text:
Mark Everist
- Primary position:
- Professor of Music
Mark Everist's research focuses on the music of western Europe in the period 1150-1330, French 19th-century stage music between the Restoration and the Commune, Mozart, reception theory, and historiography. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Odéon, 1824-1828 (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), and Mozart's Ghosts: Haunting the Halls of Musical Culture (2012), as well as editor of three volumes of the Magnus Liber Organi for Editions de l'Oiseau-Lyre (2001-2003) and six collections of essays.
Mark taught at King's College London (1982-1996), and is now Professor of Music at the University of Southampton, where he was Head of Music from 1997-2001, and again from 2006-2010. In 2010, he was appointed Associate Dean (Research) in the Faculty of Humanities and Director of the Humanities Graduate School. He teaches undergraduate courses on the middle ages, the 18th and 19th centuries, and masters courses on research methods and critical practice. His PhD supervision encompasses dissertations on early 19th century French opera, 15th-century mass composition, Sibelius, Verdi, the Notre-Dame conductus, organum and the 13th-century motet.
He has published in Journal of the American Musicological Society, Journal of the Royal Musical Association, Revue de Musicologie, Revue Belge de Musicologie, 19th-Century Music, Early Music History, Cambridge Opera Journal, Acta Musicologica, Plainsong and Medieval Music, Music & Letters, Journal of Musicology and elsewhere. He was editor of the Journal of the Royal Musical Association from 1990-1994, continues to serve as a member of its editorial board, and was the editor of the Royal Musical Association's monographs series from 1995-2011. A member of the Arts and Humanities Research Council's Advanced Research Panel 7 (Music and Performing Arts) from 2001 to 2005, he is now a member of its Peer Review College. He was an institutional auditor for the Quality Assurance Agency from 2002-2005, and was chair and leader for research of the committee of the National Association for Music in Higher Education from 2004 to 2008. A recipient of publication prizes from the American Musicological Society in consecutive years (2010 and 2011), he is a fellow of the Academia Europaea, and President of the Royal Musical Association.
Discovering Song: Thirteenth-Century Latin Poetry and Music. Cambridge: Cambridge University Press (contracted)
Mozart's Ghosts: Haunting the Halls of Musical Culture (New York: Oxford University Press, 2013)
Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris, Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005
Music Drama at the Paris Odéon, 1824-1828. Berkeley, Los Angeles and London: University of California Press, 2002
French Motets in the Thirteenth Century: Music, Poetry and Genre, Cambridge Studies in Medieval and Renaissance Music. Cambridge: Cambridge University Press, 1994; pb reprint 2005
French Thirteenth-Century Polyphony: Aspects of Sources and Distribution. New York and London: Garland, 1989
Edited Books (collections of essays and editions of corpora):
The Cambridge History of Medieval Music (co-edited with Thomas Forrest Kelly). Cambridge: Cambridge University Press, forthcoming
The Cambridge Companion to Medieval Music. Cambridge: Cambridge University Press, 2010.
Stage Music and Cultural Transfer: Paris, 1830-1914 (co-edited with Annegret Fauser). Chicago: Chicago University Press, 2009
Les Organa à deux voix pour l'office du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1, Le Magnus liber organi de Notre Dame de Paris 2. Monaco: Éditions de l'Oiseau Lyre, 2003
Les Organa à deux voix pour la messe (De l'Assomption au commun des saints) du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1, Le Magnus liber organi de Notre Dame de Paris 4. Monaco: Éditions de l'Oiseau Lyre, 2002
Les Organa à deux voix pour la messe (De Noël à la fête des Saints Pierre et Paul) du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1, Le Magnus liber organi de Notre Dame de Paris 3. Monaco: Éditions de l'Oiseau Lyre, 2001
Rethinking Music (co-edited with Nicholas Cook). Oxford: Oxford University Press, 1999
Analytical Strategies and Musical Interpretation (co-edited with Craig Ayrey). Cambridge: Cambridge University Press, 1996
Music Before 1600, Models of Musical Analysis 2. Oxford: Blackwell, 1992
French Thirteenth-Century Polyphony in the British Library: A Facsimile Edition of the Manuscripts Additional 30091 and Egerton 2615 (fols 79-94v). London: Plainsong and Mediaeval Music Society, 1988
Five Anglo-Norman Compositions from Thirteenth-Century England. Newton Abbott: Antico Edition, 1985
'The Music of Power: Parisian Opera and the Politics of Genre, 1806-1864'. Journal of the American Musicological Society 67 (2014), 687-736
'Singers, Scholars, and the Performance of Medieval Polyphony'. Early Music 41 (2013)
Grand Opéra - Petit Opéra: Parisian Opera and Ballet from the Restoration to the Second Empire. 19th-Century Music 33 (2010), 195-231
'In Search of the Waters of Oblivion'. Journal of the American Musicological Society 62 (2009), 699-720
'Il n'y a qu'un Paris au monde, et j'y reviendrai planter mon drapeau!': Rossini's Second grand opéra'. Music & Letters 90 (2009), 636-672
'Motets, French Tenors and the Polyphonic Chanson ca.1300'. Journal of Musicology 24 (2007), 365-406
''Souspirant en terre estrainge': The Polyphonic Rondeau from Adam de la Halle to Guillaume de Machaut'. Early Music History 26 (2007), 1-42
'The Horse, the Clerk and the Lyric: The Musicography of the Thirteenth and Fourteenth Centuries'. Journal of the Royal Musical Association 130 (2005), 213-229
'Theatres of Litigation: Stage Music at the Théâtre de la Renaissance, 1838-1840'. Cambridge Opera Journal 16 (2004), 133-161
'Margherita d'Anjou'. In Giacomo Meyerbeer: Margherita d'Anjou. Opera Rara: ORC25, 2003, 10-43 and 51-3
'Communication'. Journal of the American Musicological Society 55 (2002), 195-196
'Speaking with the Supernatural: E.T.A. Hoffmann, George Bernard Shaw and Die Oper aller Opern' . Mozart-Jahrbuch 2002 des Zentralinstitutes für Mozartforschung der Internationalen Stiftung Mozarteum Salzburg, Kassel, Basel and London: Bärenreiter, 2002, 115-134
'Presentazione' / 'Presentation'. In Massimo Masani Ricci, Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: storia e catalogo comparato, Studi musicali Toscani 8. Turin: Edizioni ETS, 2002, 9-15
'Translating Weber's Euryanthe: German Romanticism at the Dawn of French Grand Opéra'. Revue de Musicologie 87 (2001), 67-105
'Enshrining Mozart: Don Giovanni and the Viardot Circle'. 19th-Century Music 25 (2001), 165-189
'Reception and Recomposition in the Polyphonic Conductus cum cauda: The Metz Fragment'. Journal of the Royal Musical Association 125 (2000), 135-163
'Meyerbeer's Il crociato in Egitto: Mélodrame, Opera, Orientalism'. Cambridge Opera Journal 8 (1996), 215-250
'The Polyphonic Rondeau c1300: Repertory and Context'. Early Music History 15 (1996), 59-96
'A New Source for the Polyphonic Conductus'. Plainsong and Medieval Music 3 (1994), 149-168
'The Name of the Rose: Meyerbeer's opéra comique, Robert le Diable'. Revue de Musicologie 80 (1994), 211-249
'The Miller's Mule: Writing the History of Medieval Music'. Music & Letters 74 (1993), 44-53
'Giacomo Meyerbeer and Music Drama at the Paris Odéon during the Bourbon Restoration'. 19th-Century Music 17 (1993), 124-148
'Anglo-French Interaction in Music, c1170- c1300'. Revue belge de musicologie 46 (1992) 5-22
'Lindoro in Lyon: Rossini's Le Barbier de Séville'. Acta musicologica 44 (1992), 50-85
'From Paris to St. Andrews: The Origins of W1'. Journal of the American Musicological Society 43 (1990), 1-42
'The Refrain Cento: Myth or Motet?' Journal of the Royal Musical Association 114 (1989), 164-188
'The Rondeau-Motet: Paris and Artois in the Thirteenth Century'. Music & Letters 69 (1988), 1-22
Nicolas Ruwet, 'Methods of Analysis in Musicology'. Music Analysis 6 (1987), 1-34
'New Sources of English Fourteenth-Century Polyphony [with Margaret Bent]'. Early Music History 2 (1981), 306-321
'Music and Theory in Late Thirteenth-Century Paris: The Codex Paris, Bibliothèque Nationale f. lat. 11266'. Royal Musical Association Research Chronicle 17 (1981), 42-64
Chapters in Collected Works:
'Vernacular Contexts for the Monophonic Motet'. In David Rothenberg and Benjamin Brand (eds), Situating Sacred Polyphony in the Middle Ages and Renaissance: Liturgy and Symbolism, Institutions and Archival Research: Written in Honor of xxx [anonymised], forthcoming
'Master and Disciple: Teaching the Composition of Polyphony in the Thirteenth Century'. In Proceedings of Conference: The Gothic Revolution in Music, 1100-1300, special issue of Musica disciplina, forthcoming
'Rossini, Giovanni Tadolini e le opere degli anni dieci dell'Ottocento'. In Philip Gossett (ed.), 'Alle più care imagini': studi rossiniani in memoria di Arrigo Quattrocchi. Rome: Il Saggiatore musicale, forthcoming
'The Emergence of Polyphonic Song, c1300'. In Mark Everist and Thomas Forrest Kelly (eds), The Cambridge History of Medieval Music. Cambridge: Cambridge University Press, forthcoming
'Rehearsing Opera: Conditions and Contexts, Paris 1780-1850'. In Helen Greenwald (ed.), The Oxford Handbook of Opera. New York: Oxford University Press, 2014, 419-441
'Rienzi à Paris: Théâtre-Lyrique, 1869'. In Richard Wagner: Rienzi, L'avant-scène opéra. Paris; Editions Premièrs Loges, 2012, 102-107
'Beethoven et Rossini: opéra et concert à la fin de la Restauration'. In Olivier Bara and Alban Ramaut (eds), Le romantisme musical français et ses généalogies européennes. St Etienne: Presses Universitaires de St Etienne, 2012, 126-137
'Machaut's Musical Heritage'. In Jennifer Bain and Deborah McGrady (eds), A Companion to Guillaume de Machaut, Brill's Companions to the Christian Tradition 33. Leiden: Brill, 2012, 143-158
'Between Opéra-Comique and Opéra-National: Scribe, Vaëz and Boisselot c1850'. In Lorenzo Frassà (ed.), The Opéra-Comique in the XVIII- and XIX-Centuries, Speculum musicæ. Turnhout: Brepols, 2011, 101-152
'Rossini at the Paris Opéra, 1843-1847: Translation, Arrangement, Pasticcio'. In Herbert Schneider and Rainer Schmusch (eds), Librettoübersetzung: Interkulturalität im europäischen Musiktheater, Musikwissenschaftliche Publikationen 32. Hildesheim: Olms, 2009, 131-163
'Introduction' and 'The Thirteenth Century'. In Mark Everist (ed.), The Cambridge Companion to Medieval Music. Cambridge: Cambridge University Press, 2010, 1-6 and 67-86
'Tails of the Unexpected: The Punctus organi and the Conductus cum caudis'. In Rainer Kleinertz and Wolf Frobenius (eds), Musik des Mittelalters und der Renaissance. Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, Veröffentlichungen des Staatlichen Instituts für Musikforschung Berlin. Hildesheim: Olms, 2010, 1-35
'Gevaert, 'Musicology' and 'La musique ancienne'. In Marie Cornaz, Valérie Dufour and Henri Vanhulst (eds), François-Auguste Gevaert (1828-1908): actes du colloque, Revue belge de musicologie 64 (2010), 1-3
'The Operas of François-Auguste Gevaert: The Tour d'horizon'. In Marie Cornaz, Valérie Dufour and Henri Vanhulst (eds), François-Auguste Gevaert (1828-1908): actes du colloque, Revue belge de musicologie 64 (2010), 5-37
'A New Source for the Polyphony of the Ars subtilior: Paris, Bibliothèque nationale de France, nouvelles acquisitions françaises 22069' . In Yolanda Plumley and Anne Stone (eds), A Late Medieval Songbook and its Context: New Perspectives on Codex Bibliothéque du Château de Chantilly, 564. Tours: Centre d'études Superieures de la Renaissance, 2010, 287-303
'Partners in Rhyme: Alphonse Royer, Gustave Vaëz, and Foreign Opera in Paris during the July Monarchy'. In Roberta Montemarra Marvin and Hilary Poriss (eds), Fashions and Legacies in Nineteenth-Century Italian Opera. Cambridge: Cambridge University Press, 2009, 30-52
'Jacques Offenbach: The Music of the Past and the Image of the Present'. In Mark Everist and Annegret Fauser (eds), Music, Theater, and Cultural Transfer: Paris, 1830-1914. Chicago: Chicago University Press, 2009, 72-98
'A Transalpine Comedy: L'elisir d'amore and Cultural Transfer'. In Damien Colas and Alessandro di Profio (eds), D'une scène à l'autre. L'opéra italien en Europe. Liège : Mardaga, 2008, 279-298
