text:
Author: Pierce, Deborah L
Date published: September 1, 2010
Language: English
Journal code: PMUN
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference
-Robert Frost, The Road Not Taken
Music history is full of evidence that musicians have serious health concerns that affect their profession. Traditionally, these stories have been told in the context of describing the eccentricities of great creative geniuses: Beethoven lost his hearing; Chopin's tenuous health affected his playing; Schumann had a self-inflicted hand injury, attempted suicide, and committed himself to a mental institution. More often, the many musicians who struggled throughout the centuries as well as those who struggle today with injuries and other physical and mental-health concerns have relegated their problems to the shadows in secrecy. This began to change when the playing-related injuries of Gary Graffman and Leon Fleisher, both renowned pianists, were made public in a New York Times article in 1981.1 Since that time, information about the many health issues that are faced by musicians in their profession has gradually come into the light.
Within the decade following the publication of the Times article, medical practitioners hosted their first Symposium on the Medical Problems of Musicians, the first issue of the journal Medical Problems of Performing Artists was published, results of a major research survey on the medical issues of orchestral musicians among the forty-eight professional orchestras belonging to the International Conference of Symphony and Opera Musicians was published,2 and the Performing Arts Medical Association (PAMA) was established. Research and information dissemination continued to expand in the 1990s as an online musician-health survey sponsored by the University of North Texas was undertaken; the Textbook of Performing Arts Medicine was published; and an ever growing body of programs and literature documenting the research, study, and experiences of medical practitioners, musicians, and educators emerged.3 These three distinct groups share similar interests in and concerns about musician wellness, yet they each have a very different focus.
The group with the largest output and earliest publications is the medical professionals. Although most of their publications are clinical in nature, some of their later writings have an educational focus. Their educational programs and materials can be divided into two categories: one goal is to train other medical practitioners, and the other more recent goal is to educate musicians. Musicians were the next group to actively come onto the scene. Much of their output can also be divided into two categories: one for the purpose of gathering and sharing information in the form of bibliographies, written primarily as theses and dissertations, and the other by injured musicians who struggled through a maze of insufficient knowledge and uneducated medical practitioners to bring their personal messages to fellow musicians. The injured musicians' contributions are often very passionate, with a strong desire to share their hard-won knowledge with other musicians.4 As more information became available, music educators added their voices to the conversation. Although the Music Educators National Conference's (MENC) Handbook of Research on Music Teaching and Learning was first published in 1992, it was not until the second edition in 2002 that information on wellness was included.5 As educators began their own research and started writing from a pedagogical viewpoint, they also added arguments for the need to include wellness education in the music curriculum.
An important milestone was reached in 2001 when the National Association of Schools of Music (NASM) included the first language acknowledging the need for attention to these issues in its handbook.6 In later editions the association expanded on earlier language, which had merely encouraged programs to connect students with qualified medical professionals, to encourage schools of music to provide access to education about physical and mental health issues as well as providing prevention information.7
From the beginning of my career as a music reference librarian in 1981, I observed music student and faculty needs for health information and resources relating to their profession. These needs were not only obvious from their requests for research assistance, but also from my interactions with them while performing and socializing.8 As students got to know and trust me, they often would ask wellness questions, and would seek me out to find a neutral sounding board to discuss their issues. As a performing musician, educator, musicologist, and librarian, I have always looked for practical applications of my research and study, and have easily combined these worlds by focusing on performance practice and information literacy. With a practical and service orientation to life, and my information specialist hat firmly in hand, I began searching for both informational and human resources that could help these students answer their questions. I found interesting information about publishing and research trends as well as implications for the traditional activities of a librarian: collection development, circulation, and reference.
Publishing and Research Trends
As one might expect, publishing patterns followed the development and historic events in the field. To get a better sense of the history of the field and to confirm what I had learned from over twenty years of observation, I compiled a list of books and theses from searches in OCLC using the main subject headings that relate to musician wellness (for a list of subject headings used, see appendix A). I added important titles to the list that did not show up in these searches. This gave me a detailed picture of research and publishing trends in the field. As the "Mono - graphic Publishing and Research Trends" chart shows, few works were written in the first half of the twentieth century. The number of books and theses increased slowly from the 1950s to 1980 with a tremendous growth rate from the 1980s to 2010. While there were a few more theses than books written in the 1980s, the number of published books grew at a much faster rate starting in the 1990s, more than doubling the number of theses in the first decade of the twenty-first century.
There were few dissertations and theses about musician wellness written before the 1980s. Those that appeared in the middle decades of the twentieth century focused primarily on vocal production and the performance behavior of musicians. A few titles from the 1970s reported research on the physiological workings of the musician's body, and a few looked at performance anxiety. By the early 1980s, there were some studies that generally described what musicians were experiencing, with some also including information about coping strategies. By the end of the 1980s most of the studies were on performance anxiety. Those that did focus on the physical body became more refined. Physiological research still focused more on production-for example videofluorographs of tongue positions in brass playing-than on any physical problems or on the impact of playing on the musician's body. There was more research on a broader range of topics during the 1990s, including more specific studies on the various aspects affecting the physical and emotional well-being of musicians. These expanded further during the first decade of the twenty-first century to include more alternative healing methods and the impact of the actual music on musicians. Theses came from a variety of institutions. Although there were noticeable numbers of theses produced at Texas institutions during the 1990s, there was no single institution that could claim a significant proportion of the output.
