing pieces in a red cloth bag
- Beautifully illustrated by Melissa Sweet
- Designed in New York City by the talented team at eeBoo
- Made in China
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From javascript I'm calling a web method. With IE, if I pass a huge parameter to that web method, an alert "Stop running this sciprt? A script on this page is causing internet explorer to run slowly" pops up.
Is it possible to handle the click on the "Yes" button, so that if the user decides to cancel the script execution I can run some alternative script (in this case, my "alternative" script consists in closing some progress bar I popup just before running the long time script).
I have seen many posts explaining how to prevent this alert from being displayed, but I don't want to stop the alert from being displayed: I just want to be able to handle the case in which the user decides to stop the script execution.


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A method of allowing a community of users to self-administer a hearing test via a computer system accessed over the Internet is disclosed. A web site is generated which is accessible by a community of users over the Internet. The web site presents a screen to a user which gives instructions on responding to sounds. Electronic data is sent to users which instructs the user's computer to generate a series of sounds at different amplitudes and frequencies. The user blocks sound to one ear and responds to sounds detected by the other ear. The responses are analyzed against a known standard to provide information on user hearing.
1. A method of determining an amplitude for a background tone for self-administration of a hearing test via a computer system, comprising the steps of:
sending data to a user's computer which data prompts the computer to generate a background sound covering a plurality of frequencies over a range detectable by a human ear;
increasing the amplitude of the background sound to within a range of about 10% to about 75% of the maximum sound which a sound system of the user's computer is capable of generating;
sending additional data to the user's computer which prompts the computer to generate a series of sounds which sounds are detectable, to a human with normal hearing, above the background sound;
receiving and analyzing responses to the series of sounds to provide information on the user's hearing.
This invention relates generally to the field of medical tests and specifically to hearing tests. More specifically the invention relates to a self-administered hearing test provided over the Internet.
Hearing loss can occur at all ages. Causes include environmental, such as from repetitive exposure to very loud music or other external noise; medical, including that caused by nerve damage, tumor or drug toxicity; genetic; and injury, such as may occur from rupture of the tympanic membrane of the ear. A major challenge in treating hearing loss is early identification. Conventional hearing testing generally requires sophisticated equipment, or testing at dedicated centers by experienced personnel.
The use of audiometric instruments in the screening and characterizing of human hearing is commonly found in schools, clinics, and in the offices of hearing aid dispensing professionals. Audiometric instruments employ pure tones, speech, and other stimuli that are within the audible range of human hearing. These sounds are delivered to the ear vicinity through transducers that are attached to the output portion of the audiometry instrument via cables.
Sound can be delivered to the ear by air-conduction transducers, such as supra-aural earphones housed in headsets, through bone-conduction transducers which make direct contact with the temporal bone area located immediately behind the ear, or by other means. Specifications and calibration standards for audiometers are available from agencies such as the American National Standards Institute (ANSI) which also provide a basis for classifications of audiometry instruments.
Recently available computer-based audiometric instruments are employed to facilitate testing procedures and improve patient records management. Automatic audiometers are becoming widely accepted in hearing screening applications such as in schools and industrial clinics. This automated process approach results in minimal operator involvement, faster testing, and in some instances improved accuracy.
Portable versions of automatic audiometry instruments incorporate microprocessors and miniature electronic components with innovative packaging and manufacturing technology to produce compact and light weight instruments suitable for most portable applications. While the cost and size of electronic components continue to decline, audiometry instruments still have at least two basic system components: a desk top electronic module connected via a cable to a separate standardized headset module to be worn on the patient's head.
Slavin, U.S. Pat. No. 4,489,610, discloses the major elements of a computerized audiometer which may be operated automatically or by a technician. The device is housed in a cabinet which contains keyboard, printer and display devices. The apparatus disclosed also includes tone generator circuits, tape recorder based audible instruction generator, central processing unit, Read Only Memory (ROM) for storage of software, Random Access Memory (RAM) for storage of diagnostic data, and further includes a programming output port for coupling to a programmable hearing aid. Other options include interface ports to connect with a modem, remote printer, and data storage devices. Similar to all other audiometry instruments, the Slavin computerized audiometer has a patient operated switch in addition to cable connected transducers (headset) to be worn by the patient.
Besserman, U.S. Pat. No. 4,284,847, discloses an audiometry apparatus which is microprocessor-based. The apparatus includes tone generation means with variable frequency and intensities, various memory elements for software and patient data storage, a key-board, and a display device. The apparatus has interface capabilities with remote computers for data transfer. One of the main features of the invention is the ability to compare recent audiogram data with previously acquired ones and automatically compute hearing threshold shifts.
U.S. Pat. No. 4,157,456 to Voss discloses an audiometric testing system having earphones, a patient feedback switch, a tone generation means which is controlled for both frequency and loudness, a memory for storage of diagnostic data, and data output means.
Voroba et al., U.S. Pat. No. 4,759,070, teach a patient controlled hearing test instrument with hearing aid programming capabilities. The system referred to as "master hearing aid" has both an operator and patient's console. Both consoles are microprocessor based. The patient is presented with stimuli and using the provided console which is electrically attached to a patient-worn hearing aid via a cable, the patient can optimize hearing aid characteristics in terms of amplification and other performance characteristics. The system comprises a number of physical units, including four loudspeakers for environmental noise simulation. All units are interconnected by means of cabling. The stimuli are generated by standard tone generators, tape recorded background sounds, and verbal instructions to the patient.
U.S. Pat. No. 4,989,251 to Mangold teaches a hearing aid programming method, and U.S. Pat. No. 4,961,230 to Rising teaches a hearing aid programming interface method having a battery compartment adapted to hold a coupler member for connection to an external programming device.
It is well known in the hearing diagnostic field that even though improvements in the reliability of transducer cabling continues, damage to the cabling and contact terminals remains to be a major problem. This failure leads to intermittent dysfunction which may lead to noisy and erratic sound transmission and possibly erroneous patient diagnosis. Even if the cabling damage is promptly detected, the audiometer must remain inoperable until a replacement or a repaired headset arrives.
Another disadvantage of the cabling associated with the present two-piece audiometer systems involves the limited mobility imposed on the patient wearing the headset who must remain close to the attached base instrument. Even the most portable types of audiometry instruments presently on the market impose a penalty on both the clinician who has to provide desk space to operate or store the audiometer and the associated headset and the patient who has to deal with cables which may get tangled with other cables and instruments in the clinical setup. This is particularly problematic with active children who have the tendency to move around and displace the critical placement of the headset on the ear.
Another less obvious but very significant disadvantage of the present desk-top or lap-top audiometer approaches involves the size reduction limitation imposed by the two-piece design. Although it may seem desirable and technically conceivable to make the audiometer extremely small and light weight using very large scale integration (VLSI) technologies, functionally it is highly undesirable because of the potential for the base instrument to be pulled and moved by the headset cable as the patient moves. Not only may this motion cause the instrument to drop and possibly break but this motion will also cause mechanical movements of the instrument to become acoustically coupled to the patient resulting in interference with the on-going tests and possibly invalidating threshold measurements. For this reason, most presently available audiometry instruments must maintain a minimum size and weight to stabilize the instrument while in operation.