'Vincenzo Bellini I Puritani: Dossier de Presse' [with Sarah Hibberd and Walter Zidaric]. In Maria Rosa De Luca, Salvatore Enrico Failla, Giuseppe Montemagno (eds), Vincenzo Bellini e la Francia, atti del convegno internazionale (Paris, Sorbonne, 5-7 novembre 2001). Lucca, Libreria Musicale Italiana, 2007, 405-81
'Mozart and L'impresario'. In Rainer Schmusch and Michelle Biget-Mainfroy (eds), 'L'esprit français' und die Musik Europas - Entstehung, Einfluß und Grenzen einer ästhetischen Doktrin. Hildesheim: Olms, 2006, 398-411
''Killing a Bull' and the Pleasures of History'. In Giuseppe Verdi: Les Vêpres siciliennes. Opera Rara ORCV303, 2005, 11-30
'Donizetti and Wagner: opéra de genre at the Théâtre de la Renaissance'. Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris, Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005, 309-341
''Tutti i francesi erano diventati matti': Bellini and the Duet for Two Basses'. Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris, Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005, 281-307. In French in Maria Rosa De Luca, Salvatore Enrico Failla, Giuseppe Montemagno (eds), Vincenzo Bellini e la Francia, atti del convegno internazionale (Paris, Sorbonne, 5-7 novembre 2001). Lucca, Libreria Musicale Italiana, 2007, 327-54
'Struttura sociale e contesti artistici nell'opera francese (1806-64)'. In L'enciclopedia della musica Einaudi, 4 vols, ed. Jean-Jacques Nattiez (Turin: Einaudi, 2004) 4:956-975
''Der Lieblingswunsch meines Lebens': Contexts and Continuity in Meyerbeer's Opéras Comiques'. In Arnold Jacobshagen and Milan Pospíšil (eds), Meyerbeer und die Opéra Comique, ed., Thurnauer Schriften zum Musiktheater 20. Laaber: Laaber, 2004, 123-151
'Le fonti della musica polifonica, ca. 1170-1330'. In Il libro di musica: per una storia delle fonti musicali in Europa, ed. Carlo Fiore, De charta 7. Palermo: L'Epos, 2004, 43-64
'Pauline Viardot-Garcia'. In James Briscoe (ed.), New Historical Anthology Of Music by Women. Bloomington and Indianapolis: Indiana University Press, 2004, 188-197
'Translating Weber's Euryanthe: German Romanticism at the Dawn of French Grand Opéra'[abridged version] . In Gottfried R. Marschall (ed.), La traduction des livrets: aspects théoriques, historiques et pragmatiques: actes du colloque tenu en Sorbonne les 30 novembre, 1 er et 2 décembre 2000, Collection Musiques/Écritures. Paris: Presses de l'Université de Paris IV (Sorbonne), 2004, 269-293
'Fromental Halévy: de l'opéra comique au grand opéra'. In Francis Claudon, Gilles de Van and Karl Leich-Galland (eds), Actes du colloque Fromental Halévy, Paris, Novembre 2000,, Études sur l'opéra français du xix e siècle 5. Weinsberg: Musik-Edition Lucie Galland, 2003, 93-116 and in English in Giacomo Meyerbeer and 19 th-Century Parisian Music Drama
'Giacomo Meyerbeer's Les Huguenots: Staging the History of the French Renaissance [with Jeanice Brooks]'. In Yannick Portebois and Nicholas Terpstra (eds), The Renaissance in the Nineteenth Century – Le XIX e siècle renaissant, Publications of the Centre for Reformation and Renaissance Studies: Essays and Studies 2. Toronto, Centre for Reformation and Renaissance Studies, 2003, 121-142
'Gluck, Berlioz and Castil-Blaze'. In Mary Ann Smart and Roger Parker (eds), Reading Critics Reading: French Music Criticism, 1789-1848. Oxford: Oxford University Press, 2001, 86-108
'Reception Theories, Canonic Discourses and Musical Value'. In Nicholas Cook and Mark Everist (eds), Rethinking Music, Oxford: Oxford University Press, 1999, 378-402
'`Madame Dorothea Wendling is arcicontentissima': Singers and Voices in Mozart's Idomeneo'. In Julian Rushton (ed.), Mozart: Idomeneo, Cambridge Opera Guide. Cambridge: Cambridge University Press, (1993), 48-61 and 166-168
'A Reconstructed Source for the Thirteenth-Century Conductus'. In Luther Dittmer (ed.), Gordon Athol Anderson (1921-1981) In memoriam von seinen Studenten, Freunden und Kollegen, 2 vols, Musicological Studies 39. Henryville, Ottawa, and Binningen: Institure of Mediaeval Music (1984), 1:94-116
Performance and Recording:
Mark has acted as consultant for the Hilliard Ensemble, the Orlando Consort, Royal Opera House Covent Garden, English National Opera and The Royal Ballet. He currently acts as consultant to Opera Rara, Red Byrd and Ensemble De Cælis. CDs with which he has been associated are listed below:
John Potter, Christopher O'Gorman, Rogers Covey-Crump, 'Conductus 1: Music and Poetry of Thirteenth-Century France'. Hyperion, CDA67949, 2012
Giuseppe Verdi: Les Vêpres siciliennes. Opera Rara ORCV303, 2005
Red Byrd, 'A Scottish Lady Mass: Sacred Music from Medieval St Andrews'. Hyperion, CDA67299, 2005
Giacomo Meyerbeer: Margherita d'Anjou. Opera Rara ORC25, 2003
De Cælis, 'O felices lacrimæ'. Studio SM D2930, 2002
Red Byrd, 'Magister Leoninus: Sacred Music from 12th-Century Paris -2'. Hyperion CDA67289, 2001
Red Byrd, 'Magister Leoninus: Sacred Music from 12th-Century Paris'. Hyperion CDA66944, 1997
Orlando Consort, 'Mystery of Notre Dame: Chant and Polyphony'. DG 453 487-2, 1997
Red Byrd, 'Paris 1200: Notre-Dame Music for Christmas'. BBC Radio 3, December 1995 Hilliard Ensemble, 'Perotin and the Ars Antiqua'. hilliard LIVE 1.HL1001, 1996
Rudolf Flotzinger, Leoninus musicus und der Magnus liber organi (Kassel etc.: Bärenreiter, 2003), Musicologica austraica 23 (2004) 186-189
Siegfried Kracauer, Jacques Offenbach and the Paris of his Time, trans. Gwenda David and Eric Mosbacher ( New York: Zone Books, 2002), Music & Letters 85 (2004) 85-88
Robert Letellier, ed., The Diaries of Giacomo Meyerbeer, iii:1850-1856 ( London: Fairleigh Dickinson University Press, 2001), Music & Letters 84 (2003) 496-499
Olivier Bara, Le Théâtre de l'Opéra-Comique sous la Restauration: enquête autour d'un genre moyen, Musikwissenschaftliche Publikationen 14 (Hildesheim, Zurich and New York: Olms, 2001), Music & Letters 84 (2003) 108-110
Robert Letellier, ed., The Diaries of Giacomo Meyerbeer, ii:1840-1849 ( London: Fairleigh Dickinson University Press, 2001), Music & Letters 83 (2002) 294-300
Peter Bloom, ed., The Cambridge Companion to Berlioz ( Cambridge: Cambridge University Press, 2000), Music & Letters 83 (2002) 123-128
James Radomski, Manuel García (1775-1832): Chronicle of the Life of a bel canto Tenor at the Dawn of Romanticism ( Oxford: Oxford University Press, 2000), Music & Letters 83 (2002) 119-122
Robert Letellier, ed., The Diaries of Giacomo Meyerbeer, i:1791-1839 (London: Fairleigh Dickinson University Press, 1999), Music & Letters 82 (2001) 314-317
Dolores Pesce, ed, Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance (Oxford University Press, New York & Oxford, 1997), Music & Letters 81 (2000) 283-284
James H. Johnson, Listening in Paris: A Cultural History, Studies in the History of Society and Culture 21 (Berkeley, Los Angeles and London: University of California Press, 1995), Journal of the Royal Musical Association 121 (1996) 258-267
Herbert Schneider and Nicole Wild, 'La Muette de Portici': Kritische Ausgabe des Librettos und Dokumentation der ersten Inszenierung, Erlanger Romantistische Dokumente und Arbeiten 11 (Tübingen: Stauffenberg Verlag, 1993), MLA Notes (1995) 472-474
Franz Körndle, Das zweistimmige Notre-Dame-Organum "Crucifixum in carne" und sein Weiterleben in Erfurt, Münchner Veröffentlichungen zur Musikgeschichte 49 (Tutzing: Hans Schneider, 1993), Plainsong and Medieval Music 4 (1995) 89-91
Margot Fassler, Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris (Cambridge: CUP, 1993), TLS, 4 February 1994, 19
Beyond the Moon: Festschrift Luther Dittmer , ed. Bryan Gillingham and Paul Merkley, Musicological Studies 53 (Ottawa: Institute of Mediaeval Music, 1990), MLA Notes 48 (1991) 475-477
Alleluia nativitas: Music for a Medieval Christmas , Orlando Consort (Metronome 1001T), Early Music 19 (1991) 665
Craig Wright, Music and Ceremony at Notre Dame of Paris 500-1550 (Cambridge: CUP, 1989), Music & Letters 72 (1991) 75-77
Perotin , Hilliard Ensemble (ECM New Series 837 751-2), Early Music 18 (1990) 486
Heinz Ristory, Post-franconische Theorie und Früh- Trecento: die Petrus de Cruce-Neuerungen und ihre Bedeutung für die italienische Mensuralnotenschrift zu Beginn des 14. Jahrhunderts, Europäische Hochschulschriften, Reihe 36: 26 (Frankfurt: Lang, 1988), Music & Letters 70 (1989) 522-524
Kurt von Fischer and F. Alberto Gallo, Italian Sacred and Ceremonial Music, Polyphonic Music of the Fourteenth Century 13 (Monaco: Oiseau-Lyre, 1987), Music & Letters 70 (1989) 305-6
Christopher Page, Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France 1100-1300 (London: Dent, 1987), Music & Letters 69 (1988) 246-248
Hans Heinrich Eggebrecht et al., Die mittelalterliche Lehre von der Mehrstimmigkeit, Geschichte der Musiktheorie 5 (Darmstadt: Wissenschaftliche Buchgesellschaft, 1984) Music & Letters 69 (1988) 57-60
Hans Tischler (ed.), The Earliest Motets (to c.1270): Complete Comparative Edition, 3 vols (New Haven and London: Yale University Press, 1982) Royal Musical Association Research Chronicle 20 (1986-7) 91-97
Giulio Cattin, Music of the Middle Ages I, trans. Steven Botterill (Cambridge: Cambridge University Press, 1984) King's Theological Review 8 (1985) 61-2
Derrick Henry, The Listeners Guide to Medieval and Renaissance Music (New York: Facts on File, 1983) Early Music 12 (1984) 97-99
Hans Tischler and Samuel Rosenberg (eds), Chanter m'estuet: Songs of the Trouvères (London: Faber and Faber, 1981) Early Music 11 (1983) 117-119
Early Music Consort of London, dir. David Munrow, Music of the Gothic Era (3347 051) Early Music 10 (1982) 281
Research Interests
Mark's interests include polyphonic music 1150-1350; opera in 19th-century France; Mozart reception.
Current research
Projects marked * are largely complete.
The variable-voice conductus. The conductus repertory consists of around 180 two-part compositions and around 110 in three parts. Within these figures are hidden a group of five compositions that are characterised by the presence of both two-part and three-part writing in the same work. Of the three stanzas that make up the poetry of each of these five conducti, usually the first two are set in three voices the third in two. In the manuscript Wolfenbüttel, Herzog-August-Bibliothek 628, the five works are presented in a unified manner whereas in Florence, Biblioteca Medicea-Laurenzia Plut. 29.1 the three part sections are found in the fascicle of the manuscript dedicated to three-part conducti whereas the two-part sections are found among the manuscript' collection of two-part works, but with clear cues that link the two parts together; other sources preserve different configurations of poetry and music.
This group of compositions poses a number of questions. Although it is clear that in some sources what might be called the 'variable-voice conductus' was conceived as a unified whole and copied as such, it is not clear whether setting the poem in two and three parts was part of the original concept of the work, nor is it clear whether the poetry even was conceived in the form in which it is used in the surviving musical sources. A final question is the degree to which the five pieces were conceived as a coherent group.
Examination of the thematic and structural nature of the poetry, the musical form of the works and their transmission reveals a much wider range of practices in the variable-voice conductus than their careful grouping in the Wolfenbüttel and Florence manuscripts suggests. Email Mark if you would like access to a copy of the current version of this piece of work.