Book publishing took a slightly different path. Prior to 1950 most of the titles were not in English; during the 1960s and 1970s they focused mostly on technique and were predominantly written for vocalists. The first titles to focus on instrumentalists came into the literature toward the end of the 1970s, but vocal topics were still dominant into the 1980s. Some of the first books written by musicians were published around this time along with a couple of alternative wellness topics such as yoga for body conditioning. Some works that have become classics were also written in this time frame. The first edition of Tensions in the Performance of Music, edited by Carola Grindea with foreword by Yehudi Menuhin, was published in 1978, Eloise Ristad's Soprano on Her Head appeared in 1982, and Barry Green and Timothy Gallwey's first edition of The Inner Game of Music came out in 1986.9 Publications in the 1990s presented a wider range of topics and included a more balanced collection of materials for both vocalists and instrumentalists. Some of the first books on hearingrelated issues and alternative solutions like the Alexander Technique also appeared during this time. By the first decade of the twenty-first century an ever-widening range of wellness materials for musicians was being published along with new editions of old favorites. Scientists and neuroscientists were adding to the research, titles on specific instruments were being written, educational and philosophical topics appeared, and prevention was a common theme.
In addition to a rich and deep monographic presence, there is an even larger body of journal literature available. The journal literature can also be divided by the three distinctive groups of writers-medical practitioners, musicians, and music educators-and follows historic patterns similar to the monographic literature. The critical journal which every collection should own is Medical Problems of Performing Artists. While this journal's focus has primarily been on clinical issues, it also includes articles of an educational nature.
Collection Development
In 1987 I started actively developing a collection of musician wellness materials at the University of Washington Music Library, and continued developing that collection for twenty years. Since there were few items published during the early years, finding materials to purchase was challenging. Many good resources that were available were being published by small presses that were not part of our approval plans or regular vendor catalogs, and were available only through diligent research. Like - wise, several were self-published, which made them difficult to identify and obtain. Although most of the recently published wellness mate rials are available from mainstream sources, there are still important mate - rials that are not appearing in the traditional resources music librarians use to develop collections.
In preparation for my MLA presentation, I wanted to create a comprehensive list of monographic materials for participants, but quickly realized that the literature had grown to the point where extensive bibliographies were probably no longer helpful, and there would be no way to capture the picture quickly or easily. I decided to focus instead on creating a small, well-balanced, "desert island" core collection of materials for small music schools that would not likely have access to these resources in their own institutions. To do this, I decided my best motivator would be to purchase these materials and donate them to my undergraduate music alma mater, Pittsburg State University. They were happy to be the recipients of the results of my project.
My focus for this project was on in-print materials spanning a wide range of musician wellness topics while representing all three groups of writers-medical practitioners, musicians, and music educators. I also kept the collection to a size that would be affordable for me as well as for potential donors to other institutions, and, of course, I included some of my favorite titles (for the resulting "Desert Island List of Musician Wellness Resources," see appendix B). This project brought me personally up-to-date with the publishing and literature in the field, and also provided materials to music faculty and students in an institution that did not then have such a collection.
I was able to purchase the majority of these materials easily from two primary vendors, but also needed to do some sleuthing to find sources for a few of the items.10 Most were listed as available in our primary library vendor's database. However, many of the entries in the vendor database had outdated publishers or distributors, and some titles were only available directly from the authors.11
Circulation and Replacement Patterns
One of the reasons I was interested in providing this material to a small school is that, during the twenty years I spent developing the collection at the University of Washington, I noticed that musicians were hungry for wellness information. As soon as one of the items appeared on our new-books shelf, it was almost immediately checked out. Theft and mutilation of these materials was surprisingly high, higher than in the general music collection. I remember one title I had purchased from MMB Music which disappeared and had to be replaced three times during its first year in the collection. The item was not expensive, less than fifteen dollars, so I surmised that its value was in its contents, and that its disappearance was probably due to patrons not being able to find it to purchase themselves. I was tempted to put bookplates in some of the titles to give pricing and purchasing information so that perhaps the items would not have to be replaced so often. I also noticed an increase in markings, highlights, and marginal notations in many of the items.12
While looking back on the years I attended to the collection, I was curious whether actual circulation statistics would match the usage patterns I had observed for these materials. I ran several lists using our local circulation database. The exercise was fraught with difficulties. There was a lack of circulation statistics before online circulation was implemented, data collection was not consistent, and there was no circulation information available for items that had been replaced since circulation statistics were deleted before the replacement items arrived. In spite of these difficulties, the picture I gathered was still interesting. There were wellness titles among the items with the highest circulation and renewals. Most of the wellness titles in this top group were focused on topics relating to vocalists or were general in nature. With the exception of two titles, all of the items in my "Desert Island List" had circulated in the past two years, and about half of the titles on the list were in circulation at the time I checked our online system.
Reference Assistance
Even with all of the available literature and programs in the field, there are still many music students who have not been exposed to wellness information, and often ask for guidance either for their own information or for research they are doing in their coursework. A good place for these students to get some background information is with the two articles on "Performing Arts Medicine" and "Musican's Health" in MENC's New Handbook of Research on Teaching and Learning. They provide a good overview of the issues of the field, and are a good starting place for anyone at the beginning of their research. There are copious bibliographies and Web pages that have sprung up over the last three decades which are also good starting places for research. I especially recommend the bibliographies produced by PAMA and the Music Teachers National Association (MTNA), because of their coverage and PAMA's attention to updating its site. (See the list of "Essential Reference Resources for Musician Wellness Information" in appendix A.)
Since the field overlaps many disciplines, a multidisciplinary approach to research is a must to obtain a discerning picture. For example, in order to find a balanced and comprehensive view of the journal literature, a researcher must search not only music databases like Music Index and RILM, but also databases like PsychINFO, PubMed, the CAIRSS database developed by the Institute for Music Research, and the Cumulative Index to Nursing and Allied Health Literature (CINAHL).