A computer system is disclosed which is accessible to a community of users over the Internet. The system presents a screen or series of screens to users which (1) prompt the user to enter information such as user name and age, and (2) instructs the user on how to respond to sounds generated as a result of data sent to a user's computer. A series of sounds at different frequencies and amplitudes are generated while the user blocks sound from reaching one ear and responds to sound detected such as by clicking a computer mouse or pressing a key on the keyboard. The system analyzes the responses relative to factors such as the user age and provides results to the user on the users hearing.
An aspect of the invention is that the hearing test can be self-administered.
Another aspect of the invention is that the test can be widely and economically distributed over the internet.
An advantage of the invention is that it does not require the use of expensive equipment.
A feature of the invention is that it can provide results to a user and/or the user's caregiver in real time.
An object of the invention is to make a simple, low-cost, accurate hearing test available to users over the internet.
These and other aspects, objects, features and advantages will become apparent to those skilled in the art upon reading this disclosure.
Before the present web site, system and method are described, it is to be understood that this invention is not limited to the particular tests, symbols and steps described, as such may, of course, vary. It is also to be understood that the terminology used herein is for the purpose of describing particular embodiments only, and is not intended to be limiting, since the scope of the present invention will be limited only by the appended claims.
It must be noted that as used herein and in the appended claims, the singular forms "a", "and," and "the" include plural referents unless the context clearly dictates otherwise. Thus, for example, reference to "a test" includes a plurality of tests and reference to "the sound " includes reference to a number of sounds, and equivalents thereof known to those skilled in the art, and so forth.
Unless defined otherwise, all technical and scientific terms used herein have the same meaning as commonly understood by one of ordinary skill in the art to which this invention belongs. Although any methods and materials similar or equivalent to those described herein can be used in the practice or testing of the present invention, the preferred methods and materials are now described. All publications mentioned herein are incorporated herein by reference in their entirety, and specifically to disclose and describe the methods and/or materials in connection with which the publications are cited.
The publications discussed herein are provided solely for their disclosure prior to the filing date of the present application. Nothing herein is to be construed as an admission that the present invention is not entitled to antedate such publication by virtue of prior invention. Further, the dates of publication provided may be different from the actual publication dates which may need to be independently confirmed.
The abbreviation TOV1 means a table of values 1 or a table of test values 1. The TOV can be generated by a range of methods and may involve testing groups of individuals in a given age range. The individuals are preferably normal hearing individuals who are audimetrically tested at frequencies in a range of 500-12,000 hz.
The abbreviation HL means hearing level.
The abbreviation OdB HL means a point just below which an individual can barely detect a sound.
The abbreviation BACS means background audio contrast stimulus.
1. Download system compatibility with PC's and Windows 95 and above operating systems. Online system compatibility cross-platform. Volume control set to high pretesting.
2. Using simple sound attenuation provided by secure coverage of one ear and or the outer ear canal, the "open" or "receiving" ear is tested.
3. A background noise "probe" is first presented to the "open" or "receiving" ear with adjustable volume control. The test subject adjusts a volume control slide to a point where the continuous probe sound can barely be heard. A series of iterative adjustments further refine this point, further known as the system baseline sound level (SBS).
4. A series of pure tones are presented at time durations that may range from about 50 msec to continuous, though shorter time frames are preferred. The frequency of the presented tone varies from 250-12,000 Hz, where each tone is selected according to a table of values (TOV).
5. Creation of the TOV
Patients with completely normal hearing for age, as verified by AC (air conduction) and BC (bone conduction) audiometry are tested groups stratified into 5 yr increments from age 25, with sufficient numbers for statistical significance of data in each group. 5 PC systems, encompassing the 5 most commonly used sound cards available US (3) and worldwide (2) are used on each patient tested. The duration of each pure tone is determined in a separate study and kept uniform throughout this testing phase. During this study the decibel level is tested in 10 dB increments to 120 dB for each frequency tested until consecutive responses are elicited.
A TOV 'raw data' is created for each sound card for frequency vs. age using the SBS and dB relative to the SBS as the data values recorded. From the TOV 'raw data' a TOV 'test table final' is derived, with a determination made based on % availability of cards, and cross platform validity of data from card to card. This data is defined as the lowest dB level in which over 95% of test subjects elicited a + response for that value point (frequency). This is a table of pulsed pure tone sounds, each of which is a measured dB relative to the SBS throughout the range of test frequencies described above in 3 and 4. The high frequency limit will be that defined by the sound card limit of the determined universe of sound cards for which compatibility is desired, and will be around 12,000 hz. Between 8,000 and 12,000 hz three test increments will be determined based on 8,000 hz being the starting test point, the test limit determined as described above, and a frequency test point bisecting the starting and ending high frequency test points.
6. A second test, called an Audiometric sound discrimination test (ASD) is performed using the white noise probe as background, and then retesting the TOV frequencies. The white noise background that will become the standard for this test can be selected within a wide range, the preference being is selected at a level the majority of test subjects define as the loudest which can be heard without discomfort or seeming to be unpleasant. This baseline will be determined and varied by age. A new TOV will be determined by retesting the original test population with pulsed frequencies in the presence of this noise and determining the lowest dB value that is heard by 95% of test subjects, again stratified by age and tested throughout the frequency range to determine this table.
7. Two tests will therefore further define the hearing test of the present invention: a pure tone test set based on the SBS; and an ASD test defined by the presence of a continuous background noise. Each test will present a predetermined frequency dB value that for age 95% of normals identified, according to the TOV for age. It will then increase by 10 dB relative to this starting value until a positive response is elicited. This will be repeated twice for each test frequency tested with each test. Failure to respond will elicit another test stimulus at a higher dB value of about 10-25 dB, to be determined based on the test range of normals, such that the increment of change is sufficient to allow 100% of test subjects to identify the test sound dB. The dB increment increase, to be determined, along with the TOV for each test, will constitute the testing algorithm.
8. A high, borderline, low, very low sensitivity screening result will be determined based on comparison with patients with early, moderate and high levels of hearing loss at the different test frequencies. Either % score or a derived calculation from comparison of the pure tone and ASD test will be used to refine the screening labels of high to low hearing sensitivity (or loss using the converse). As the number of test takers tested with corresponding professional Audiometric scores increases the test analysis algorithm can be further refined to modify sensitivity and specificity, as well as allow for a % likelihood value of hearing loss as analysis output, in addition to the screening pass-fail scoring and detailed relative quantitative dB loss vs. frequency analysis.
The self-administered test of the invention can quickly analyze hearing simply by having the user enter a computer system accessible to a community of users such as the world wide web of the internet. The user enters the web site name which presents a screen to the user. A web-site screen preferably presents questions to the user which would include information to identify the user (e.g. user name and social security number) and the user's age in that hearing ability is generally age related. After entering requested background information the user is instructed to provide a surrounding environment with no background sound or a barely discernable background sound.
At this point the test can be administered in a variety of different ways. First, the test cab be administered using only speakers connected to the user's computer. There are several different embodiments of this aspect of the invention as explained below. Second, the test can be administered using earphones which may be standardized hearphones specifically designed for use with the test. The use of earphones can greatly simplify the invention. However, many users will not take the test if the use of earphones is required. Thus, the present invention provides a means for taking the test without the need of any equipment beyond a standard PC, sound card, keyboard, and preferably a mouse and monitor screen. When only such minimal equipment is used the number of users who will access and take the test is dramatically increased.