Castil-Blaze et la réception de Weber, 1824-1857. François-Henri-Joseph Blaze fut connu comme Castil-Blaze durant toute sa vie professionnelle. Il fut un acteur majeur de la scène de la musique parisienne pendant la Restauration, la Monarchie de Juillet et la première moitié du Second Empire. Il écrivait sur la musique, il était journaliste, éditeur, et un agent essentiel dans l'importation et l'assimilation de l'opéra allemand et italien dans les cercles musicaux à la fois parisiens et provinciaux. Durant de sa vie, il fut respecté et son œuvre fut appréciée et comprise. En grande partie à cause des commentaires excessifs des Mémoires de Berlioz, il en est venu à se faire rabaisser par ceux qui échouent – ou se refusent – à comprendre la culture de l'opéra français du début du dix-neuvième siècle. Et les choses ont commencé à changer : son journalisme est à présent compris comme les premières tentatives d'un discours sophistiqué sur la musique, sa relation avec Berlioz est étudiée de plus près, et son œuvre sur la naturalisation de l'opéra étranger est aujourd'hui lue selon une perspective qui prend plus sérieusement en compte la complexité de la France du début du dix-neuvième siècle. Castil-Blaze était un acteur important et intelligent dans l'importation de l'opéra italien et surtout allemand dans les cercles du théâtre parisien ainsi que ceux de la province. Sa production de Robin des bois en 1824 mit Weber en vedette et servirait de précédent pour les productions ultérieures à l'Opéra-Comique et – malgré l'existence de l'arrangement de Berlioz – au Théâtre-Lyrique. Dans ses essais critiques, il ne fut pas seulement l'ardent défenseur des œuvres de Weber, mais aussi un interlocuteur important entre Weber et son public parisien ; son œuvre critique fut un vecteur important de la mise en valeur de son œuvre comme arrangeur de la « naturalisation » de Weber dans les cercles francophones. Email Mark if you would like access to a copy of the current version of this piece of work.
Choriste, danseur, comparse: Dance and Movement in opéra comique during the July Monarchy and Second Empire. This paper focuses on a single question: what was the place of dance in Parisian opéra comique around the middle of the nineteenth century? The answer to many – or indeed to anyone well versed in the secondary literature – will be simple: there was none, and in this mixture of speech and song, it could hardly be otherwise. In comparison with the Opéra, where danses nobles et gracieuses were a generic obligation, and had been for centuries, the Opéra-Comique not only had no such obligation, but there simply never seems to be any mention of movement that could realistically be considered dance.
Wagner and Paris: The Case of Rienzi (1869). The French reception of Wagner is often based on the two pillars of the 1861 Tannhaüser production and that of Lohengrin in 1891. Sufficient is now known about he composer's earliest attempt to engage with Parisian music drama around 1840 to be able to understand his work on Das Liebesverbot, Rienzi, Der fliegende Holländer, his editorial and journalistic work for Schlesinger, and his emerging relationship with key figures in Parisian musical life, Meyerbeer most notably. A clearer picture is also beginning to emerge of Wagner's position in French cultural life and letters in the 1850s. There is little, so it would also seem, that is left to learn about the Tannhaüser production of 1861.
Wagner's position in Paris during the 1860s, culminating in the production of Rienzi at the Théâtre-Lyrique in 1869, is however complex, multifaceted and little understood. Although there were no staged versions of his operas between 1861 and 1869, the very existence of a successful Parisian premiere for an opera by Wagner in 1869 – given that there would be almost nothing for two decades after 1870 – is remarkable in itself. The 1860s furthermore saw the emergence of a coherent voice of Wagnérisme, the presence of French Wagnéristes at the composer's premieres all over Europe and a developing discourse in French around them. This may be set against a continuing tradition of performing extracts of Wagner's operas throughout the 1860s, largely through the energies of Jules Pasdeloup, who – as director of the Théâtre-Lyrique – was responsible for the 1869 Rienzi as well.
These competing threads in the skein of Wagner-reception in the 1860s are tangled in a narrative of increasingly tense Franco-German cultural and political relationships in which Wagner, his works and his writings, played a key role. The performance of Rienzi in 1869 was a response to the Prussian-Austrian war of 1866, the republication of Das Judenthum in der Musik in 1869 and the beginnings of the Franco-Prussian war. Email Mark if you would like access to a copy of the current version of this piece of work.
Vernacular Contexts for the Monophonic Motet. Adam de la Halle's three-part rondeaux are important landmarks on the map of late thirteenth-century polyphony. Copied in the manuscript, Paris, Bibliothèque nationale de France, fonds français (F-Pn fr.) 25566, they have concordances in the manuscript F-Pn fr. 12786 where the texts are supplied with space left for notation that was never executed. Just ahead of these rondeau texts in F-Pn fr. 12786 are six texts, also provided with space for notation that was never executed. Two of these texts are taken from motets well known from the larger motet manuscripts of the thirteenth century, one from the manuscript Oxford, Bodleian Library, Douce 308, while the remaining three are unica.
The recent discovery of the second of these unicum texts, '[En demorant] veuil mon chant' on a flyleaf to a fifteenth-century Book of Hours in Charleville-Mezières, Bibliothèque municipale 78, supplies notation for this otherwise silent song. Furthermore, the notation is fully mensural with longae and breves differentiated, and permits a partial and partially-conjectural transcription. Not only does this new fragment help explain the six poems that precede the texts of Adam's rondeaux, but they throw further light on the question of the mensural notation of vernacular monody raised by the Chansonnier Cangé (F-Pn fr. 846). Email Mark if you would like access to a copy of the current version of this piece of work.
Master and Disciple: Teaching the Composition of Polyphony in the Thirteenth Century. Discoveries of new sources of medieval polyphonic music regularly provoke interest, but frequently could offer more to our understanding of music in the period between 1150 and 1350. Newly discovered manuscript fragments often preserve works that are already known, and while they may add grist to the mill of studies of Überlieferung or sometimes open up new sites of cultivation for the conductus, organum or motet, they do not really challenge fundamental questions of how music was created, received or preserved. So it is a welcome change to be able to report on a newly discovered source that raises questions that strike at the heart of our understanding of much of the music of the thirteenth century. An unassuming flyleaf at the beginning of a copy of Augustine's Confessions in the manuscript Reims, Bibliothèque municipale 400 (hereafter F-RS 400) invites us to reconsider questions that invoke the oppositions between plainsong and polyphony, between the organised and the improvised, between literate and oral, between reading and memory, and even poses some questions about the birth of the motet. Email Mark if you would like access to a copy of the current version of this piece of work.
Rossini, Giovanni Tadolini and the Operas of the 1810s. Giovanni Tadolini is known by Rossini scholars as the composer who completed the Stabat Mater in 1831. Trained in Bologna, Tadolini spent much of his professional career in Paris, but worked in Italy (Venice, Bologna and Rome) from 1814 until his return to Paris in 1830 where he was directeur de la musique at the Théâtre Italien.
In 2008, Arrigo Quattrochi noted that Tadolini was in Naples in October 1819 and wondered if he might be the composer for the Duglas aria and the recitative in La donna del lago, as well as therefore the collaborator on Edipo Coloneo and Adina. Subsequent research on Tadolini's surviving musical autographs turned up a number of documents in Paris which for the first time enabled a systematic comparison between Tadolini's handwriting and Rossini's collaborator in La donna del lago, Edipo Coloneo and Adina. A systematic analysis reveals that the similarities between Tadolini's handwriting and those of Rossini's collaborator are not close enough to identify Tadolini as Rossini's collaborator.
However negative this result, the research on Tadolini's handwriting produced an unexpected further link between Rossini and Tadolini. Hiding under a faulty identification in the Bibliothèque nationale de France is an aria written at least in part by Tadolini for a production of Rossini's Il turco in Italia in 1841 in Paris. Clearly designed as an attempt to end the opera with an aria for Fanny Persiani, 'Cedi alfin te ne sconguiro' is a three-movement aria of some ambition that deserves to be understood as a key element of Rossini reception in the 1840s. Email Mark if you would like access to a copy of the current version of this piece of work.
The Emergence of Polyphonic Song. Medieval music would appear to map out the boundaries of secular song either side of 1300: vernacular monody in the thirteenth century and polyphonic song in the fourteenth. But such a view of subject barely begins to take account of the complexity of musical and poetic continuity and change in the period between c1270 and c1330, the time so frequently circumscribed as falling between the polyphonic rondeaux of Adam de la Halle and the secular output of Guillaume de Machaut. This chapter attempts to bring together material germane to the state of polyphonic song thirty years either side of 1300, and to propose ways in which it might be interpreted. Email Mark if you would like access to a copy of the current version of this piece of work.
Rehearsing grand opéra: conditions and contexts, Paris 1780-1850. Recent studies have considered piano-vocal arrangements and two-hand versions of opera an important part of their reception, focussing on and rightly stressing their importance for domestic consumption. This chapter considers the importance of individual published numbers used for the purposes of rehearsal. For opéra comique, this was largely unproblematic since published vocal extracts largely included all the music with the rest recoverable from the printed libretto. The case of grand opéra was much less clear since published extracts frequently excluded recitatives that could involve some of the most taxing moments in the work. The solutions frequently involved compiling rehearsal volumes from published extracts and handwritten copies of those parts of the recitative that were relevant. The result was a striking collision of print and manuscript cultures created by a mismatch between musical practices and publishing traditions. The issues are clarified by an examination of surviving volumes with a case study based around Halévy's La juive (1835) and Charles VI (1843), and Flotow's L'âme en peine (1846) as rehearsed by the artist who took the roles of Eudoxie, Isabelle de Barrière and Paola sometime in the late 1840s or early 1850s. Email Mark if you would like access to a copy of the current version of this piece of work.
Meyerbeer and The Hound of the Baskervilles *Taking the final scene of Conan Doyle's The Hound of the Baskervilles as its starting point, this article looks at the ways in which act iv of Meyerbeer's Les Huguenots was projected across a range of media in the second half of the 19th century. Case studies include Wagner's consistent view of the subject in the context of a rapidly changing view of Meyerbeer's work in general, Offenbach's parody of the 'Blessing of the Daggers', Jules Verne's re-inscription of the entire act in Une Fantaisie du Docteur Ox and Liszt's two versions of his Reminiscences des Huguenots. The case studies are sited in the context of contemporary theories of metaphor and reception. Email Mark if you would like access to a copy of the current version of this piece of work.
Liszt in Southampton: the Grande Valse di bravura (S209) and the Valse de bravoure (S214/1) Just before his concert tour on the South Coast in August-September 1840, Franz Liszt wrote out an extract from the reworked version of the Grande Valse di bravura (S209). The autograph, now in private hands, represents a critically early stage in the revision of the work that would eventually result in the Valse de bravoure (S214/1). The compositional history of the work raises issues of virtuosity, textual consistency and the status of the Albumblatt and Zwischenstufe.
The Music of Power: Parisian Opera and the Politics of Genre, 1806-1864 *Music for the stage has always been embedded in a network of power relationships between states, impresarios, librettists, artists, entrepreneurs and composers. This article seeks to understand and explain how these relationships functioned in a particularly well-documented domain: the period when French music drama was subject to a system of licences, 1806-1864. The project examines institutional structures and their relationship both to those responsible for the creation and cultivation of stage music in the period and to the structure and form of the resulting works themselves. Email Mark if you would like access to a copy of the current version of this piece of work.