Many who have worked for an extended time in music librarianship find the need to serve and to teach through sharing information and information resources on all levels and in all circumstances. No matter what my activities or encounters might be, they filter through the lens of an information specialist; it seems to have taken up residence at the cellular level.13 When I am asked to introduce myself in various contexts, I often describe myself as someone who helps others connect their dots, to help connect them to resources, both human and informational which will assist them on their life's journey. A major part of my own journey is a heartfelt passion for music. I have the need to understand its healing powers and the musician's role in this healing. Steeping myself in a lifelong exploration and contemplation of music's role in healing has brought me to the arena of musicians' wellness and has developed my desire to assist other musicians to heal their problems and issues related to our profession. During my years as a music librarian I was provided with opportunities to use my skills in these endeavors. Some of these opportunities took me into roles that are not traditional for an information specialist, yet I found my participation to be heavily influenced by philosophies coming from the library and information science profession.
My early experiences as a performer, especially while I was a music student, were very positive, so I never really contemplated musician wellness issues during those years. I was blessed with supportive instructors who provided me with a balance of challenges and nurturing. While I had a few minor physical issues as I spent more time practicing, they were remedied intuitively by changing my practice habits and by resting. I had mild performance anxiety as an undergraduate, which fortunately vanished with the addition of more skills and experience. In 1990, however, I was in a serious automobile wreck that affected all aspects of my life including my abilities as a musician. For the next six years or so I personally navigated those murky and often tumultuous waters I had read about in the passionate books by injured musicians, searching for healing and the return of my ability to perform again. When most of my injuries were healed and I was well on the road to a full recovery, I started viewing the world of musicians, musician wellness, and music education a little differently. Since I knew that information on various aspects of musician wellness was becoming more readily available, I wondered why this information was not included in the education of musicians, why we were left in the dark to fend for ourselves, why medical practitioners were ignorant of these issues, and why there was reluctance to include this information in the curriculum.14
I spent the next decade researching, reading, collecting, and experimenting on myself with various healing paths including the healing powers of music itself. Beginning in 2000, I spent a couple of years training as a neurolinguistic programming (NLP) practitioner. During the portion of my program where we were required to do sessions with clients, and for the seven years following while I was a registered counselor in the state of Washington, I spent time addressing wellness issues with both professional and amateur musicians, using NLP techniques and talking about the issues these musician friends and acquaintances faced in the profession. Around this same time, I did some work with Dr. Jean Houston researching the arena of human potentials, and I continue to work with Jean today. I decided to leave counseling to the professionals, but gained many useful skills and learned a lot about the field of musician wellness during this process.
Around the turn of the twenty-first century, I began talking in earnest with faculty and colleagues about my desire to teach a course in musician wellness from the perspective of the musician and music information specialist. I wanted to share what I had learned through my own experiences, training, and knowledge of the literature. My intent was to complement and add value to my own expertise by bringing in a variety of medical professionals as guest speakers. I had support from many individuals who knew of my experience and knowledge in the area, including one faulty member who told me he thought it was past time this was taught in academia, and I was the perfect person to do it. In 2003, the Music Education Department at the University of Washington School of Music offered my course in a summer session: Mind and Body Health for Musicians.
Musician Wellness Course
I based the overarching theme of the course on information literacy concepts along with the idea that there are different solutions for different people.15 I wanted to provide the most neutral environment possible in which students could learn critical information about musician wellness research along with a variety of ideas and techniques. The course was constructed to allow students to explore a related area that most interested them, to have the freedom to discuss issues, and to come away with plans for their futures. Students were asked to do a variety of assigned readings, to keep a journal of their experiences throughout the course, and to research a topic of interest and present their results to the class. Their final project was to write an outline of their life-wellness plan, including any of the techniques and ideas they learned during the course that they planned to include as a regular part of their daily practice.
I was surprised by the high level of interest among the students. Many who were unable to take a summer course wanted to talk with me, had many questions, and expressed their hope that the course would be taught in the regular academic year. I was also surprised by the intensity of the students who did take the course. I had students who had stressful physical issues and others who faced debilitating performance anxiety. The biggest surprise to me was the frequently-expressed belief that the students could not talk with their studio teachers about these issues. This confirmed my original belief that students need a neutral environment in which to explore and learn about health information in their field.
It was gratifying to see my students settle into a relaxed and inquisitive mode during the course of the quarter as they explored the issues, talked with a variety of professionals, and were exposed to some alternatives. I was fortunate that the health professionals and faculty I asked to speak to the students were very good and very caring. One student commented that he had not been so intellectually challenged during his entire program-he was a junior at the time-and he found it not only stimulating, but decided to explore the possibility of a career in the medical field. I continued to field questions from students who took the course as well as from those who wanted to take the course but could not that quarter. Since teaching the course I continue to work with music teachers, students and fellow musicians, suggest resources when asked, continue compiling my own list of local resources, and speak on the topic whenever I find an opportunity.
While I was developing my own expertise and opinions and teaching my course, other prominent medical practitioners and educators were working on health promotion for musicians in higher education.16 In August 2003, the University of North Texas system in collaboration with PAMA secured funding from a variety of sources to organize national task groups comprising top scholars in their fields to create core content for a musicians' health initiative. These groups worked for a year and presented their findings at a 2004 conference comprised of medical professionals, representatives from many major music and medical organizations, and music educators. The working conference, Health Promotion in Schools of Music (HPSM), culminated in a series of recommendations and actions that continue today. Their actions have influenced health recommendations by NASM, and NASM has formally endorsed HPSM's recommendations.17 Publication patterns show an influence from the conference as well. In addition to publications that came directly out of the conference, many participants have also published works in the five years since that pertain to the content of the conference.