When speakers and not earphones generate the sounds it is necessary to go through certain procedures to establish a standard for the user's system. To do this the user is instructed to cover a non-test ear, e.g. using moderate pressure via the hand's palm or fingertips to the outer ear canal. Alternately an earplug could also be used. A baseline test tone (BTT) is then presented to the unblocked test ear. At this point interactive responses are required to determine a relative 0 dB HL baseline (described further below).
Once the 0 dB HL baseline has been established the computer system initiates a test program whereby data is sent to the user's computer which data instructs the user's computer to generate a sequence of pure tones. The tones generated are preferably pulsed tones of a relatively short duration, e.g. under 1 second or more preferably under 0.1 second. The tones are preferably intermixed with periods of non-testing silence. The tones which are presented to the user are selected from a pre-determined table of values (TOV) that is age matched at the specific test frequencies of each of the sounds generated.
The test tones are presented to the user at a pre-determined relative dB value to the baseline 0 dB HL. The user may hit any key on the keyboard or click the mouse to indicate that the user has detected the sound generated by the user's computer. Each of the user's responses (e.g. mouse clicks) during the intermixed silence are scored as a measurement of compliance, i.e. test-taking accuracy. The tones of the upper limit of testing volume are periodically interspersed, as well, to test for expected mouse clicks and confirm understanding and compliance with test instructions. The testing is repeated with a modified TOV developed for presentation of background sound simultaneous with pure tone presentation. By repeating the testing in this manner and crossing the results obtained with those obtained in the initial testing it is possible to further verify the accuracy of the test on the particular user.
The results of the testing are recorded and an analysis algorithm is used to determine a result which can be presented to the user and the user's caretaker. The results may be presented in terms of a past-fail-borderline score overall or for each level of the frequency. The test results presented may be more refined and provide a high-borderline-low-very low sensitivity result. It is preferable for the results to provide detailed relative quantitative analysis of dB loss versus frequency. The test program is repeated with incremental increases in dB values at frequencies where the user did not provide a response to a sound generated. In this manner it is possible to determine the dB level at which the user can respond at that particular frequency.
The users will access the test with a range of different PC's and the PC's will have different sound cards, settings, and speakers. Further, the user's environment will have different levels of background noise. These and other variables should be minimized to improve the accuracy of the results obtained. The present invention provides two basic means for minimizing such variables.
In a first method, one or more sound probes are sent to the user and the user indicates when the sound can not be heard, i.e. the sound is at a detected OdB level. This can be obtained by sending the user a series of sounds at the same frequency but at continually decreasing amplitude until the sound is no longer heard or just barely heard by the user—this is the detected OdB level. Another series of sounds at a different frequency can be sent to establish another OdB level and this can be done at a plurality of different frequencies or for only one or a known group of different frequencies. If a user has hearing loss, that loss is generally more profound at certain frequencies. It is preferable to establish the detected OdB level at a frequency where the user does not have significant hearing loss. The detected OdB level can also be established by the user continually and gradually adjusting the amplitude of the sound received to an undetectable or barely detectable level, i.e. the level of sound sent to the user remains at the same frequency and amplitude, but the user adjusts components such as the speakers until the level is undetectable or barely detectable. Establishing the detected OdB level is done separately with each ear. Once the detected OdB level is established the test can be carried out with a degree of confidence that system and environment variables have been minimized.
In a second method of minimizing variables a background sound probe is used. The background sound probe is a multifrequency sound which generates frequencies across the band of frequencies normally heard by a human. The background sound can be referred to a "white noise" and can be set individually based on the detectable OdB level as explained above or can be set at an arbitrary level, e.g. in a range from about 10% to about 75% of the maximum tolerable sound level. The background sound may be set at a level in a range from 10% to 75% of the maximum level which can be obtained by the user's system. When generating the background noise the user's hearing is tested by determining the user's ability to detect sounds over the background sound.
This latter test allows for assessment of overall discrimination while stressing this system, enabling more accurate determination of those with generalized hearing loss where ability to selectively isolate background from other specific frequencies is typically reduced.
As a result of these two advances a much more consistent and accurate hearing test for both selective frequency loss and general hearing loss is possible on PC systems simply using the downloadable or online software of the current invention.
A TOV 1 is established based on testing of age-matched audiometrically tested normal individuals at frequencies in a range of 500 hv to about 12,000 hv. The testing is carried out relative to a 0 dB HL established for each test taker. Testing is preferably carried out at least at 500, 1,000, 2,000, 4,000, 6,000, 8,000, 9,500, and 11,000 hz. The table of values is generated by presenting a single tone of the lowest dB value selected for each frequency to be tested based on an epsilon 1 statistical probability of normal (normal for 95% or more of the individuals tested). Each TOV 1 is for a specified time and duration, which is constant for a given frequency, but may be varied by frequency as well as age. Although the TOV values using more than a 1-second duration pulse may be used it is preferable for the TOV values to be generated using pulses of less than one second and more preferably less than 0.1 second. The TOV pulse duration may increase to allow the greatest statistical correlation with age and determination of the best low threshold tone for each frequency at that age.
Those skilled in the art will recognize that a variety of different procedures could be utilized to establish a baseline TOV and as such it could be used with the present invention. Further, those skilled in the art will recognize that the internet hearing testing system of the present invention could be carried out using other mechanisms for standardizing the sound values generated by each user's individual computer. For example, it would be possible to carry out the test in a simpler manner if each user were supplied with a standard known set of earphones. With these earphones the sounds being generated to the earphones would be known and the user's hearing could be tested in a much simpler manner. However, in many instances it is difficult for users to obtain earphones and many potential users would not use the test if required to purchase or otherwise obtain the earphones prior to testing. Further, even with the earphones in place some standard values generated with respect to users being tested with those earphones would be necessary. Further, it would be necessary for the system which administers the test to determine a particular sound card being used by the users computer and to adjust the system based on that particular sound card.
Another manner of carrying out the invention with or without earphones would be to have each user present sounds generated by the speaker or earphone speakers to the receiver of the user's telephone and have the sound sent back to the computer system generating the test. In this manner it would be possible to determine aspects of the sound being generated and adjust the test results accordingly. In yet another embodiment the user could make use of a sound detection device which device would provide a reading of both frequency and decibel levels. Those readings could be automatically and electronically sent back to the computer generating the test or could be entered by the user after sounds were generated by the user's computer. All of these alternative methods would offer some degree of improved sophistication of the test but all are less desirable in that they all require the use of additional components and would therefore decrease the likelihood of large numbers of users taking the test.
While the present invention has been described with reference to the specific embodiments thereof, it should be understood by those skilled in the art that various changes may be made and equivalents may be substituted without departing from the true spirit and scope of the invention. In addition, many modifications may be made to adapt a particular situation, material, composition of matter, process, process step or steps, to the objective, spirit and scope of the present invention. All such modifications are intended to be within the scope of the claims appended hereto.
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The Prince Edward Island Symphony Society will be holding it's Annual General Meeting on Tuesday June 9th at 6pm, at Park Royal United Church which is located at 11 Christie Drive in Charlottetown.
Please come to the side door off the parking lot, not the sanctuary entrance – and look for the room on the right at the top of the stairs.