The Cambridge History of Medieval Music (joint editor; under contract)
Edition of Franz Liszt, Dom Sanche, ou Le Château d'Amour for the series F. Liszt: Neue Ausgabe sämtlicher Werke
Edition of Giuseppe Verdi, Les vepres siciliennes for the series The Works of Giuseppe Verdi (Chicago: Chicago University Press)
Affiliate research groups: Musicology and Ethnomusicology, Music Performance Research
Research projects
Cantum pulcriorem invenire: Thirteenth-Century Music and Poetry
The aim of Cantum pulcriorem invenire is to place the conductus of the period c 1170 to c 1320 on the same footing as its two partner genres, the motet and organum.
Francophone Music Criticism, 1789-1914
'Francophone Music Criticism' is an international network of nearly 100 scholars that was originally funded by the AHRC, and sustained by grants from the University of Southampton and the School of Advanced Study, University of London.
The recently concluded AHRC-EPSRC-JISC-funded 'musicSpace' project was an interdisciplinary collaboration between Music and Electronics and Computer Science.
Patterns of Mozart Reception
This AHRB-funded project ran from 1999-2001 and examined the ways in which Mozart's operas were reworked for keyboard from their dates of premiere to the present.
Teaching Responsibilities
PhD DISSERTATION SUPERVISION
Andrew Kirkman, 'Three-part Masses in the later 15th century' (PhD diss., King's College London, 1993) [final year only]
Nicola Losseff, 'The Best Concords: Polyphonic Music in Thirteenth-Century Britain' (PhD diss., King's College London, 1994) [all but final year]
Michael Allis, 'Charles Hubert Parry: Sources of the Music' (PhD diss., King's College London, 1995)
Sarah Hibberd, 'Magnetism, Muteness, Magic: Spectacle and the Parisian Lyric Stage c1830' (PhD diss., University of Southampton, 1998)
John Drysdale, 'Louis Véron and the Finances of the Académie Royale de Musique, 1827-1835' (PhD diss., University of Southampton, 2000)
Bethany Lowe, 'Performance, Analysis and Interpretation in Sibelius's Fifth Symphony' (PhD diss., University of Southampton, 2001)
Marian Read, 'Verdi's Un ballo in maschera: an Approach through Mikhail Bakhtin's Theory of Carnival' (PhD diss., University of Southampton, 2004)
Gaël Saint-Cricq, 'The Thirteenth-Century Motet: Analysis, Structure and Meaning' (PhD diss. University of Southampton, 2010)
Candida Mantica, 'Donizetti's L'ange de Nisida: Institution, Reconstruction and Performance' (PhD diss. University of Southampton, in progress)
Francesca Placanica, 'Mercadante's Il reggente' (PhD diss. University of Southampton, in progress)
Helen Macfarlane, 'French Romance by Italian Composers, 1800-1850' (PhD diss. University of Southampton, in progress)
Amy Williamson, 'English Polphonic Music c1300' (PhD diss. University of Southampton, in progress)
Eva Maschke, 'Style and Transmission in Notre-Dame Polyphony' (PhD diss. University of Southampton, in progress)
Jacopo Mazzeo, 'Function and Meaning in the Thirteenth-Century Conductus' (PhD diss. University of Southampton, in progress)
Asher Yampolsky, 'Structure and Form in Two-Part Notre-Dame Organum' (PhD diss. University of Southampton, in progress)
Visiting positions
University of Reading 1988-1989
Dartmouth College 1990
École Normale Supérieure, Paris [Conservatoire, École Pratique des Hautes Études, Université de Tours], 1990-1991
Conservatoire Nationale Supérieur de Paris, October-November 2002 ; September 2004-January 2005
Distinguished Visiting Professor, University of Western Australia, July-August 2004
University of Melbourne, August 2004
Trinity College, Dublin, November 2005
Ecole Normale Supérieure - Lettres et Sciences Humaines, Lyon, December 2006
MacGeorge Fellow, University of Melbourne, July-September 2009
University of Sydney, August 2009
Professional bodies
Member of Council, Plainsong and Mediaeval Music Society (1988-1990).
Member of Publications Subcommittee, Plainsong and Mediaeval Music Society (1988-1990).
Corresponding Editor, Current Musicology.
Music Contributor, International Medieval Bibliography (1986-1992).
Organiser and session chair, 14th Annual Conference on Medieval and Renaissance Music, London, 15-18th August, 1986.
Organiser, 22nd Annual Conference of Music Research Students, King's College London, 16-19 December, 1988.
Editor, Journal of the Royal Musical Association (1990-1994).
Member of Council, Publications Committee, Proceedings Committee of the Royal Musical Association (1990-94).
Joint Coordinator, RMA/SotoMAC 93 Conference, University of Southampton, 26-28 March, 1993.
Session Respondent, Annual Meeting of American Musicological Society, Montréal, 4-6 November 1993.
Teaching Quality Assessment subject Assessor, 1994-95
Joint Coordinator, RMA One-Day Conference on Reception Theory and Music, King's College London, 5 February 1994.
Editor, Royal Musical Association Monographs series, 1995-
Chair, Royal Musical Association Proceedings Committee, 1995-99
Coordinator and Chair of Programme Committee, British Musicology Conference 1996, King's College London, April 1996.
Member of Jury international, Fondation Internationale Nadia et Lili Boulanger, February-September 1998
Coordinator and Chair of Programme Committee, PERFORMANCE 2000: 35 th Annual Conference of the Royal Musical Association, University of Southampton, 26-29 April 2000.
Member of comité scientifique, La Traduction des livrets: aspects théoriques, historiques et pragmatiques, Université de Paris IV (Sorbonne), November-December 2000
Member of comité scientifique, Vincenzo Bellini et la France, Université de Paris IV (Sorbonne), November 2001
Member of Arts and Humanities Research Board Research Panel 7 (Music and Performing Arts), 2001- 5
Quality Assurance Agency Institutional Auditor, 2002-2005
Member of Committee of National Association of Music in Higher Education (leader on research), 2002-2007; chair and leader on research, 2005-7
Member of Arts and Humanities Research Council (AHRC) Peer Review College, November 2006-
Member of Honorary Board of the Edizione critica delle opere di Gioachino Rossini, November 2006-
Co-director of AHRC Network 'Francophone Music Criticism, 1789-1914' (with Institute of Musical Research, University of London), November 2006-
Member of Editorial Advisory Boad, Lyrebird Press (successor to Éditions de l'Oiseau-Lyre), February 2007-
Member of awards panel for Palisca Prize, American Musicological Society, February 2007-October 2010
Member of comité scientifique, Colloque : François-Auguste Gevaert, Université Libre de Bruxelles, December 2008
Member of Editorial Board, Musica disciplina, December 2008-
Member of Advisory Panel, GroveOnline, May 2009-
European Science Foundation Peer Reviewer, May 2009-
Royal Musical Association Publications Committee, Chair, January 2010-November 2011
Programme Committee Chair, Biennial Conference on Nineteenth-Century Music, Southampton, July 2010
Royal Musical Association, President-Elect, November 2010-2011
Royal Musical Association, President, September 2011-August 2014
Fonds de la Recherche Scientifique [Belgium], Peer Reviewer, March 2012-
Agenzia Nazionale di Valutazione del sistema Universitario e della Ricerca [Italy], Peer Reviewer, August 2012-
Academia Europaea, Fellow, September 2012-
Agence nationale de la recherche, La création : acteurs, objets, contextes - Édition 2008: Colloque bilan et perspectives, formal respondent, October 2012
Czech Science Foundation, Peer Reviewer, October 2012-
Förderung der wissenschaftlichen Forschung [Austria], Peer Reviewer, November 2012-
Humanities in the European Research Area, Peer Reviewer, December 2012-
Programme Committee Member, American Musicological Society Annual Meeting, Pittsburgh, November 2013
Swiss National Science Foundation, Peer Reviewer, April 2013-
Member of Comité de Lecture, Revue de musicologie, June 2013-
Senior Scholarship, Keble College Oxford. October 1981
Senior Germaine Scholarship, Brasenose College Oxford. October 1982 (declined)
Fulford Research Fellowship, St Anne's College Oxford. October 1982 (proxime accessit)
University of London Central Research Fund Grant. March-April 1983
British Academy Research Grant. September 1986
British Academy Overseas Conference Grant. January 1988
Music and Letters Grant. January 1988
Westrup Prize (best article published in Music and Letters 1988). March 1989
King's College School of Humanities Research Grant. February 1990
British Academy Overseas Conference Grant. April 1990
British Academy Research Grant. July 1990
British Academy Research Grant. July 1991
British Academy Overseas Conference Grant. April 1991
King's College School of Humanities Research Grant. February 1992
British Academy Overseas Conference Grant. April 1992
British Academy Research Grant, March 1996 (Metz conductus fragments and Gluck/Castil-Blaze: £673.00)
Research Grant, School of Research and Graduate Studies, July 1996 (MLO IV: £2,064.00)
British Academy Research Grant, March 1997 (MLO III: £1,365.00)
Music and Letters Grant, July 1997 (MLO microfilms: £500.00)
Arts and Humanities Research Board Grant, Research Grant, February 1999 (Patterns of Mozart Reception: £36,686.00)
Arts and Humanities Research Board, Research Leave, January 2000 (MLO II: £17000.00)
Leverhulme Research Fellowhip, March 2000 (MLO II: £5,888.40); declined
Arts and Humanities Research Board, Small Grant, May 2000 (Weber: £3,503.00)
Arts and Humanities Research Board, Small Grant, January 2001 (Music Drama at the Paris Odéon: £841.00)
Arts and Humanities Research Board, Small Grant, May 2001 (Bellini: £4,638.00)
Arts and Humanities Research Board, Innovations Award, November 2001 (Polyphonic Music and the Culture of Medieval France: £23,747)
British Academy, Overseas Conference Grant, July 2002 (Donizetti and Wagner:£521)
British Academy, Research Grant, July 2003 (Mozart and the Impresario:£4,200)
British Academy, Overseas Conference Grant. April 2004 (Mozart and the Impresario:£750)
Arts and Humanities Research Council, Research Leave, July 2005 (Stage Music in Nineteenth-Century France: £14,013)
British Academy, Overseas Conference Grant. July 2005 (Mozart's Twelfth Mass: £400)
Arts and Humanities Research Council, Small Grant, October 2006 (Blaze de Bury: £15,764)
British Academy, Small Grant, January 2007 (Foreign Opera in Paris during the July Monarchy: Alphonse Royer and Gustave Vaëz: £2,309)
British Academy, Small Grant, July 2008 (Opéra comique in the Second Empire: Institution and Repertory: £7,074)
British Academy, Overseas Conference Grant, July 2008 (Geographies of Polyphonic Song, £450)
Arts and Humanities Research Council, Research Leave, July 2009 (Mozart's Ghosts, £38,692)
Arts and Humanities Research Council, Research Grant, July 2010 (Cantum pulcriorem invenire: Thirteenth-Century Latin Poetry and Music, £593,470; AH/HO34226/1)
American Musicological Society, Ruth A. Solie Award for the best collection of essays on a musicological topic in 2009 (joint award with Annegret Fauser, UNC Chapel Hill), November 2010
American Musicological Society, H. Colin Slim award for the outstanding article in musicology (beyond early stages) in 2010, November 2011
Professor Mark Everist
Office address:
Department of Music, University of Southampton, Highfield, Southampton SO17 1BJ United Kingdom
Tel: +44 (0)23 8059 4563 Fax.: +44 (0)23 80593197
Email: email@example.com
6 rue de Belzunce, F-75010 Paris France
Tel: +33 (0)184.108.40.206.73
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text:
Mines and Money London is Europe's leading mining investment and capital raising conference and exhibition, bringing together over 3,000 investors, financiers, brokers and mining developers, for up to five days of business matching, knowledge sharing and deal-making.
You'll connect with over 200 mining companies, some of the world's largest natural resources fund managers, and see a packed programme of 200 mining investment leaders presenting keynotes, market analysis, company presentations, panels and workshops. Mines and Money London is designed to reinvigorate the industry, with fresh investment and capital raising ideas and opportunities for the industry.