I was fortunate to be a participant in the HPSM conference. The panel presentations confirmed my beliefs and added to my knowledge of the field. I was able to make personal contacts with a variety of people who have concerns and passions similar to my own. One of the highlights for me was an informal meeting of educators who had taught wellness courses. I found that representatives from all of the three interest groups-musicians, medical practitioners, and educators-were teaching courses. We shared syllabi and discussed our experiences with teaching wellness information to musicians. Some of my ideas were of interest to instructors who asked permission to incorporate them into their own coursework, and I gained new ideas that I would like to incorporate if I have the opportunity to teach my course again. As the only information specialist among the group, I was able to lend a unique perspective to many of the conversations throughout the conference. My attendance at HPSM has also enhanced my ability to help make connections between music students, faculty, and experts in the field. For example, at one point when one of the specialists I met at the conference came to Seattle for another conference, I was able to put together a program that brought them to the University of Washington to work with music students.
In the winter quarter of 2009, I taught a freshman seminar at the Uni - versity of Washington-Inspiration from Contemporary Thinkers: Ex ploring Your Place in the Universe-based upon my work with Dr. Houston. It was during my preparation for this course that I came full circle to the link with my work in human potentials, information science, and musician wellness. This realization came while reading The Art of Possibility by Benjamin Zander-conductor of the Boston Philharmonic and teacher at the New England Conservatory of Music-and his wife Rosamund.18 In the winter quarter of 2010 I developed and taught another freshman seminar, The Power of Music, which led my work back to music, teaching about its joys and healing value. My hope in teaching this course was to help create or deepen the students' passion for music, both for the musicians as well as for possible future patrons of the arts. I wanted to provide a healthy view of our field and show the positive influences and healing power we can bring to the world through our music.
Research and publishing continues to grow with major proponents of the field like Alice Brandfonbrener, Robert Sataloff, Kris Chesky, William Dawson, Gail Berenson, Louise Montello, and many others actively working toward providing information to musicians about their health and well-being. Some educators continue to teach courses and include wellness information in their studios.19 Conferences, workshops, and other presentations continue to help educate musicians across the field. I continually see more music teachers at all instruction levels with interest in keeping their students healthy. The most promising programs are coming out of work with young musicians, educating them about wellness topics well before they study music in conservatories or academia.20 It is to be hoped that NASM will continue to advocate for institutions of higher learning to incorporate more wellness into their curricula and possibly enforce their recommendations in the accreditation process.
I will continue to look for ways to share the knowledge I have accumulated and will collaborate with others of like mind to help make positive changes in the education of musicians. I am currently writing a regular musician wellness column that focuses on resources in Glissando, the newsletter of the Pacific Harp Institute.21 I am also hopeful that I can influence other music librarians to spread the word from their own circles of influence, to collect important materials, and to educate themselves as musicians and as information specialists to help guide musicians to quality resources in the field.
1. Jennifer Dunning, "When a Pianist's Fingers Fail to Obey," New York Times, 14 June 1981.
2. Martin Fishbein, et al., "Medical Problems among ICSOM Musicians: Overview of a National Survey," Medical Problems of Performing Artists 3, no. 1 (March 1988): 1-8; based on "The ICSOM Medical Questionnaire," Senza Sordino: Official Publication of the International Conference of Symphony and Opera Musicians 25, no. 6 (August 1987).
3. The Texas Center for Music and Medicine program is a collaborative effort between the Health Science Center and College of Music at the University of North Texas in Denton, and is directed by Dr. John Hipple and Dr. Kris Chesky. Many publications appeared during the 1990s and 2000s as a result of this study. The participants in the program continue to do research and regularly present their results at conferences and in print. For more information about the program and its corresponding publications, see the Center's Web site: http://www.hsc.unt.edu/research/ifd/music_medicine/index.html. The Textbook of Performing Arts Medicine, edited by Robert Thayer Sataloff, Alice G. Brandfonbrener, and Richard J. Lederman, was first published in 1991 (New York: Raven Press). The work was updated in a second edition as Performing Arts Medicine (San Diego: Singular Pub. Group, 1998). The third edition has been announced as forthcoming on the Medical Problems of Performing Artists Web site at: http://www.sciandmed.com/mppa/.
4. I have read many of the publications from all three categories of authors and find that those written by injured musicians have played an important role. They filled a gap in the literature in the early years before medical practitioners began writing educational materials for musicians, and before music educators started writing about musician wellness. Musicians have often found important solutions to their own issues, and present their material with the kind of passion and experience that has the ability to influence and educate other musicians about the importance of prevention techniques and other health information. Many good publications written by musicians are still in print, and should be included in a well-balanced collection.
5. Handbook of Research on Music Teaching and Learning, ed. Richard Colwell (New York: Schirmer Books; Maxwell Macmillan International, 1992); The New Handbook of Research on Music Teaching and Learning, ed. Richard Colwell and Carol Richardson (Oxford; New York: Oxford University Press, 2002).
6. NASM's original language in its general standards for graduation in both the baccalaureate and graduate degrees was in a section entitled "Professional Health": "Institutions should assist students to acquire knowledge from qualified professionals regarding the prevention of performance injuries." National Association of Schools of Music, 2001-2002 Handbook (Reston, VA: NASM, 2001), 79, 100.