The agenda will include a review of the audited financial performance from the 2013-2014 season, as well as a set of proposed updates to the bylaws including proposed changes to the length of executive terms. The AGM for our 2014-2015 year will be held in July this year.
Anyone interested in the PEI Symphony is welcome to attend either or both meetings.]]>
Ivy Wigmore of our local arts paper The Buzz was at our concert last month at the Zion Presbyterian Church, to hear our Maestro Mark Shapiro lead our PEI Symphony Orchestra through a beautiful performance of Mozart's Symphony No. 41 the "Jupiter". The packed crowd showed their appreciation with the first of two standing ovations that afternoon, on their way to the lobby to reserve their subscriptions for our 2015-2016 season.
As great as the Mozart sounded, our orchestra came back for the second act with a truly breathtaking, emotive and gorgeous performance of Sibelius' Symphony No. 2 bringing the audience again to their feat for another ovation. As Ivy explains:
"Standing ovations are so common these days that they've lost currency, but you can still gauge audience response from the speed with which people rise. This performance produced a fast standing O, people clapped hard and there were even some shouts. After the extended applause finally died out, a friend sitting next to me turned to say, "My heart is just pounding!"
There were tears in her eyes—and something else… I think you'd have to call it awe."
Read Ivy's full review in the May edition of The Buzz, or online at BUZZon.com]]>
Dan was an incredibly talented musician, educator, friend and mentor to so many and his contribution to our music community be greatly missed.
The funeral will be held in the chapel at the Belvedere Funeral Home on Wednesday May 6 at 10am, with a visitation Tuesday May 5, from 4 to 7pm.
In lieu of flowers, donations to UPEI Music Department would be appreciated. A music student scholarship will be arranged in Dan's memory.
Not only was Dan our principal trumpet leader for decades but he was equally important to the University of PEI Music Program, to music education here in PEI, the jazz scene and even a prized special guest for pop bands like Paper Lions and so many more.
PEISO Board Member and Orchestra Liaison Maggie Lillo has known Dan for many years:
"Dan's contribution to music in PEI can't begin to be measured. So many lives touched, so many students inspired, so many friendships forged and so very many notes played together. His loss leaves a hole in the very centre of our orchestra."
PEISO Music Director Mark Shapiro conducted Dan with the orchestra just a few weeks ago, as they performed a beautiful rendition of Sibelius' Symphony No. 2. Over the weekend Maestro Shapiro payed tribute to Dan's great musicality:
"Heartbroken to learn this morning of the sudden passing of Prince Edward Island Symphony principal trumpet player Dan St. Amand. When we performed together in PEI just 3 weeks ago Dan looked great, and was luminous and upbeat. He played beautifully too, with vitality, depth of feeling, and a seemingly effortless technical control. Dan brought such a positive energy to PEISO. He was an ideal musical partner."
Our principal clarinetist and recent Guest Conductor Karem J Simon also wrote very eloquently about Dan's passing:
"A passionate musician, his commitment to each and every performance project was total. He mentored many young PEI musicians, including those at UPEI. Indeed, the UPEI Wind Symphony was among those ensembles that he absolutely cherished, taking on lead and subordinate roles as required. During his final performance with that ensemble his flugelhorn solo was compelling and captured the sorrow and anguish of Rufford Park Poachers.
And then, just a week later, his principal trumpet artistry, as a member of the PEI Symphony Orchestra, was critical to the heroic climax in Sibelius Symphony No.2. I count myself among those that came to know and love this kind, generous, complex, multi-dimensional man.
A pillar of the PEI music community, he will be deeply missed by his family, friends, and colleagues."]]>
We are your Symphony PEI, and we need your support to keep the music playing. It's time to Play Your Part!
The Prince Edward Island Symphony has brought quality orchestral music to our province for nearly 50 years. Four times a year our orchestra brings together sixty or more musicians including professionals, students, music teachers, business people and community members for an exciting 'concert weekend' to rehearse and perform a program of classical music that is appealing to a wide audience.
There's nothing quite like the power, majesty and grace of a live symphony orchestra, and the PEI Symphony is the Island's own.
Now, we are asking for your support. The past five years have been a financial struggle for the orchestra. Increasing expenses, and declining donations and sales are putting the future of our orchestra at risk.
Please help us keep the music playing. Our community needs the PEISO, and the PEISO needs you – more than ever.
Just as each individual musician plays their part in an orchestra, we are asking YOU to play a part to help secure the future of our great orchestra.
We are aiming to raise a minimum of $15,000 to help us reduce our operational debt, to secure the future of the orchestra. With an annual operating budget of about $170,000 per season, we have been between unable to break even for the past 5 years, and we cannot continue without at least balancing our budget.
We certainly appreciate the generous support of the Canada Council of the Arts, the Prince Edward Island Department of Tourism and Culture, and the City of Charlottetown, and also to our key sponsors including The Joan & Regis Duffy Foundation, Provincial Credit Union, Hyndman Insurance, The Confederation Centre for the Arts, The Guardian, the Buzz, the Best Value hotels, Kwik Kopy, R. Birt & Associates, and Harvest Wholesale.
Even with their support, we need your help. Unfortunately our concert expenses have been increasing over the last five years while our individual and corporate donations, and yearly subscriptions have all decreased. In the last two years our individual donations have decreased by 50%. We need your support to keep the music playing.
As a thank you for supporting our orchestra, we have a fun range of unique perks available, from a handwritten card from a musician, an opportunity to play, or a sponsorship – there is a way for everyone to play a part!
Our orchestra has a huge impact on our community here in Prince Edward Island, and is itself a music community with a wide variety of individuals who either perform or appreciate quality orchestral music, and the joy of working hard together to create a beautiful live performance.
As a full symphony orchestra, the PEISO supports our cultural identity in Prince Edward Island and the greater Charlottetown area, at a level that's commensurate with our status as a province and capital, and the birthplace of Confederation in Canada.
The best way to support our orchestra is to come to as many of our concerts as you can! Our next concerts are Sunday April 12th, and Sunday October 19th.
Season Tickets will be available for purchase on April 12. Please check back here for details, or call 902-892-4333.
Our annual 'Serenade to Spring Dinner and Auction', returns to the Georgian Room at the Rodd Charlottetown on Saturday June 6 this year. Music will be provided by the Singing Strings. Tickets are $90 – and you receive a $50 tax receipt. Come enjoy the evening with us and/or consider donating items for the auctions in return for a tax receipt for the value of your donation!
…and listen, perform, share, and get excited about classical music! These are all the ways you can play your part!
Under the leadership of PEISO Music Director Mark Shapiro, the PEI Symphony presents "The Passion of Sibelius", to honour the 150th anniversary of the birth of the famous composer with a performance of his second symphony, along with Mozart's Symphony No. 41 the "Jupiter".
Please note, due to the rehearsal schedule for concerts at the Zion Church, the PEISO is unable to host a Pre-Concert Talk for this event.
Doors open at 2pm, and the concert begins at 2:30pm. We hope to see you there!
On Sunday April 12th the PEISO returns to the beautiful Zion Presbyterian Church for the grand finale of our concert season.
Under the leadership of PEISO Music Director Mark Shapiro, the PEI Symphony presents "The Passion of Sibelius", to honour the 150th anniversary of the birth of the famous composer with a performance of his second symphony, along with Mozart's Symphony No. 41 the "Jupiter".