subset: commoncrawl


text:
'Pickers pounce on Bobcats
CORPUS CHRISTI - Rio Hondo had few problems moving the ball against Robstown on Saturday night. But moving the ball into the end zone was a different matter.
The Cotton Pickers defense stiffened when needed, stopping the Bobcats on five of Rio Hondo's eight trips into Robstown territory, including four holds in the first half. With Pickers quarterbacks Randy Flores and Alex Marroquin both topping 100 yards rushing, Robstown pulled out a 29-20 victory at Calallen's Wildcat Stadium.
With the team again using alternating signal-callers, Flores rushed for 147 yards and two touchdowns, while Marroquin went for 114 and an 87-yard score. The Pickers (1-0) pulled away from a 14-all tie at the end of the first half, scoring 15 consecutive points, with Flores' 34-yard scoring run in the fourth giving his team a 29-14 lead and salting away the season-opener against the Bobcats (0-1), a playoff team last season.
But there was help from the Robstown defense. Rio Hondo managed 338 total yards — including 260 in the air — but could not dent the end zone five times, being held three times on fourth-down tries, missing a field goal another time and having an interception halt another drive.
Just as key were two Bobcats miscues in their own territory. The first mistake, a first-quarter fumble, led to Flores' 26-yard scoring run for the contest's first points. The second was not a turnover, but rather a safety to start the second half, as the Pickers gang-tackled a Rio Hondo runner in the end zone for a 19-14 edge.
Robstown's defense started the game with a hold on fourth down in its own territory, the forced fumble to set up a score and then survived the missed field goal attempt. After the missed field goal, Marroquin, lining up as the quarterback, took the snap and raced 87 yards for a 14-0 lead.
The Bobcats came back, answering Marroquin's run with a seven-play drive, capped by Victor Oviedo taking a screen pass and weaving through the Pickers' defense for 28 yards and a touchdown. The Bobcats tied the game nearly 12 minutes later, when Shawn O'Brien's plunge into the end zone finished a 22-yard drive following a 13-yard Robstown punt.
The Pickers grabbed the lead at the half, twice successfully converting fourth-down attempts in the final two minutes, including one off a fake punt deep in its own half of the field. That set up Jesus Guerrero's 33-yard field goal for a 17-14 halftime edge. Guerrero increased the edge after the safety, with his 38-yard field goal extending the lead to 22-14.
Rio Hondo 7 7 0 6—20
Robstown 14 3 5 7—29
Robstown Randy Flores 26 run (kick failed)
Robstown Alex Marroquin 87 run (Flores run)
Rio Hondo Victor Oviedo 28 pass from Sergio Perez (Jesse Lopez kick)
Rio Hondo Shawn O'Brien 2 run (Lopez kick)
Robstown Jesus Guerrero 33 FG
Robstown Safety, Ben Perez tackled in end zone
Robstown Guerrero 38 FG
Robstown Flores 34 run (Guerrero kick)
Rio Hondo Jorge Bermudez 18 pass from S. Perez (kick blocked)
RH Robs
First downs 18 14
Rushes-yards 27-78 40-301
Passing 260 107
Comp-Att-Int 19-33-1 6-14-1
Punts 1-26 1-13
Fumbles-lost 2-1 0-0
Penalties-Yards 5-30 6-45
RUSHING RH: Oviedo 14-73; O'Brien 3-3; B. Perez 2-2; S. Perez 6-1; Team 2-(-1). ROBS: Flores 16-143; Marroquin 10-114; Brandon Elizondo 9-40; Marty Gutierrez 5-4.
PASSING RH: S. Perez 19-33-1-260. ROBS: Marroquin 5-7-0-73; Flores 1-7-1-34.
RECEIVING RH: Oviedo 3-75; O'Brien 3-54; Bermudez 4-50; B. Perez 4-35; Mario Rodriguez 3-28; Joshua Mata 2-18. ROBS: Adrian Molina 3-84; Gutierrez 2-25, Trey Leal 1-(-2).
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Affordable DNA Sequencing, Improved Imaging Technologies, Move the PM Ball Forward
Digital HealthCare & Productivity | Slashing the cost of DNA sequencing is a prerequisite to making genomic medicine widely available and early this week, a new contender—Complete Genomics—emerged with a pledge to hit the $1000 genome price perhaps by this spring. My colleague and Bio-IT World's editor-in-chief, Kevin Davies, was one the journalists to receive a comprehensive briefing and has charted the new company's ambitious plans in an article posted online.
McKesson's Personalized Medicine Prospects
Digital HealthCare & Productivity | McKesson is jockeying for a prominent position in the rapidly evolving personalized medicine race, developing capabilities for next-generation electronic health records (EHRs), says Andrew Mellin, vice president for Predictive Care Solutions. The San Francisco-based health care giant formed this new group last year within the Life Sciences division, focusing in particular on tweaking its Horizon Clinicals products—decision support and physician order entry—to support advancements in genomics, genetic testing, and bioinformatics as they emerge.
Open Source Research Tool
Digital HealthCare & Productivity | The virtual operating room may be a step closer to reality, thanks to the latest version of 3D Slicer, a new generation of freeware that has already been used for brain mapping, image guided surgery, virtual colonoscopy, and other biomedical research. The aptly named "Slicer" provides different views of the same subject on demand, such as vivid 3-D images of the brain, created from the raw data of two-dimension magnetic resonance (MR) images.
New Frontiers in PHRs
Digital HealthCare & Productivity | Normally talk about "new ecosystems" might be heard at a wildlife conference, but it dominated the presentations given in Washington on September 17 during a conference on "New Frontiers in Personal Health Records" sponsored by the Robert Wood Johnson Foundation (RWJF).
Managing Risks in Health 2.0
Digital HealthCare & Productivity | TORONTO—Interactive media with user-generated content, often generically referred to as Web 2.0, has taken off in health care in the last couple of years. But with all the options and convenience that blogs, wikis, social networking sites, chat rooms, and message boards have opened up for patients and providers alike, the technology known as health 2.0 or medicine 2.0 is not without risk.
MRI Calls for Health Mobile Phone Organization
Digital HealthCare & Productivity | Taking another next step toward promoting the utility of mobile phones in health-IT, the Boston-based Medical Records Institute (MRI) is calling on other organizations and companies to join a new membership-based organization.
Is This the Year of the CMIO Break-out?
Digital HealthCare & Productivity | Many health care organizations are well into the second or third phase of technology roll-out programs, and that is causing a profound transformation in some health-IT leadership positions.
The VistA Question
Digital HealthCare & Productivity | Responding to an upcoming deadline set by Congress, the Military Health System announced last week that the Department of Defense (DoD) is looking at both VistA, used by the Department of Veteran's Affairs, and its own AHLTA, developed by Northrop Grumman, in an effort to link the two and make them interoperable.
Mobile Medicine for the Developing World
Digital HealthCare & Productivity | BELLAGIO, Italy—In the developing world, telemedicine and mobile health care are as simple as a cell phone. "The growth that took place in mobile phones was because we were responding to a basic need to communicate," suggests Strive Masiyiwa, founder and chairman of Econet Wireless Group.
Storing the Data Deluge
Digital HealthCare & Productivity | If two trillion filing cabinets—or one billion terabytes—sounds like too much data to deal with, brace yourself. This exponential growth of data is straining storage and long-term archiving resources, says IBM's Dr. Richard Bakalar, chief medical officer.
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Working closely with our partners, we aim to support Sri Lanka achieve equitable and sustainable human development through our work
Where Passion Promotes Economic Development
"Each morning I wake up excited about what is in store for me because each day is very different" Under the EU funded SDDP, 25 Economic Development Officers (EDOs), were trained in Entrepreneurship Development, designed and facilitated by UNDP. Find out what its like to be an EDO?24 june
Calling for Writers for the UNLOCKED Project
UNLOCKED, an initiative by UNDP Sri Lanka, is a space for Sri Lankan youth to express their views and opinions on development with the aim of creating positive change in the world. We have partnerd with the Daily Financial Times (Daily FT) to take the Youth discussions forward and through this partnership, the UNLOCKED ONLINE space will be rolled out in a weekly column in Sri Lanka's leading daily English newspapers - Daily FT. So hurry apply now! An opportunity not to be missed! The UNLOCKED Project is , following the launch of the National Human Development Report 2014 on Youth and Development.16 june
840 Young People from 10 Districts on a Journey to Become Leaders of Society
The Youth Leadership Progamme is designed by UNDP to empower 840 youth from vulnerable communities in 10 Districts around Sri Lanka to be able to provide support to Local Authorities and Community Based Organisations (CBOs) for project development and implementation in their own communities.10 june
EU Support to District Development Programme (EU-SDDP)
The European Union Support to District Development Programme (EU-SDDP) funded by the European Union is a 60-month Programme aimed at assisting Sri Lanka to make a transition from post-conflict assistance to reconstruction and development. UNDP is proud to be one of the six implementing agencies of this Programme.5 june
UNDP and Hayleys Partner to Promote Seaweed Farming in the North
UNDP in Sri Lanka partnered with Hayleys Aquagri Pvt. Ltd., a subsidiary of Hayleys Group to expand Seaweed Farming in select islands in the Jaffna District. Through this partnership livelihood opportunities will be provided to 40 families of which 8 are female headed households.12 june
'One stop' mobile clinics providing communities access to justice
Displaced due to conflict, 18-year old Manickarajah Sulochana, of Vavuniya in the Northern Province of Sri Lanka, migrated to India in 1990, just after getting married. She had three children in India, but when she returned to Sri Lanka in 2010, she didn't have documentation for her children.27 january
#YouthNDev: Sri Lanka National Human Development Report 2014 launched!
The Sri Lanka National Human Development Report 2014 on Youth and Development explores the challenges of young people and opportunities for development, in the areas of education, employment, health, political participation and social integration, with gender as a cross-cutting theme. The Report was launched on the 12th of August, 2014, coinciding with the International Youth Day.12 august
Together, communities build back with resilience
AusAID, UNDP and other partners initiated "Strengthening Disaster Management Capacities in Conflict Affected North and Eastern Provinces in Sri Lanka," a project to create village resilience development plans for vulnerable communities in Sri Lanka.19 march