7. By 2009, NASM had added a section on "Facilities, Equipment, Heath, and Safety" which slightly expanded its earlier language to: "Institutions should assist students to acquire knowledge from qualified professionals and authoritative medical sources regarding the maintenance of professional health and the prevention of performance injuries" (p. 57); and added more language in a section on "Student Services" to address more clearly the health education of musicians, "The institution shall provide and/ or facilitate access to education, counseling, and professional care associated with the maintenance of physical and mental health" (p. 125). See the NASM Handbook 2009-10 (December 2009), http://nasm .arts-accredit.org/site/docs/Handbook/NASM_HANDBOOK_2009-10_DEC2009.pdf.
8. I was often amazed at how many students, especially in the 1980s, were compiling bibliographies of musician wellness materials. The main interest at that time was performance anxiety.
9. Tensions in the Performance of Music: A Symposium, ed. Carola Grindea, foreword by Yehudi Menuhin, pref. by Allen Percival (London: Kahn & Averill, 1978); Eloise Ristad, A Soprano on Her Head: Right-side-up Reflections on Life and Other Performances (Moab, UT: Real People Press, 1982); Barry Green and W. Timothy Gallwey, The Inner Game of Music (Garden City, NY: Anchor Press/Doubleday, 1986).
10. Since I was spending my own money, I did a little more research on vendor prices than we normally do in our library jobs. I discovered that by carefully selecting vendors, I could purchase more materials. The majority of the materials were available from amazon.com and its associate sellers; many were also available from abebooks.com. The collection cost a little less than one thousand dollars. The same collection would have cost about fourteen hundred dollars if purchased through my library's main vendor.
11. As I was contacting authors who were distributing their own out-of-print titles, I suggested they might try working with www.backinprint.com or a similar service. Through this company, one of my scientist friends was able to make her own popular out-of-print book easily available through amazon.com.
12. When I was gathering materials in preparation for teaching a wellness course in 2003, I replaced some items that were so heavily marked they were almost unreadable. I took note of the marginal notations, which helped confirm my strong beliefs that musicians had a passion and hunger for wellness information as well as a need to discuss the issues.
13. Examples of this work include volunteer roles as librarians in community music ensembles, historical societies, museums, and the like, as well as writing program notes for concerts, preconcert lectures, and historical and literature research for musicians outside of our normal work routines.
14. Our profession has its pedagogical roots in a maestro-led social structure, often imbalanced in terms of competition versus nurturing, as well as having a history heavily steeped in narcissism. There are whole conferences where medical professionals come together to research creativity and madness (see http://aimed.com/). Some factions in educational institutions fear litigation and the potential of high costs of remedy if music students are apprised of the realities of the health risks of the profession. Suffice it to say that these are complex, often controversial, and complicated issues that I only discovered with years of research, observation, and experience.
15. For information about how information literacy concepts were integrated into the course, see Deborah L. Pierce, "Incorporating Information Literacy into the Curriculum: A Look at ACRL's Best Practices Initiative and Successful Music Programs," Music Reference Services Quarterly 8, no. 4 (2004): 57-76.
16. While I was preparing this presentation I observed that events in my own history had often paralleled events in the field. For example, at the same time the 1981 New York Times article was published, I completed my masters in music and began a career as a music librarian in academia; about the time NASM was including its first language advocating for musician wellness education, I was trying to convince my institution to allow me to teach a course in musician wellness; I taught my wellness course during the year that experts in the field were putting together teams and bringing them together to discuss details of educating musicians in higher education.
17. For more information about the HPSM conference, including videos of conference sessions and text of the recommendations that were written as a result, see the conference Web site at: http://www .unt.edu/hpsm/. The recommendations were also published in Kris S. Chesky, William J. Dawson, and Ralph Manchester, "Health Promotion in Schools of Music: Initial Recommendations for Schools of Music," Medical Problems of Performing Artists 21, no. 3 (September 2006): 142-44.
18. Rosamund Stone Zander and Benjamin Zander, The Art of Possibility, rev. ed. (New York: Penguin Books, 2002). The Zanders's book was originally published by Harvard Business School Press in 2000, and was not written specifically for an audience of musicians. There are numerous examples in the book that are specific to musicians, however, making it an important title for musician wellness collections.
19. See the list of "Musician Wellness Courses or Programs in Institutions of Higher Education in the U.S." in appendix C. One noteworthy series of articles which provides descriptions of some of the courses was published in 2007: "Health Promotion Courses for Music Students," parts 1-3, Medical Problems of Performing Artists 22, no. 1 (March 2007): 26-9; 22, no. 2 ( June 2007): 80-1; 22, no. 3 (September 2007): 116-19.
20. As an example, in the summer of 2009, the Pacific Harp Institute in Seattle, Washington, directed by Alison Austin, focused its summer camps for young harp players on recital preparation that included many aspects of musician wellness. MTNA is another group that has provided a variety of programs for its teachers and students over the past several years. Gerald Klickstein's The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford; New York: Oxford University Press, 2009), and his corresponding programs available at http://www.musiciansway.com/, also have some interesting prospects for creating a grass-roots movement that might make health programs in higher education less critical if musicians already have the skills and information needed before they enter conservatories or universities.
21. For access to Glissando, see the Pacific Harp Institute's Web site at: http://www.pacificharpinstitute .org/. The archive of newsletter issues is available through the "Press" link.
Author affiliation:
Deborah L. Pierce is a reference and instruction librarian at the University of Washington, Seattle. This article is a revision of a presentation given at the Music Library Association annual meeting in San Diego, California, 24 March 2010.
All cited Web sites accessed 26 May 2010.