Originally scheduled for the Confederation Centre of the Arts, the PEI Symphony has announced that it has switched the concert to the Zion Presbyterian Church. According to PEISO President Dan Rowswell, the last few years have been challenging financially for the PEISO annual budget, and consequently the board is implementing plans to increase revenues and reduce costs in order to keep live orchestral music alive in Prince Edward Island. The PEISO has produced three concerts at the Zion Church to date, and audiences and the orchestra musicians have responded enthusiastically to the beautiful acoustics, and the intimacy of the musical experience. According to Rowswell, the orchestra also loves performing at the beautifully renovated Homburg Theatre and the PEISO appreciates the generous support of the Confederation Centre management team and staff for this change of venue decision. The Confederation Centre continues to manage ticket sales for this concert.
Jean Sibelius (1865-1957) was a popular Finnish composer of the late Romantic period. Growing up when Finland was seeking independence from Russia, his music was influenced by and then came to help define the Finnish national movement and identify. Initially influenced by Wagner and later by Bruckner and especially Tchaikovsky, he wrote seven symphonies and many other works including the famous 'Finlandia' which became the theme of the Finnish Resistance during World War II.
Composed in 1902, Sibelius' Symphony No. 2 is arguably his most popular and most frequently recorded. Critics at the time remarked on its skilful orchestration where the "ideas of form are more mature and the violent Slavic gloom is replaced by a more classical touch and by the light of the Mediterranean". The romantic and optimistic heroism were welcomed by the Finnish public in 1902 during a period of Russian oppression, and the composers' national fame was secured after the first performance. In 1903 Karl Flodin described the work as:
"An absolute masterpiece, one of the few symphonic creations of our time that point in the same direction as the symphonies of Beethoven."
One of classical music's most famous stars, Wolfgang Amadeus Mozart (1756 – 1791) lived only thirty five years, but made a profound impact on all forms of Western music. An incredible child prodigy and adult genius, Mozart composed over 600 works including many of the most famous of all time, including his Symphony No. 41 the "Jupiter". The year it premiered, 1798 was not a happy time for the great composer, who was in serious financial trouble with the failure of his Don Giovanni opera. Still still in grief over the unexpected death of his infant daughter earlier that year, Mozart was worried about his wife's health, his own, and his position within Vienna's elite. Nevertheless, amid all that worry and pain he found the inspiration over a period of only 50 days to compose three incredible masterpieces, his last three symphonies: Numbers 39, 40 and the powerfully joyful No. 41, easily one of the greatest ever.
This concert will be presented at the Zion Presbyterian Church located at 135 Prince Street, at the corner of Grafton Street. Please note, due to the rehearsal schedule for concerts at the church, the PEISO is unable to host a Pre-Concert Talk for this show.
There are many ways to support the PEI Symphony and keep the music playing. The best is simply to buy tickets for each concert or a subscription series for all four. Subscriptions will be available for sale in the concert lobby, and online after the concert. Subscriptions are only $50 for students and children, and $110 for adults and seniors, for all our concerts.
In addition, in April the PEI Symphony is seeking community support through a new crowd sourcing IndiGoGo campaign, appropriately entitled "Play Your Part".
Finally, for all of us here in PEI living through winter storm after storm, come join our musical celebration of both of these joyful composers. Finnish conductor Simon Parmet described Sibelius' Second Symphony as:
And so it shall be!
Concert tickets are available at the door, or through the Confederation Centre Boxoffice, $44 adults, $40 seniors and only $15 for students and children. For more information please call 902-892-4333.]]>
Thank you for considering a donation to the PEISO. Ticket sales, fund raisers, and government funding account for approximately 65% of the PEISO's operating budget. We rely on generous contributions from our supporters to make up the difference.
Through the financial support of music lovers like you, the PEISO can continue to enrich our audiences each season, and invite talented musicians to perform with us. We are truly dedicated to making music accessible to all Islanders and your support makes it possible.
There are several ways you can help:
If you have any questions concerning donations or our sponsorship programs, please contact our Administrator at 902-892-4333 or 902-218-1044 (cell).
You can donate over the phone using VISA or Mastercard, via Paypal (coming soon), or mail a cheque to:
Prince Edward Island Symphony Orchestra
PO Box 185
Charlottetown, PE C1A 7K4
Your donation will be credited in our program, and an official tax receipt will be issued.
The Prince Edward Island Symphony Orchestra thanks you for your interest and commitment to live orchestral music on PEI!]]>
$12 per bag of twelve oranges or six grapefruit, or pick up a half box $35 or full box $60 to really beat the blues!
For 2015 we are primarily selling from the Charlottetown Farmer's Market on Saturdays, and also a few days at the Confederation Court Mall downtown (see below).
If those locations aren't convenient and you have a large order, please call 388-6042 and we may be able to arrange for a delivery or a rendezvous time at our depot. Our selling locations for 2015:
Charlottetown Farmer's Market:
Our volunteers are at The Doctor's Inn booth across from Island Taylored Meats, on:
Confederation Court Mall:
Our booth is located by the TD Canada Trust and we'll be there on:
Fundraiser Depot:
On Brackley Point Road, right beside Greco's Pizza and the Needs Convenience near the airpot. The civic address is 180 Brackley Point Road. Many thanks to Fruit Sale sponsor R. Birt & Associates for donating the depot.
If picking up your order at our depot is more convenient, please call Dan at 388-6042 to arrange a time.
To order by phone please call 892-4333 and leave a message, or send us a message to firstname.lastname@example.com
For more information call Dan at 902-388-6042,
or Tian at 902-218-1044.
Thanks for your support!]]>
We return to the beautiful Zion Presbyterian Church for our next concert Sunday February 1st, featuring special guest PEI fiddler Roy Johnstone performing with the orchestra under the direct of guest conductor Dr. Karem J Simon.
The concert program entitled "Celtic Landscape" featres music inspired by celtic traditions, with a new symphony created by Roy Johnstone, along with celtic themed music by classical music favourite Felix Mendelssohn.
According to Atlantic Gig Magazine, "Roy Johnstone has the heart of a poet, the spirit of an adventurer and plays like the Devil!" A one of Atlantic Canada's premier fiddlers, Roy has been active in the East Coast musical community for thirty five years. His love of the fiddling tradition is evident in his research on traditional tunes as well as the acoustics of the fiddle, and on his lecturing locally, in Scotland and in the USA. He was presented with a Government of PEI Official Musical Ambassador Award, and the Highland Council of Scotland commissioned Roy to write music to commemorate the 200th anniversary of Scottish settlers coming to Prince Edward Island in 1803. Roy describes his music as a "search for our common voice; a voice that speaks to the heart. Whether I am playing a Gaelic air or a jazz standard I bring a deep love and respect for the traditions within each musical genre. For me, music is a call to live passionately, to celebrate tradition while exploring the joy of creating new forms of musical expression."
This past year Roy teamed up with UPEI music professor Dr. Richard Covey to compose and orchestrate a new work entitled Abeqweit: Symphony for an Island. This symphonic poem celebrates the natural beauty and cultural diversity of Abeqweit: Prince Edward Island, uniting distinctive elements of traditional music and dance with classical music forms to create a compelling narrative of the importance of ethnic identity in building a nation.