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Feeling adventurous? Try smoking or grilling your Thanksgiving turkey.
See how to make favorite Thanksgiving recipes, with step-by-step instructions.
Try this ready-to-go grilling menu or create your own menus.
One of the benefits of smoking a turkey is that it's almost impossible to overcook anything in a smoker. The temperature remains low and the cooking is slow, resulting in perfectly moist and tender meat with a rich, complex flavor.
Watch: How to Smoke a Turkey
Smoked Turkey ToolsBesides a smoker, there are a few other things you'll need to smoke your turkey:
If you're smoking a whole bird, we recommended that you choose one weighing no more than about 15 pounds--large turkeys take too long to heat all the way through. If you choose a frozen turkey, it should be thoroughly thawed before you begin. Be sure to remove all the giblets and gizzards from the turkey, as well as the plastic pop-up thermometer.
To add even more flavor to your turkey:
Unfortunately, you can't stuff a smoked turkey. Make your stuffing separately in the oven.
Smoking Your Turkey
Once you have prepped your turkey, you are ready to begin smoking:
When the thermometer reads 165 degrees F (75 degrees C) , pull the bird out of the smoker and let it rest at least 15 minutes. Carve and serve.
Don't have a smoker? Use your charcoal grill. A 12-pound turkey is the largest that will fit most grills.
Grilled Turkey Tools
To grill your turkey, you'll need:
Follow the instructions above for Smoked Turkey.
Essentially, you'll be using your grill as an outdoor oven: you want a moderate, even temperature rather than searing heat. Arrange the coals on one side of the grill only--you will use the empty side for the drip-pan. When the coals are covered with white ash, add a handful of damp wood chips. Add more wood chips any time you add more charcoal.
For succulent, juicy meat and crispy skin, try deep frying your turkey this year.
Hard to believe, but many kids will be back in school at the end of the month. Get ready.
You won't believe all the things you can do with cauliflower. It's a great low-carb option.
Delicious recipes, party ideas, and cooking tips! Get a year of Allrecipes magazine for $7.99!
Get the top tips for working the grill, any time of year.
Watch the correct, safe ways to thaw your frozen turkey.
Discover how home-smoking adds deep, rich, natural flavor to turkey.
Read our allrecipes.com blog


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Favorite Office Time Wasters
Richard Marini finds the best and the brightest distractions.
Posts filtered on Tag
Yes, it's the return of the magazine cover meme
Yes, tabloid magazine editors often rely on the same tropes when writing headlines.
Yes, they do.[Read More]
This is why the terrorists hate us
Because Marines in Afghanistan would dare lip-sync to Britney Spears', "Hold It Against Me." [Read More]


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July 28, 2015
WASHINGTON (AP) - More than 90,000 children's toys have been recalled for containing dangerous levels of lead.
That's the word from the Consumer Product Safety Commission.
Plano-based J.C. Penney is recalling more than 70,000 toys, including Chinese-made Winnie the Pooh play sets and art kits made in Taiwan and Vietnam. The company says an independent laboratory began the process of performing additional tests on its painted toys in August.
A government safety spokeswoman says this round of toy recalls is the direct result of the commitment that was made earlier this summer to rid the shelves of contaminated products. She says the number of toys in violation are expected to go down.
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text: Home > Academics > Degree and Certificate Programs > California CampusAssociate in Culinary ArtsAssociate in Baking and Pastry ArtsAccelerated Culinary Arts Certificate Program (ACAP)Accelerated Wine and Beverage Certificate Program (AWBP) Share This Virtual TourApplyRequest Information Accelerated Wine and Beverage Certificate Program A Program and Career Choice Worth ToastingBeverages play a role in everyday life, combining culture, tradition, and history. They also drive a major percentage of an establishment's profits. So to become a future leader in the foodservice and hospitality industry, a deep understanding of fine wines, beers, artisan spirits, coffees, and teas is vital to your success. Enrich your senses—and your career opportunities—by adding an Accelerated Wine and Beverage certificate (AWBP) to your resume. You'll not only get a comprehensive overview of wines, spirits, and food parings; you'll enhance your existing hospitality, culinary arts, or related degree with the expertise employers look for when hiring foodservice professionals. With the powerful combination of your college degree and CIA AWBP credential on your résumé, you'll be prepared to pursue a wide variety of career in the beverage industry.Apply NowIn the Accelerated Wine and Beverage Program in California, you will:Build a strong foundation of industry knowledge in wines, spirits, and specialty beverages.Gain a deep, multi-sensory understanding of these beverages and their practical applications in the industry.Learn the standards of professional beverage service.Practice food and beverage pairings and learn how to optimize the customer dining experience.Connect with key players in the California food and wine industry.Valuable scholarships and grants up to $11,500 available.RequirementsTo be eligible for the AWBP, you must meet the following requirements by the program start date: Be at least 21 years old.Have an associate or bachelor's degree.CurriculumFIRST SEMESTERCourseCreditsFundamentals of Wine and Professional Service3 creditsNew World Wines I3 creditsNew World Wines II3 creditsCulinary Skills for Wine Professionals3 creditsWine Regions of Europe I3 credits Total Credits: 15SECOND SEMESTERCourseCreditsWine Regions of Europe II3 creditsGlobal Wine Business and Wine Program Operations3 creditsWine and Service Practical ExamNon-CreditFermented and Specialty Non-Alcoholic Beverages3 creditsDistilled Spirits3 creditsApplied Theories in Flavor Dynamics and Mixology3 credits Total Credits: 15TOTAL CREDITS FOR CERTIFICATE: 30 IN 30 WEEKSCostsThe CIA is very committed to making your CIA education as affordable as possible. Our costs are comparable to similar colleges, and here's even better news—approximately 90% of our students receive some form of financial aid.Don't let applying for financial assistance keep you from going to the world's premier culinary college. No matter what your individual circumstances are, we will work with you to help make attending the CIA an affordable investment in your future in the world of food.Complete tuition and financial aid information for this programScholarships and grants available for this programCareersA Wine Program Designed to Boost Your CareerWith the powerful combination of your college degree and your CIA AWBP credential on your résumé, you'll be prepared to pursue a wide variety of careers in the beverage industry. You will build a foundation that will take you from entry-level positions to ones with greater responsibility.Fine DiningBeverage professionals can be found working in fine-dining establishments in restaurants, on cruise ships, in high-end hotels and resorts, in clubs, and other venues.Beverage DirectorFood and Beverage ManagerCaptainSommelierDining Room ManagerWine Steward Casual DiningThe casual dining segment-from small, independent cafés and wine bars to large chain operations-also offers a wealth of opportunities for beverage professionals.Regional Beverage DirectorVP of Wine and BeverageWine Bar ManagerWine and Beverage ManagerWholesale DistributionThe vast majority of beverage sales are made through wholesale distribution channels. Professionals in this segment represent portfolios of products from importers and wineries, and promote and sell them to restaurants and merchants.Brand Marketing ManagerDirector of Trade EducationDistrict Sales ManagerFine Wine Sales SpecialistMerchandiserNational Accounts Manager RetailSpecialty wine shops, gourmet markets, large wine and spirits retail operations, online wine markets...all have a need for professionals with an in-depth understanding of beverages.Director of WineOnline Wine Sales ManagerRegional ManagerWine and Beverage BuyerWine and Spirits Sales RepWine Club ManagerWine Companies and WineriesWith more than 10,000 wine labels available for sale in the U.S. alone, wineries and wine companies need knowledgeable professionals who can deliver quality products and help them stand out from the competition.Director of HospitalityE-Commerce ManagerPublic Relations DirectorRegional Marketing ManagerRegional Sales ManagerSpecial Events ManagerTasting Room Associate And More...Wine and Beverage InstructorWine and Spirits JournalistWine ConsultantWine Tourism SpecialistRelated LinksHow to ApplyFinancial AidGainful Employment Disclosure Admissions Department1946 Campus DriveHyde Park, NY, 125381-800-CULINARY845-452-9430 Fax: email@example.com the Admissions TeamAdmissions Events Calendar Available Enrollment Dates Aug 18, 2015 > More dates and events > Share This Virtual TourApplyRequest Information Spotlight On: Santosh VargheseAccelerated Wine and Beverage Program (AWBP)"My job wasn't fulfilling...I kept going back to my love of food, wine, and sharing the table with friends and family." Read More


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Hang tight!
Recipe by lara
"This recipe is from my mother, who makes this yummy dip every year on New Year's Eve."
Hmm. None of these ingredients are on sale today.
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1 (20 ounce) loaf
round French bread
2 (8 ounce) packages
cream cheese, softened
2 tablespoons
grated onion
2 tablespoons
2 teaspoons
Worcestershire sauce
2 teaspoons
lemon juice
1 teaspoon
hot pepper sauce
1/2 teaspoon
3 (6.5 ounce) cans
minced clams, drained
We make this dip all the time, but we substitute 2 cans of crab for the clams and add jalapenos to spice it up. It's a great dip!
I tried this recipe but found it to be bitter. Beer, grated Onion hot pepper sauce and Worcestershire sauce are all bitter ingredients. I would suggest less grated onion or use sweet onion (vadalia) I think with the sweet onion the recipe would be less bitter. I would try this recipe again with some adjustments.
33 Ratings
I was craving good clam dip and this was great. I didn't do it in a bread bowl, just mixed up the dip ingredients and cooked it in the oven in casserole dish at 300 for about 25 minutes until it was bubbly - it was a hit!
I loved this recipe - it was SO easy to put together, and it was a huge hit! We brought it to a party, and it was the only thing that was completely devoured. I only had time to cook it for about 1-1/2 hrs (although I did use the convection setting on my oven) and it still turned out great. I bought a couple of extra baguettes and sliced them up to serve with this. Wonderful!
I changed the clams to crabs and it turned out great! I've made it a few times and it always goes over well.
I thought this was good not great, although my family loved it and ate it all up! Thanks
This was good, but a little bland. A bit more hot sauce, onion, and beer will fix it. We served it with crackers b/c toasted bread really didn't hold up, it was a little to thick. Coming to the next potluck with a little fixin'!
Awesome!! My whole family loved this. Even those who are not big clam fans ate it up. I baked it for 2 hours (1 hour less than suggested in recipe) and it was fantastic. Great appitizer for parties!! Suggestion: buy some extra bread to use for dipping or include crackers on the serving plate.
* Percent Daily Values are based on a 2,000 calorie diet.
Hot Clam Dip II
Serving Size: 1/12 of a recipe
Servings Per Recipe: 12
Amount Per Serving
Calories: 336
Calories from Fat: 133
With our 2,700+ chicken breast recipes, you'll never serve the same old chicken again.
The firm, juicy texture of zucchini make them a perfect side to toss on the grill.
Delicious recipes, party ideas, and cooking tips! Get a year of Allrecipes magazine for $7.99!
See how to make a rich and creamy hot crab dip.
This hot dip is loaded with spinach, artichokes, and plenty of gooey cheese!
All your favorite pizza ingredients in an easy, cheesy microwaved dip.