Appendix A:
General Overviews of the Field
Brandfonbrener, Alice G., and Richard J. Lederman. "Performing Arts Medicine." In The New Handbook of Research on Music Teaching and Learning, edited by Richard Colwell and Carol P. Richardson, 1009-22. Oxford; New York: Oxford University Press, 2002.
Chesky, Kris, George Kondraske, Miriam Henoch, John Hipple, and Bernard Rubin. "Musicians' Health." In The New Handbook of Research on Music Teaching and Learning, edited by Richard Colwell and Carol P. Richardson, 1023-39. Oxford; New York: Oxford University Press, 2002.
Medical Problems of Performing Artists (MPPA). Narberth, PA: Science & Medicine, Inc., 1986-. Quarterly.
Indexing Databases
Music Index
RILM Abstracts
PubMed.gov: http://www.ncbi.nlm.nih.gov/pubmed/
CAIRSS for Music (Computer-Assisted Information Retrieval Service System): http://imr.utsa.edu/CAIRSS.html
CINAHL (Cumulative Index to Nursing and Allied Health Literature)
Marxhausen, Paul. Musicians and Injuries, http://rsi.unl.edu/music.html (accessed 26 May 2010). This Web site, hosted by the University of Nebraska- Lincoln, focuses on instrumentalists. It has a good list of preventive to-dos, along with an extensive list of resources.
Music Teachers National Association. "Annotated Bibliography on Musician Wellness," http://mtna.org/Resources/AnnotatedBibliographyonMusicianWellness/ tabid/313/Default.aspx (accessed 26 May 2010). This is a searchable database that includes not only books and articles, but also pamphlets and useful Web sites.
Performing Arts Medicine Association. "Bibliography," http://www.artsmed .org/bibliography.html (accessed 26 May 2010). As noted on their Web site: "This bibliography focuses on the health problems of instrumental and vocal musicians, dancers and actors. It consists of citations from the medical, musical, and popular literature, with emphasis on clinical problems and relevant basic science in performing arts medicine. There are some references on alternative therapies, such as Alexander, Feldenkreis, etc. The list is mostly confined to the English language, although numerous articles in French and German are included as well."
Other Web Resources
Health Promotion in Schools of Music: Initial Recommendations for Schools of Music, http://www.unt.edu/hpsm/index.htm (accessed 26 May 2010). This site includes NASM and HPSM recommendations and a general strategic framework for health promotion in schools of music. It also provides access to the final report from the Music Education Liaison group and online access to videos of the 2004 conference sessions.
H.E.A.R. (Hearing Education Awareness for Rockers), http://www.hearnet.com/ index.shtml (accessed 26 May 2010). This Web site is from the first advocate group in the U.S. for prevention of hearing loss in musicians. Information about hearing loss risks is included.
Main Library of Congress Subject Headings
Instrumentalists-Health and hygiene.*
Music-Performance-Health and hygiene.
Music-Performance-Physiological aspects.
Music-Performance-Psychological aspects.
Musicians-Health and hygiene.
Musicians-Heath aspects.
Musicians-Mental health.
Musicians-Wounds and injuries. *
Singers-Health and hygiene.
Singing-Physiological aspects.
Singing-Psychological aspects.
Voice disorders-Prevention and control.
* These categories have similar subject subdivisions under specific instrumentalists, for example, "Pianists-Health and hygiene," as well as instrumentalist genres, for example, "Stringed Instrument players-Health and hygiene."
Appendix B:
Adolphe, Bruce. The Mind's Ear: Exercises for Improving the Musical Imagination for Performers, Listeners, and Composers. St. Louis: MMB Music, 1991. Available from the author at http://www.pollyrhythm.com/projects_page.html.
Alcantara, Pedro de. Indirect Procedures: A Musician's Guide to the Alexander Technique. Oxford; New York: Clarendon Press, 1997.
Bruckner, Susan. The Whole Musician: A Multi-sensory Guide to Practice, Per formance, and Pedagogy. Santa Cruz, CA: Effey Street Press, 1998. Available from the author ($25), firstname.lastname@example.com.
Bruser, Madeline. The Art of Practicing: A Guide to Making Music from the Heart. New York: Bell Tower Books, 1997.
Chasin, Marshall. Hearing Loss in Musicians: Prevention & Management. San Diego: Plural Publishing, 2009.
Cheng, Stephen Chun-Tao. The Tao of Voice: A New East-West Approach to Trans - forming the Singing and Speaking Voice. Rochester, VT: Destiny Books, 1991.
Colgrass, Michael. My Lessons with Kumi: How I Learned to Perform with Confidence in Life and Work. Moab, UT: Real People Press, 2000.
Conable, Barbara. What Every Musician Needs to Know about the Body: The Practical Application of Body Mapping to Making Music. Rev. ed. Portland, OR: Andover Press, 2000.
Dawson, William J. Fit as a Fiddle: The Musician's Guide to Playing Healthy. Lanham, MD: Rowman and Littlefield Education; Reston, VA: Published in partnership with MENC, the National Association for Music Education, 2008.
Dayme, Meribeth Bunch. Dynamics of the Singing Voice. New York: Springer, 1993; 5th ed., 2009.
Dunkel, Stuart Edward. The Audition Process: Anxiety Management and Coping Strategies. Juilliard Performance Guides, 3. Stuyvesant, NY: Pendragon Press, 1989.
Freymuth, Malva. Mental Practice and Imagery for Musicians: A Practical Guide for Optimizing Practice Time, Enhancing Performance, and Preventing Injury. Boulder, CO: Integrated Musicians Press, 1999; St. Louis, MO: MMB Music, 2004. Available from the author, Malva Freymuth, firstname.lastname@example.com.