Dr. Richard Covey teaches music theory, composition and counterpoint at the University of Prince Edward Island. He is the winner of the P.E.I. Symphony's Call For Scores Competition in 2012, in which P.E.I. resident composers were invited to submit works that demonstrate skills in writing for orchestra.
For the concert on Sunday February 1st the PEI Symphony is delighted to première Roy's new symphony, sandwiched by two popular celtic-themed works by popular classical composer Felix Mendelssohn (1809-1847). Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period. After early success in Germany, Mendelssohn became famous across Europe, and is credited for significantly reviving interest in the music of Johann Sebastian Bach. His mainstream musical tastes differentiate his music from many of his more aggressive musical contemporaries such as Richard Wagner and Hector Berlioz, and he became known as a champion for an 'anti-radical' outlook on music. He is now among the most popular composers of the Romantic era.
Mendelssohn wrote symphonies, concerti, oratorios, piano music and chamber music. Two of his best-known works include his Overture to the Hebrides and his "Scottish" Symphony No. 3. Inspired by many trips to Britain and Scotland, Mendelssohn wrote the Hebrides Overture in 1830, and the Scottish Symphony intermittently between 1829 and 1842. Of his five symphonies, the third was actually the last to be published, and includes a glorious first movement, a lively second movement in the style of Scottish folk music, a beautiful slower movement showcasing the struggle between love and fate, and a finale with components from Scottish folk dance.
The PEI Symphony is very pleased to announce Dr. Karem J Simon as the guest music director and conductor for this concert event. A member of the UPEI Music Faculty and the PEISO since 1991, Dr. Simon brings a wealth of musicianship and conducting experience to the podium. Under his leadership the UPEI Wind Symphony has been transformed into one of the leading wind ensembles in Atlantic Canada. His progressive approach to programming and performance standard has led to the creation of sixteen award-winning compact discs with that ensemble. Dr. Simon is known for his interpretations of traditional repertoire and unique approach to contemporary music. In recent years, performances of the Wind Symphony at St. Dunstan's Basilica and Zion Presbyterian Church have drawn capacity audiences.
This concert will be presented at the Zion Presbyterian Church located at 135 Prince Street, at the corner of Grafton Street.
Please note, due to the rehearsal schedule for concerts at the Zion Church, the PEISO is unable to host a Pre-Concert Talk for this show.
Tickets are available at the door, or through the Confederation Centre Boxoffice: $44 adults, $40 seniors and only $15 for students and children. For more information please call 892-4333.]]>
The PEI Symphony returns to the beautiful Zion Presbyterian Church for our next concert Sunday February 1st, featuring special guest PEI fiddler Roy Johnstone performing with the orchestra under the direct of guest conductor Karem J Simon.
The Prince Edward Island Symphony Orchestra is pleased to announce that Karem J Simon will lead the orchestra through a program entitled "Celtic Landscape", featuring music inspired by celtic traditions. The cornerstone of this program is the world premiere of "Abegweit: Symphony for an Island", created specifically for PEI fiddler Roy Johnstone in a collaboration with UPEI music professor Richard Covey.
This symphonic poem celebrates the natural beauty and cultural diversity of our island, uniting distinctive elements of traditional music and dance with classical music forms to create a compelling narrative of the importance of ethnic identity in building a nation. The PEISO is delighted to showcase this wonderful new work, sandwiched by two celtic-themed works by popular classical composer Felix Mendelssohn: his Overture to the Hebrides and the "Scottish" Symphony No. 3.
A member of the UPEI music faculty and PEISO since 1991, Dr. Simon brings a wealth of musicianship and conducting experience to the PEISO podium. Under his leadership the UPEI Wind Symphony has been transformed into one of the leading wind ensembles in this region. His progressive approach to programming and performance standard has led to the creation of sixteen compact discs with that ensemble. Cathedrals, released in May 2010 received the 2011 Music PEI Award for Best Classical Recording. In February 2011 the Wind Symphony released its O Canada CD, a project exclusively for PEI public schools. Its most recent compact discs, Freebirds, Lord of the Rings, Four Horsemen and Rumpelstilzchen have been highly acclaimed. The UPEI Wind Symphony received the 2014 Music UPEI Award for Achievement in Classical Music. Dr. Simon is known for his interpretations of traditional repertoire and unique approach to contemporary music. In recent years, performances of the Wind Symphony at St. Dunstan's Basilica and Zion Presbyterian Church have drawn capacity audiences.
Dr. Simon holds a Doctor of Music Degree from the University of British Columbia, a Masters Degree from Northwestern University, and Bachelor Degrees in Music and Education from Mount Allison University. He credits much of his approach to conducting from his study at Northwestern under the direction of legendary conductor John P Paynter. Others, including Eugene Corporon, Craig Kirchkoff, Dale Lonis and Michael Haithcock, have had a tremendous influence on his conducting craft and artistry. Prior to his appointment at UPEI, Dr. Simon taught public school instrumental music for ten years in Corner Brook, Newfoundland. Among his conducting posts, he served a two-year term as director of the Nova Scotia Youth Wind Ensemble, directed the 2007 National Youth Band of Canada, and has been engaged to direct the PEI Intermediate and Senior High School Honor Bands on multiple occasions. In 2001 Dr. Simon was recipient of the Association of Atlantic University's Teaching Excellence Award for Instructional Leadership, due in part to his initiatives at UPEI in conducting workshops for professionals.
This concert will be presented at the Zion Presbyterian Church located at 135 Prince Street, at the corner of Grafton Street.
Please note, due to the rehearsal schedule for concerts at the Zion Church, the PEISO is unable to host a Pre-Concert Talk.
Tickets are available at the door, or through the Confederation Centre Boxoffice: $44 adults, $40 seniors and only $15 for students and children. For more information please call 892-4333.


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Aug 14
Beat Programmer
Justin St. Marie
Label: St.MarieRecords
Manager: Frazier Entertainment
Name: Justin Michael St. Marie
Birthdate: January 6th, 1992
Hometown: Northfield, MA
Experience: 17 years
Justin is a self-taught musician capable of playing Guitar, Piano, Drums, Trumpet, Bassoon, Bass, and Baritone.
He has a passion for every musical genre, even if it is something he doesn't w...See Full Bio
: Justin St. Marie has a show on 08/14/2014 at 08:00 PM @ House of Blues ... in Myrtle Beach, SC http://t.co/NwxCyMIsrx #concert


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Originally published 05/04/2013
Work ahead for Scottsboro Boys pardons
Though the Alabama Legislature has cleared the way for posthumous pardons of the Scottsboro Boys, much work — from legal documents to public hearings — remains before the names of the nine black teens wrongly convicted more than 80 years ago are officially cleared.The Scottsboro Boys were convicted by all-white juries of raping two white women on a train in Alabama in 1931. All but the youngest were sentenced to death, even though one of the women recanted her story. All eventually got out of prison. Only one received a pardon before he died.The case became a symbol of the tragedies wrought by racial injustice. It inspired songs, books and films. A Broadway musical was staged in 2010, the same year Washington opened a museum dedicated to the case. The Scottsboro Boys' appeals resulted in U.S. Supreme Court decisions that criminal defendants are entitled to effective counsel and that blacks can't be systematically excluded from criminal juries....