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Saturday Program
Extended Day
Yoga activity
Bilingual Preschool
Montessori methodology
As the only Montessori school in St. Louis with a second language immersion program, Casa de Niños offers children:
To acquaint children at a young age with a
second language and thereby stimulate their
development in a comfortable homelike environ
ment. This early preparation will help them
grow as members of the world community.
To work individual with our students to help them reach their maximum potential in a challenging and nurturing setting.


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Cookie Monster: Raspberry Crumb Bars
Welcome to today's episode of Totally Superfluous Problems That Don't Really Need to Be Solved but I'll Attempt Anyway. In case you missed it, last week's episode was How to Retrieve Toast that's Too Small To Toast and Gets Stuck in the Toaster. (Answer? Fondue forks!) This week? How to Easily Eat a Crumble at the Beach. More


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I imagine that many of you are probably asking yourself, "Why is she asking me about my resolutions already? I just made them two weeks ago.†Well, as several articles pointed out, a majority of New Year's resolutions fail by month's end. The statistics vary from article to article, but as someone who has failed many a resolution, I have to say they're probably right. So while the year is still young, let's take a closer look at ways we can make this year's resolutions stick!
Break It Down
In my January 1 column, I mentioned writing down your resolutions and posting it on your calendar with a reminder to check in every so often. By recording your goals, you can hold yourself to them and are more likely to succeed.
As I looked over my list, I noticed that they were a bit vague. "Overhaul office.†When I looked around my office, my first thought was, "Overhaul office? OK, where should I place the dynamite?†(Yep, it was that bad!) Continue reading


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A new KPMG report has found that a whopping 38 per cent of app users in the UK are still more than happy with the free applications being offered up
When you're woken up by your recently-retired Dad calling to ask how the Android Market works, it hits you - the app revolution is most definitely here to stay.
KPMG's fifth annual Consumer and Convergence report, however, has revealed that nearly 40 per cent of us still don't see the need to pay for apps, despite the fact that 88 per cent of those who contributed to the survey were active app users.
The reasons for this are debatable. You only have to look at the T3 App Chart to realise that there are swathes of excellent free apps out there, so it is understandable that many people don't expect to pay for quality like that of Angry Birds.
Of course, very few developers can hope to be as successful as Rovio has been with its fowl flinging app. Any developers who create a free app are largely restricted to advertising to try and make any money from their endeavours. The smartphone revolution and the rapid expansion of the Android platform particularly have made the app market a bit of a free-for-all for developers. The app market is a bit like the 'American Dream' - supposedly anyone with a great idea and a bit of a push can make it big.
The result is a daily flood of new apps hitting Apple's App Store, Android Market and all their counterparts, but there are as many bad apps as good ones. Ultimately, the danger is that we could see a decline in the quantity and quality of apps across all platforms as developers with potentially great ideas will not be able to afford to see them through.
One feels that if we want the variety and quality of apps to stay as high as it is, at some point we as consumers are going to have to start loosening the purse-strings a little bit more.
But what do you think, are apps central enough to your life to start paying for them? Or would you simply stop using them if they were not free? Let us know what you think via the T3 Facebook and Twitter feeds.


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Wireless Links ...
Campus Wireless Service
The University has upgraded to a newer, more reliable and robust wireless solution (WPA/WPA2). PioneerNet uses this new solution and will soon be the only wireless network on campus for students, staff, and faculty. Guests will not use this network.
- While on-campus in a wireless coverage zone, click here to configure your computer for PioneerNet.
- Make sure to turn on your wireless and then launch a browser such as Chrome, Firefox, Internet Explorer,Safari, ETC.
- At the DUnet screen select "Wireless Configuration" and follow the prompts.
- This configuration will ask you for your DU ID and passcode.
- This configuration needs to be performed only once on your computer.
- If you prefer to configure your computer manually, please click here to access step-by-step instructions.
DU Sponsored Guest Wireless
After your DU host has filled out the guest request form, and you have received your DU Guest ID and Password:
- Make sure your wireless card is turned on and then select the DU Guest Wireless network.
- Open your web browser (Internet Explorer, Chrome, Firefox, Safari, Etc.)
- The DUnet screen will be displayed. Please click the "Sponsored Guest Login" button and then use the provided DU Guest ID and Password to gain access as a guest user.
This network ONLY allows the following services: http, https, ssh, rdp, rtmpt, pop3, imap, smtp, and ssl/IPsec VPN.
This method is intended for sponsored guests of the University of Denver (not current Staff, Student or Faculty community).
DU Guest Wireless (Available June 9th, 2013)*
- Make sure your wireless card is turned on and then select the DU Guest Wireless network.
- Open your web browser (Internet Explorer, Firefox, Safari, Etc.)
- Click on Guest Login and accept terms and conditions.
* This DU Guest Wireless network has a bandwidth limit and is not intended for long term use.
WiFi for Gaming/TV/Music/Etc.
Due to the rise in wireless-enabled gaming consoles, televisions, and other multimedia devices UTS has created a separate connection for these devices. This will only work for multimedia devices and NOT computers.
There is a network called "DU Game Consoles ONLY" that is not visible on a scan for available networks.
On your device, manually add the wireless network (also called ssid, or access point) named: DU Game Consoles ONLY (match exactly)
No logon is required, you should be able to access online content now.
Eduroam (education roaming) is a secure, world-wide roaming access service developed for the international research and education community. Eduroam allows students, researchers and staff from participating institutions to obtain Internet connectivity across campus and when visiting other participating institutions by simply opening their laptop (if already configured).
If you are visiting Eduroam user and have questions about authentication please contact your institution's support desk. If you are a DU Eduroam user, PLEASE make sure you use "@du.edu" after your DU ID (EG email@example.com) when connecting to the Eduroam network at visiting locations.
If this is your first time connecting to Eduroam, please follow the steps below (only works while on DU campus):
- Make sure your wireless card is turned on and connect to DU Guest Wireless
- Launch a browser such as Chrome, Firefox, Internet Explorer,Safari, ETC.
- At the Wireless Networking screen, select "eduroam" and follow the prompts.
- This configuration needs to be performed only once on your computer.
For more information about Eduroam please visit: https://www.eduroam.us or https://www.eduroam.org.
UTS provides the infrastructure that enables wireless connection on a large percentage of the campus. PioneerNet is PRIVATE and SECURED -- Getting on the network requires logging into the system using a DU ID and passcode. Your wireless network card needs to support WPA/WPA2 Enterprise (also called 802.1x) and one of the 802.11b/g/a/n standards.
The DU Wireless Networks are designed to supplement the extensive wired campus network infrastructure. Because wireless connections are not designed for large file transfers or streaming video, please plug into a network jack whenever possible for the best performance. REMEMBER: A wired connection is nearly always faster than a wireless connection.


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Discussion in 'Oceania' started by korsarz222, Feb 25, 2011.
Have you any information about the teams participating in the 2011 Pacific Games?
However, there is still no confirmed teams, someone has information that teams will play in this tournament?
Is there any news about The Pacific Cup 2012?
I heard it was a proposal for 5 Ocenian Senior teams and the New Zealand under 23 team?
Is it only a proposal or will it actually happen?
Pacific Games no longer part of qualification
The roads to the 2014 FIFA World Cup Brazil™ and the Women's Olympic Football Tournament London 2012 have been altered for the top men's and women's teams respectively within Oceania.
OFC originally planned to use the football tournaments at the Pacific Games in New Caledonia this August/September as part of the qualification process, as had been the case in Samoa four years earlier.
But uncertainty around the participation of Guam, a member of the Asian Football Confederation (AFC), in the respective football tournaments has left the OFC Executive Committee with no other option but to scale back its involvement.
The men's tournament at the XIV Pacific Games 2011 will therefore no longer act as the first stage of qualifying for the 2014 FIFA World Cup™ while the women's event will likewise not be part of the 2012 Olympic Games qualification process.
OFC General Secretary Tai Nicholas admits it is disappointing to not be able to use the Pacific Games as a qualifying stage but says OFC had no other choice.
"FIFA have been very clear that they cannot approve a FIFA qualifying event where non-OFC members are participating," Nicholas says.
"But the Pacific Games will remain a premier event for the Pacific Island nations. Eleven men's teams and ten women's teams are still going to the Games and will use the matches as preparation for the upcoming FIFA qualifying events."
Nicholas says the confederation has had to look at alternative options for the World Cup qualification process and a new four-stage format has been decided upon and approved by FIFA.
The first stage will see the four lowest-ranked OFC member associations (based on the FIFA/Coca-Cola ranking and other sporting reasons) take part in a tournament based on a league system from 21-26 November 2011. The countries involved will be American Samoa, Cook Islands, Samoa and Tonga, and the top finisher will advance to the second stage, joining the remaining seven OFC teams that received a bye in the first stage.
Stage two will see the revival of the OFC Nations Cup where eight countries - namely Fiji, New Caledonia, New Zealand, Papua New Guinea, Solomon Islands, Tahiti, Vanuatu and the winner of stage one - will take part in a tournament based on a league system with semi-finals and a final. The tournament is scheduled for 1-12 June 2012 and the winner of the final will go on to represent OFC in the 2013 FIFA Confederations Cup.
The four highest-placed teams from the second stage will then contest stage three - a round-robin, home-and-away play-off series. The matches are foreseen to take place between 7 September 2012 and 26 March 2013 in FIFA windows.
The winner of the third stage will advance to the inter-continental play-off for a place at the 2014 FIFA World Cup Brazil™. Whether the OFC representative will face an Asian, Central American or South American opponent will become known after the 2014 FIFA World Cup Brazil™ Preliminary Draw on 30 July.
Nicholas is pleased with the format of the new qualification process and says it will provide plenty of excitement for the region's football followers.
"The withdrawal from the Pacific Games has given us the opportunity to review the qualification pathway and we believe we have developed several events that will cater to the needs of our members and fans across the Pacific," he says.
An alternative option for women's Olympic qualifying has also been found. New Zealand will be seeded to the second stage while the eight other OFC member associations who are International Olympic Committee (IOC) members – American Samoa, Cook Islands, Fiji, Papua New Guinea, Samoa, Solomon Islands, Tonga and Vanuatu - will play a tournament based on a league system with semi-finals and a final.
The winner of the preliminary stage final will then play New Zealand in a one-off match hosted by the preliminary winner. As was the case for the 2008 Olympics, the winner of this match will qualify for the Women's Olympic Football Tournament London 2012.
Updated On Wednesday, June 29, 2011
The latest information is:
Men: (11) American Samoa, Cook Islands, Fiji, Guam, Kiribati, New
Caledonia, Papua New Guinea, Solomon Islands, Tahiti, Tuvalu and Vanuatu
Women: (10) American Samoa, Cook Islands, Fiji, Guam, New Caledonia, Papua
New Guinea, Solomon Islands, Tahiti, Tonga and Vanuatu
It's funny that for a Pacific Island games, that teams from Hawaii (USA) or Western Samoa should be able to send a team over. If your information is right, why has Tonga sent over a Women team but not a Men team??
Group A
1. New Caledonia
2. Vanuatu
3. Solomon Islands
4. Guam
5. American Samoa
6. Tuvalu
Group B
1. Fiji
2. Tahiti
3. Papua New Guinea
4. Cook Islands
5. Kiribati
Group A
1. Papua New Guinea
2. Tahiti
3. Solomon Islands
4. New Caledonia
5. American Samoa
Group B
1. Tonga
2. Fiji
3. Cook Islands
4. Guam
Thanks a lot for sharing the information....
Check the latest information about the Upcoming international events like All Africa Games, Commonwealth Youth Games, Pacific Games from the below links:
1) All Africa Games 2011
2) Commonwealth Youth Games 2011 and
3) Pacific Games 2011
Group A
Tuvalu 4 – 0 American Samoa
Solomon Islands 7 – 0 Guam
New Caledonia 5 – 0 Vanuatu
Group B
Papua New Guinea 4 – 0 Cook Islands
Fiji 3 – 0 Tahiti
. . . no surprises . . . The Solomon Islands vs New Caledonia game and the Fiji vs PNG will be the ones to look out for.
Vanuatu - Tuvalu 5-1
Makes group A quite interesting.
Fiji trashed Kiribati 9-0
more results:
Solomon Islands 4-0 American Samoa
New Caledonia 9-0 Guam
Tahiti 7-0 Cook Islands
Group A
Guam 2-0 American Samoa
New Caledonia 8-0 Tuvalu
Vanuatu 1-0 Solomon Islands
Group B
Cook Islands 3-0 Kiribati
Tahiti 1-1 Papua New Guinea
These scorelines are such blow out. Only one draw so far.
Group A
Vanuatu 4-1 Guam
Solomon Islands 6-1 Tuvalu
New Caledonia 8-0 American Samoa
Group B
Papua New Guinea 17-1 Kiribati
Fiji 4-1 Cook Islands
Group A
Guam 1-1 Tuvalu
Vanuatu 8-0 American Samoa
Solomon Islands 2-1 New Caledonia
New Caledonia 5 4 0 1 31 2 +29 12
Solomon Islands 5 4 0 1 19 3 +16 12
Vanuatu 5 4 0 1 18 7 +12 12
Tuvalu 5 1 1 3 7 20 −13 4
Guam 5 1 1 3 4 21 −17 4
American Samoa 5 0 0 5 0 26 −26 0
Group B
Tahiti 17-1 Kiribati
Fiji 2-0 Papua New Guinea
Fiji 4 4 0 0 18 1 +17 12
Tahiti 4 2 1 1 25 5 +20 7
Papua New Guinea 4 2 1 1 22 4 +18 7
Cook Islands 4 1 0 3 4 15 −11 3
Kiribati 4 0 0 4 2 46 −44 0
New Caledonia v Tahiti
Fiji v Solomon Islands
New Caledonia 3-1(a.e.t.) Tahiti
Solomon Islands 2-1(a.e.t.) Fiji
Third place game
Tahiti v Fiji
New Caledonia v Solomon Islands
Third place game
Tahiti 2-1 Fiji
New Caledonia 2-0 Solomon Islands
Looking at the scorelines and result table, I have to say the top three teams in each of the pool groups are fairly same level of football ability. Might be an improvement overall for the top end of the island nations this time round.
New Caledonia won the game that counts against the Solomon Islands after their pool lost.
If there is better money about, I like to see a league system when the all the teams are of an even football level and follow a similar system to the South American Confederation and get more games and better coverage. But the pacific games tournament still have a nice system on a cheap budget.
Separate names with a comma.