Green, Barry, and W. Timothy Gallwey. The Inner Game of Music. New York: Anchor Press/Doubleday, 1986.
Green, Barry. The Mastery of Music: Ten Pathways to True Artistry. New York: Broadway Books, 2003.
Grindea, Carola, ed. Tensions in the Performance of Music: A Symposium. London: Kahn and Averill, 1978; new ed. enl., 1995.
Havas, Kató. Stage Fright: Its Causes and Cures, with Special Reference to Violin Playing. London: Bosworth, 1973.
Horvath, Janet. Playing (Less) Hurt: An Injury Prevention Guide for Musicians. Minneapolis: J. Horvath, 2002; rev. ed., 2004, etc.; New York: Hal Leonard Books, 2010.
Jordan, James. The Musician's Soul: A Journey Examining Spirituality for Performers, Teachers, Composers, Conductors, and Music Educators. Chicago: GIA Publi - cations, 1999.
Klickstein, Gerald. The Musicians' Way: A Guide to Practice, Performance, and Wellness. Oxford; New York: Oxford University Press, 2009.
Kropff, Kris, ed. A Symposium for Pianists and Teachers: Strategies to Develop the Mind and Body for Optimal Performance. Dayton, OH: Heritage Music Press, 2002.
Lehmann, Andreas, John A. Sloboda, and Robert H. Woody. Psychology for Musicians: Understanding and Acquiring the Skills. Oxford; New York: Oxford University Press, 2007.
Lieberman, Julie Lyonn. You are Your Instrument: The Definitive Musician's Guide to Practice and Performance. New York: Huiksi Music, 1991.
Montello, Louise. Essential Musical Intelligence: Using Music as Your Path to Healing, Creativity, and Radiant Wholeness. Wheaton, IL: Quest Books, 2002.
Norris, Richard. The Musician's Survival Manual: A Guide to Preventing and Treating Injuries in Instrumentalists. Ed. by Deborah Torch. N.p.: International Conference of Symphony and Opera Musicians, 1993; St. Louis, MO: MMB Music, 1997.
_____. Therapeutic Exercise for Musicians. Videorecording (VHS). Cambridge, MA: N.p., 1990. (The Norris book and video are currently out of print.)
Parncutt, Richard, and Gary E. McPherson, eds. The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning. Oxford; New York: Oxford University Press, 2002.
Paull, Barbara, and Christine Harrison. The Athletic Musician: A Guide to Playing Without Pain. Lanham, MD: Scarecrow, 1997.
Ristad, Eloise. A Soprano on Her Head: Right-side-up Reflections on Life and Other Performances. Moab, UT: Real People Press, 1982.
Rosset i Llobet, Jaume, and George Odom; illus. by Axel Oliveres i Gili. The Musician's Body: A Maintenance Manual for Peak Performance. Burlington, VT: Ashgate; London: Guildhall School of Music and Drama, 2007.
Salmon, Paul G., and Robert G. Meyer. Notes from the Green Room: Coping with Stress and Anxiety in Musical Performance. New York: Lexington Books; Maxwell Macmillan International, 1992.
Sataloff, Robert Thayer, Alice G. Brandfonbrener, and Richard J. Lederman, eds. Performing Arts Medicine. 2d ed. San Diego: Singular Publishing Group, 1998.
Schneiderman, Barbara. Confident Music Performance: The Art of Preparing. St. Louis, MO: MMB Music, 1991; Bloomington, IN: IUniverse, 2008.
Tillman, June Boyce. Constructing Musical Healing: The Wounds That Heal. London; Philadelphia: Jessica Kingsley Publications, 2000.
Watson, Alan H. D. The Biology of Musical Performance and Performance-related Injury. Lanham, MD: Scarecrow Press, 2009.
Werner, Kenny. Effortless Mastery: Liberating the Master Musician Within. New Albany, IN: Jamey Aebersold Jazz, 1996.
Appendix C:
The programs marked with an asterisk are described in a series of articles about "Health Promotion Courses for Music Students," parts 1-3, Medical Problems of Performing Artists 22, no. 1 (March 2007): 26-29; 22, no. 2 ( June 2007): 80-81; and 22, no. 3 (September 2007): 116-19. Web sites cited below accessed 26 May 2010.
*Eastman School Of Music: Wellness Initiative for Students at Eastman (WISE): http://www.esm.rochester.edu/studentlife/wellness/.
*George Mason University.
Ithaca College: sponsors regular Healthy Musician workshops: http://www .ithaca.edu/gps/healthy_musician/.
*Michigan State University: has a Musician's Wellness Team: http://www .music.msu.edu/common/wellness.php.
Moorehead State University: offers a 300 level class titled The Art of Performing (which focuses on performance anxiety) as well as some special-topics classes dealing with wellness issues.
New England Conservatory: offers a variety of online Health & Wellness Resources as well as classes on wellness issues: http://www.campusdish.com/ en-US/CSNE/NECMusic/FreshHealthy/HealthandWellnessResources.htm.
*Northwestern University: The Medical Program for Performing Artists run by Alice Brandfonbrener at the Rehabilitation Institute of Chicago regularly sponsors education for musicians as well as providing comprehensive performance oriented medical evaluation and treatment of medical problems: http://www.ric.org/conditions/pcs-specialized/PerformingArtsMedicine.aspx.
*Ohio University, Athens, Ohio: Gail Berenson teaches a wellness course at the university in addition to giving workshops nationwide: http://gailberenson .com/.
Portland State University and Marylhurst University: concurrently offer a Mu - sician's Wellness course: http://www.coordinatemovement.com/musicians_ wellness.php.