Originally published 01/31/2013
Columbia shuttle crew not told of possible problem with reentry
What would you tell seven astronauts if you knew their space shuttle was crippled on orbit?It was a question that faced NASA's Mission Control considered after initial suspicions that something might be wrong with the shuttle Columbia as it was making its doomed reentry in 2003.Wayne Hale, who later became space shuttle program manager, struggled with this question after the deaths of the Columbia crew 10 years ago. Recently he wrote about the debate in his blog, recalling a meeting to discuss the dilemma:"After one of the MMTs (Mission Management Team) when possible damage to the orbiter was discussed, he (Flight Director Jon Harpold) gave me his opinion: 'You know, there is nothing we can do about damage to the TPS (Thermal Protection System). If it has been damaged it's probably better not to know. I think the crew would rather not know. Don't you think it would be better for them to have a happy successful flight and die unexpectedly during entry than to stay on orbit, knowing that there was nothing to be done, until the air ran out?"...
- The Memorial Where Slavery Is Real
- Thomas Piketty accuses Germany of forgetting history as it lectures Greece
- Greek 'No' May Have Its Roots in Heroic Myths and Real Resistance
- 150 years later, schools are still a battlefield for interpreting Civil War
- Where are America's memorials to pain of slavery, black resistance?
- Historian: "I don't want my students to simply choose sides in a polemic between heritage and hate"
- Harvard's Nancy Cott says the conservatives in the gay marriage case have a stilted idea of the history of marriage
- Did a historian who said he's a victim of McCarthyism get the story wrong?
- Stephanie Coontz's work on the history of marriage cited by the Supreme Court.
- How Does It Feel To Have One's Work as a Historian Cited by the Supreme Court? Cool. Very Cool. Thank You Very Much.


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Boardwalk beckoning
Glenn McCrory believes Carl Froch's clash with Andre Ward will prove to be the fight of the year.
Last Updated: 14/12/11 5:58am
The Super Six reaches a climax in the early hours of Sunday as the top two super-middleweights in the world, Britain's Carl Froch and America's Andre Ward, put their belts on the line at Boardwalk Hall in Atlantic City - and it's a fight worth staying up for.
Ward is very, very good. I spent a week over there in the King's Gym in Oakland. I took my boxing team there last January and he was great - in the gym every day, training really hard. It's a really rough area where that gym is - Oakland's a tough, tough place.
He's a really nice, down-to-earth kid. He's a respectful guy but he can fight. He's undefeated since he was 12 and he's got a fantastic record. He should be a bigger star than he is in America because he's an Olympic gold medallist and a world champion, but he's quite unassuming and he's not brash. He's a family man and religious and maybe that holds him back in terms of exposure, but his talents are there.
His Olympic gold was at light-heavyweight so he's a big guy. Having said that, he makes super-middleweight well and he's big and strong. I saw him against Mikkel Kessler and he boxed in and out, then I saw him against Allan Green, who's supposed to be a bit of a tough guy, and Ward just pushed him against the ropes and bullied him. He is capable of employing both styles equally well. That's the mark of a good fighter.
I think against Carl Froch, he'll fight more like he did against Kessler - at least early on. If he went out to have a row with Froch, I think he'd be playing into his hands slightly. If anyone can beat him it's Froch, because he's got great self-belief, is a tough kid with a great jaw and punches hard. The only problem is Froch is a bit unorthodox - his hands are quite low and he gets square on. As a result, he gets hit quite a lot but like I said, he's tough.
The form goes in favour of Ward but if anyone can do this then it's Froch. Never underestimate his power - he really hits hard. I can see exactly what Froch is trying to do in the pre-fight hype, really getting in Ward's face, being bullish and threatening to knock him out. He wants Ward to come out and have a fight with him. The problem is even if Ward does come out and have a fight with him and Froch goes in there thinking he's the tough guy, he needs to have a look at what it's like in Oakland...
I think these two are rightfully in the final. Froch has got the one defeat against Kessler but his preparations were wrong. I think he's a better fighter than Kessler and these are the best two super-middleweights in the world. It's a great clash of styles and a great clash of temperaments. I think it's going to be a super, super fight for us to end the year with.
I thought Khan v Peterson was excellent action but I think Froch v Ward is going to a classic. It's absolutely mouth-watering. If Froch can win, it is such a massive victory for Britain. This is to decide who is the super-middleweight in the world - end of story.
In terms of what the winner of this fight will do, Ward would take IBF champion Lucien Bute but he would only take him in USA. Kessler got badly beaten by Ward but if Froch won then there's a score to settle there. Having said all that, at the end of the day the winner of the day can confidently claim to be the best in the world - AND they'll be up there in the pound-for-pound ranks too.
If Froch wins, it's one of the best British wins we've ever had abroad. It will be there with Lloyd Honeghan beating Don Curry and all the rest. For Ward, victory for him would finally see him become the American superstar he has deserved to be for quite some time.
I just think Ward is a bit too special. You've got to be if you're going to call yourself 'Son of God', which I believe is his nickname. It's going to be close, and of any fight this year, THIS is the one I'd stay up for without question.
Glenn's prediction:WARD ON POINTS.


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text:
Get Abigail Hilton's Starter Library for FREE
Sign up for the no-spam newsletter and get the 2nd book in this series for Free, plus several introductory short stories.
Details can be found at the end of this ebook.
The Guild of the Cowry Catchers
Book 1 Embers
Deluxe Illustrated Edition
By: Abigail Hilton
Smashwords Edition
Published by: Pavonine Books
Cover by: Sarah Cloutier
Map and Cover Design by: Jeff McDowall
© 2010 Abigail Hilton. All rights reserved. This ebook is licensed for your personal enjoyment only. This material may not be reproduced, modified, or distributed without the express prior permission of the copyright holder. Artwork is displayed by agreement with the artists. All artists were paid for their work and hold the copyrights to that work.


text:
True Beauty: Season 1, Episode 5
Natural Beauty (2 Feb. 2009)
TV Episode | | Reality-TV
(awaiting 5 votes)
Reviews: write review
The contestant's partner with each other to shoot a video clip for a natural beauty product. After roughing it overnight on a beach, they must give their take on natural beauty.
Directors:Scott Farquharson (as Scott Farquarson) , Patrick Higgins
Stars:Julia Anderson, Chelsea Bush, Billy Jeffrey | See full cast and crew »


text:
1O יהוה, Ěl of vengeance; O Ěl of vengeance, shine forth!
2Raise Yourself up, O Judge of the earth; Render punishment to the proud.
3יהוה, how long are the wrong, How long are the wrong going to exult?
4They pour forth words, They speak arrogantly; All the workers of wickedness boast in themselves.
5They crush Your people, O יהוה, And they afflict Your inheritance.
6They slay the widow and the stranger, And murder the fatherless.
7Yet they say, "Yah does not see, And the Elohim of Ya'aqoḇ pays no heed."
8Take heed, you senseless among the people; And you fools, when would you become wise?
9He who planted the ear, does He not hear? He who formed the eye, does He not see?
10He who disciplines the nations, Does He not reprove – The One teaching man knowledge?
11יהוה knows the thoughts of man, That they are but a breath.
12Blessed is the man You discipline, O Yah, And instruct out of Your Torah,
13To give him rest from the days of evil, Until the pit is dug for the wrong.
14For יהוה does not leave His people, Nor does He forsake His inheritance.
15For right-ruling returns man to righteousness, And all the upright in heart follow it.