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½ cup onion, diced
½ cup red bell pepper, diced
¾ cup mushrooms, thickly sliced
2 cloves of garlic
2 eggs
3 cups cooked (preferably day-old) white rice
¼ cup soy sauce
¼ olive oil
Step 1: The right temperature and oil
Use any oil that allows to cook at a higher burning point, since you will be cooking at high temperatures. Start with two tablespoons of oil.
Step 2: Veggies
Step 3: Frying the rice
Step 4: Color and aroma
At this point you can add an egg and stir in the vegetables. Once the veggies have reached the same temperature of the rice, remove the pan from the stove.
Serve immediately if possible.
Is that the intention?


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Your Health, Your Body, Your Life
Dr. Brian K. Nathanson, chiropractic physician
Monthly Archive for September, 2009
A Breast Cancer Survivor Turning Lemons Into Lemonade
As I continue to work within the breast cancer survivor community I keep meeting motivated and interesting women and yes, some men who have risen to the challenge of fighting breast cancer. In this blog I would like to introduce you to Mary Ann Wasil Nilan a breast cancer survivor of 5 years now. Her story […] [Read More]
Pilot study finds chiropractic care, physical therapy may reduce costs
With today's health care debate raging on, I found this information of real value, especially while our President and others are saying we must use what works. Once again, I didn't write this, but sometimes its not about what I say, but what everybody is saying. The more we all stay informed with facts, the […] [Read More]
Stop Dreaming About Quality Sleep and Do Something!
As a chiropractor, many patients ask me about what is the proper mattress or pillow for them. There is no set answer, but only tips and guidance. Instead of reinventing the wheel, I have decided to take this article compeletly from the American Chiropractic Association website. Ihope this gives some answers and enlightenment. An old Chinese […] [Read More]
ROW FOR THE CURE IN NORWALK HARBOR, OCTOBER 31st
I am proud to announce the first annual Row For The Cure to be held in Norwalk Harbor on Halloween from 9 -3. Sign up at regattacentral.com. More details to follow [Read More]


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COLUMBIA CITY — Once more, Columbia City has been named a Tree City USA.
This honor is given to cities across the United States by the Arbor Day Foundation and the National Association of State Foresters. There are four core requirements communities must meet to receive this designation.
Columbia City, in part due to the hard work of its tree board, met these requirements.
Ken Lundquist with the Columbia City Tree Board said receiving the Tree City USA title meant a little more work this past year.
COLUMBIA CITY — An historic honor was bestowed Thursday night.
For the first time in the history of Leadership Whitley County, a member of the graduating class received the award for Excellence in Servant Leadership. Columbia City Police Chief Tim Longenbaugh was nominated by one of his classmates for this honor, and was given it at the Leadership Whitley County Celebration for the Class of 2012-13.
Park Director Mark Green has closed Morsches Park due to severe flooding. The park and ball fields will remain closed until Monday.
In the meantime, for safety reasons, Green asks that everyone stay out of the park.
COLUMBIA CITY — Individuals who were out driving Thursday evening or Friday morning likely noticed the effects of recent heavy rains in Whitley County.
Spotters reported to the National Weather Service that 3.51 inches had fallen by 1 p.m. Thursday. An additional report said 2.3 inches had accumulated by 4:30 a.m. Friday.
Whitley County Consolidated Schools closed for Friday. Whitko and Smith-Green Community Schools were both on two-hour delays. WCCS Superintendent Pat O'Connor said poor road conditions influenced the decision.
Whitley County has been placed under a tornado watch until 5 p.m. by the National Weather Service.
Weather conditions today include strong winds, showers and potentially strong thunderstorms that will become less widespread around late afternoon.
COLUMBIA CITY (April 18, 2013) — The Northeast Hoosier Conference will cease existence in the summer of 2015.
According to NHC President and Norwell High School Principal Mark A. Misch, all eight member schools will leave the athletic conference in two years.
COLUMBIA CITY — After an 11-0 start to the season, Columbia City's girls track team split a three-way meet with Norwell and DeKalb Tuesday night.
The Lady Eagles picked up top honors at the Bishop Luers Invitational Saturday, and Head Coach Bob Fahl said the team was still suffering from the effects of the meet.
"I think some of the girls were still feeling the effects of the weather and stress from Luers," Fahl said.
The Lady Eagles (53) fell to Norwell (61) but topped DeKalb (50).
COLUMBIA CITY — Not many coaches can find positives after an extra-inning loss, but Columbia City Head Girls Softball Coach Steve Cox is an exception.
"I love those games," Cox said. "I don't like losing, but I love those games."
The Lady Eagles dropped a 2-0 game to Leo at Morsches Park.
It was a battle of the defenses, as the game held a 0-0 score through the beginning of the eight inning.
In the top of the eighth, with Leo at bat, one out and a runner on first base, the next batter hit a double to put base runners on second and third.
PERU — A relay play made the difference in a tight baseball game Wednesday night.
Whitko beat Peru, 4-3 on the road.
The Wildcats held the lead going into the bottom of the seventh inning, but the Tigers had a runner on first with two outs.
Peru batter Nolan Brimbury hit a double to right field that could have tied the game.
But the Whitko defense came through. The team executed what Coach Erik Hisner called a "perfect" relay, with right fielder Hunter Sroufe getting the ball to shortstop Ethan Nicodemus.
HUNTINGTON — Columbia City's girls tennis team picked up its second win of the season Wednesday night at Huntington North.
The Lady Eagles won a close 3-2 match against the Lady Vikings to improve to 2-1.
Columbia City's No. 1 singles player, Celine Rongos, led the Lady Eagles with a 6-2, 6-1 win over Huntington North's No. 1, Kylie Fredrick.
Lauren Rivas took the win in No. 3 singles, topping Lady Viking Emily Eherenman in a three-set match. Rivas won the first set, 6-2, but fell by a 6-4 score in the second. Rivas came back in the third set to win 6-1.


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Last week, we reported that Samsung had beaten Apple and claimed the top spot in J.D. Power's latest tablet satisfaction survey. On closer inspection of its findings, it was unclear how the South Korean company had earned first place after its tablets received lower ratings than the iPad in so many areas.
J.D. Power has since explained why that's the case.


text: No recent wiki edits to this page. The Borchardt C-93 is a very rare pistol, designed in Germany. The C-93 was one of the earliest semi-automatic pistols ever made, and it was one of the first to be made in reasonable numbers. The C-93 was designed in 1893, and fired a 7.65 cartridge. The pistol's name is derived from its designer, Hugo Borchardt. The round produced for the weapon was a 7 .65mm, and it was developed by Hugo Borchardt for use with the C-93. The main downfalls of the Borchardt C-93 were the costs of production, and the severe recoil. However, the C-93 did not fade into obscurity without lending its own aid to weapon design. It was arguably a predecessor to both the Mauser C96, and the Luger P08. Game Appearances Red Dead RedemptionSingle PlayerThe Borchardt, or Semi Automatic Pistol as it is called, appears in Rockstar's 2010 release, Red Dead Redemption. The Semi-Auto is Dutch Van Der Linde's signature weapon, as he will always use this over anything else. The BorchThe Borchardt, complete with its stats in Red Dead Redemptionardt C-93 can be accessed in two different manners during the game's single player segment. It can be found after completing the Fort Mercer hideout inside the fort. This method of unlocking is free. Should the player decide to though, they may purchase the C-93 for around $300 at the Escalera weapons shop, in Mexico. MultiplayerOnline, the C-93 is unlocked for use in Free Roam at Rank 24. It is also used in some game modes as a default weapon. For example, it appears in Shootout matches occasionally. The C-93 is actually comparable to the Mauser online, and in some cases is arguably superior. The fire rate of the weapon is variable seeing as it will empty as quickly as the shooter can pull the trigger. The C-93 holds seven rounds, and depending on accuracy all seven shots may be needed.