16Who would rise up for me against evil-doers? Who would stand up for me against workers of wickedness?
17If יהוה had not been my help, My being would soon have settled in silence.
18When I said, "My foot has slipped," Your kindness, O יהוה, supported me.
19When anxiety was great within me, Your comforts delighted my being.
20Would a throne of destruction, Which devises trouble by decree, Be joined with You?
21They band together against the life of the righteous, And declare innocent blood wrong.
22But יהוה is my defence, And my Elohim the rock of my refuge,
23And brings back on them their own wickedness, And cuts them off in their own wrongdoing; יהוה our Elohim does cut them off.
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text:
Schoolboy lover, 16, jailed for 'dreadful violent killing' of girlfriend's disabled toddler as she desperately tried to 'hush up their affair'
- Cameron Rose was jailed for five years after being found guilty of manslaughter but cleared of the murder of Rhys Lawrie last month
- Rhys's
mother Sadie Henry, 28, lied to police about relationship with Rose
A secret schoolboy lover who abused and killed his girlfriend's disabled son was jailed for five years yesterday.
Cameron Rose was 16 when he swung three-year-old Rhys Lawrie into a wall, breaking his leg and causing fatal injuries.
Just four days earlier the little boy, who could barely speak and was prone to seizures, had been discharged from hospital despite being hit so hard in the face that he suffered brain damage.
Three-year-old Rhys Lawrie suffered a series of injuries at the hand of his mother's boyfriend, Cameron Rose
Rhys' mother Sadie Henry, pictured outside the
Old Bailey today (left), lied repeatedly to paramedics and
police to try to cover up the relationship with Cameron Rose, right,
Detectives found Rhys suffered 54 injuries during Rose's affair with his
28-year-old mother Sadie Henry, including damage to his ears suggesting
that he had been lifted by them.
Miss Henry, a former Army medic who had her lover's name tattooed on her back, lied to police, paramedics and hospital staff in an effort to cover up the relationship.
At the Old Bailey yesterday, Rose grinned and gave a thumbs-up to Judge Peter Beaumont QC before he was jailed.
Now 18 and with convictions for criminal damage and arson, he is likely
to be released in less than two years.
Tragic: Three-year-old Rhys Lawrie, who was killed at his home in Eltham, south east London
Trevor Lawrie, pictured leaving the Old Bailey, tried unsuccessfully to mount a legal challenge against the Crown Prosecution Service after they decided not to charge Henry
He has been kept in solitary
confinement at Feltham Young Offenders' Institution after other inmates
learned of his crimes.
Rhys's grandparents said the 'absolutely adorable little boy' was let down at every turn by those charged with protecting him.
Retired construction boss Trevor Lawrie, 64, said he would go to the
High Court in a renewed bid to force Miss Henry to face justice.
He is convinced that his former daughter-in-law, who was cautioned for
perverting the course of justice, played a role in the killing.
And he said more should have been done after Miss Henry admitted physically abusing her other young son four years ago.
Mr Lawrie said: 'The boy was just the fall guy. There have been a lot of cover-ups in this case.'
Rose, of Eltham, south-east London, met Miss Henry at a Bonfire Night barbecue in 2010.
The teenager began staying every weekend at the flat in nearby Erith
that Miss Henry shared with Rhys, who attended a school for children
with learning difficulties, and her other son, telling his mother he was
with friends.
On January 17 last year, Miss Henry came home to find
Rhys with a badly swollen face.
Rose claimed he had accidently elbowed
him and the boy then fell off a kitchen counter.
Henry called an ambulance, claiming Rhys had suffered fits.
Doctors discharged him, but experts later found he had probably suffered brain damage.
Rose killed the youngster four days later, on January 21, after Miss Henry left them watching TV.
When she came home the teenager claimed Rhys had suffered a fit and he
had put him in bed.
When she pulled back the bedclothes he was dead.
Rose later changed his story, claiming Miss Henry had inflicted the injuries.
He was cleared of murder but was convicted of manslaughter and the January 17 assault.
Bexley Council said an inquiry into the circumstances of Rhys's death will be published later today.
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Only few games were interesting.Other games are silly and there are other plugins which offer them better.
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Saturday 11:30 PM on NBCIn Season
|HelloStuart wrote:
|My thoughts: + Holy moly, did that shotgun wedding pun bomb. That's probably what I remember most about an otherwise humdrum cold open, yet another send-up of "Piers Morgan Live." Taran's Piers impression was steady as usual, but nothing else about this sketch connected. + I wonder how much Cecily can bench. + For the sake of "Girlfriends Talk Show," I hope Morgan never gets her act together, and that Kyra remains the crappiest, most oblivious best friend in the whole world. + Speaking of bombing, the whole audience turned against Cecily the moment she brought up the Bible on Weekend Update. Seth's human Christmas tree joke fared slightly better, and the Update jokes were a notch more consistent compared to the previous week (I especially loved the Bieber potshot). Aidy supplied the only commentary tonight, a potential recurring character in the form of an unbearable airplane passenger. + I can only assume that "80s Teenagers" --that sketch where Josh lip-syncs "Your Love" by The Outfield-- was as much fun to create as it was to watch. + Tonight we were blessed with not one but three delightful short films. (Yes, I know that's a minority opinion.) The wry "Matchbox 3" juxtaposes subway dancers with the crowded cars that can't hold their freaky fresh moves. "Dancing" is the latest Good Neighbor effort, a piece that encompasses the trajectory of fame while playing on the chemistry between Beck and Mooney. "Investigative Report" was the strangest of the three and an overdue vehicle for POB. A weird loner investigates the tenacity of New York City bugs, then gets upstaged or humiliated from every possible direction. + I had only a passing familiarity with Haim (or is it HAIM?); they were a sister act, they alternated on lead vocals, and that was about it. As a live act, however HAIM/Haim reminded me of the ersatz all-female band from "Wayne's World"; a little bit of edge, a good amount of harmonizing, and a lot of lifelessly swaying their instruments. + "Animal Hospital" was the sole outright bad sketch of the night. No matter how much imaginary molasses dripped from Aidy and Cecily's mouths, the concept was hardly funny at all. + Tonight was an unusual instance in which the strongest sketches of the evening were almost unilaterally in the second half of the show. An earlier-than-usual musical performance and a short Update led into a string of the best conceptual sketches of the season so far. Josh Hutcherson was a decidedly passive and timid host, but his unintentionally lassiez-faire approach he let the show's younger talent unwind and blossom in previously unexpected ways. 7/10
No mention of Baby Boss? Best sketch of the night!
|BaronOne wrote:
No mention of Baby Boss? Best sketch of the night!
|HelloStuart wrote:
|I'll comment when it becomes recurring... which it almost certainly will be.
They'll have to make some adjustments if they want to reprise that sketch. Poor Taran almost threw his back out hoisting Beck up on his hip. It was an inspired bit of physical comedy though.
Man, Beck is a fireplug of a guy for a comedy actor. He reminds me of some of the hookers I used to scrum down with.
|Ruckhappy wrote:
They'll have to make some adjustments if they want to reprise that sketch. Poor Taran almost threw his back out hoisting Beck up on his hip. It was an inspired bit of physical comedy though.
Man, Beck is a fireplug of a guy for a comedy actor. He reminds me of some of the hookers I used to scrum down with.
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