*Shepherd University, Shepherdstown, West Virginia.
*University of Indianapolis: The Music Department and School of Occupational Therapy have collaborated to bring training to students.
*University of North Texas: Many opportunities for wellness education are available through the Texas Center for Music and Medicine: http://www.hsc.unt .edu/research/ifd/music_medicine/.
*University of Southern Maine.
Louise Montello of Performance Wellness, Inc., lists several universities and professional orchestras that have employed performance wellness trainers in their programs on her Web site: http://www.performancewellness .org/pwexperience.html.
Other institutions present at the HPSM conference that have offered coursework or programs on wellness include: Berkeley College; Boston Conservatory; Francis Clark Center for Keyboard Pedagogy; Hardin Simmons University; Oberlin; Rutgers; University of California, San Francisco; University of Washington; and Western Michigan University. According to a survey of participants during the HPSM conference, forty-six percent of the institutions represented offered some kind of course or wellness program. Since there were a little over one hundred attendees, it is likely there are more schools that include wellness information in their programs.


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Newly unemployed linebacker Jason Taylor headed for the golf course Wednesday and said he hopes to re-sign with the New York Jets once the NFL's labor dispute is resolved.
The Jets released Taylor on Tuesday, but he said the parting with coach Rex Ryan was amicable. Taylor made his comments before teeing off in the Honda Classic pro-am as part of a foursome that included Jack Nicklaus, Tim Tebow and Kenny G.
Taylor and Tebow might have time for a lot of golf this spring, because an NFL work stoppage looms when the collective bargaining agreement expires this week. Tebow said he has made plans to work out with Denver Broncos teammates if there's a stoppage.
(Copyright 2011 by The Associated Press. All Rights Reserved.)
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subset: commoncrawl


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Five Things You Might Have Missed: 3-3
Top articles from this weekend's editions of The Blade
1. Winter brings more headaches in 'Pothole Alley'
Pothole Alley.
The buzz phrase doesn't refer to a specific road, street, boulevard, or avenue in metro Toledo, though many certainly would qualify for such a nickname.
Nor does it appear on any map, at least not ones most people use.
Pothole Alley refers to a band of midlatitude cities across America's heartland that are more vulnerable to the effects of severe weather than cities to the far north or far south.
"We're right in that section of the country that constantly has freezes and thaws," said David Welch, Toledo's streets, bridges, and harbors commissioner. READ MORE
THE BLADE/AMY E. VOIGT Enlarge | Buy This Photo
2. Policies on puffing ecigarettes at work or in public are cloudy
Just seven years since Ohio's smoking ban went into effect, the thought of lighting up a cigarette at the office seems almost as foreign as the idea that drinking radioactive water once was thought to ease the pains of arthritis.
But just as technology eventually trumped medical quackery, it's now caught up with America's smoking policies.
Industry groups estimate at least 2.5 million Americans now regularly use electronic cigarettes, with millions more having tried it. Those numbers are expected to grow, forcing many businesses to consider whether to allow ecigarette use by employees and customers. READ MORE
3. Authors! Authors! guest Zadie Smith to answer the question: Why write?
Teaching, grading essays, caring for small children, and unloading the dishwasher, Zadie Smith dreams of four uninterrupted hours to write.
"I have a novel maybe in mind but I barely have time to occupy my own life," says Smith, 38, gifted author of the award-winning White Teeth, On Beauty, and NW, novels that chronicle race, class, and identity. "Maybe the good thing about that is, by the time you get [to write], you really want to be there."
A sensation in her twenties for White Teeth, Smith will speak at 7 p.m. Wednesday in the Stranahan Theater as part of the Authors! Authors! series sponsored by The Blade and the Toledo-Lucas County Public Library. READ MORE
4. Sauder grabs some cred, featured on DIY show
As one of Fulton County's bedrock employers, Sauder Manufacturing Co.'s roots may be traditionally rural, but recently the ready-to-assemble furniture maker grabbed some hip-hop cred for its street rep.
Home customizable closet systems offered by its WoodTrac by Sauder division were chosen last year to upgrade the New Jersey home of hip-hop legend Joseph "Rev Run" Simmons, one of the founding members of Run-D.M.C., a pioneering group of the hip-hop music genre.
The closet systems were featured in four segments that aired in January and February on Rev Run Renovation, a home remodeling TV series — appearing on cable's home improvement DIY Network — about Mr. Simmons and his family as they upgrade their house. READ MORE
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5. Diverse crowd heralds Collins' inaugural event
An unlikely assemblage — consisting of labor leaders, businessmen, elected leaders, city workers, bankers, lawyers, and those who once opposed Toledo's current mayor — turned out Friday night to rally behind the man and the city.
Four hundred people attended Mayor D. Michael Collins' inaugural party at SeaGate Convention Centre downtown. The event adopted the mayor's campaign slogan: "Collins Cares."
"We will bring Toledo back to a position it has long sought to be," the mayor said to the crowd after dinner. "We will be a gem of northwest Ohio."
The mayor opened the event by presenting a key to the city to former Toledo Councilman Betty Shultz, who was his transition team's honorary chairman. READ MORE


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May 2, 2016
One county here in the east is urging residents to take advantage of technology to keep up to date.
The city of Jacksonville and all of Onslow County are using what's known as "Connect C-T-Y." It allows the city of Jacksonville and the whole county to contact you by landline, email and even by text for emergency notifications in your area.
They can pinpoint neighborhoods to notify specific areas of flooding or other problems.
Jacksonville and Onslow County residents can sign up by heading to the city's website. Several other communities offer a similar service.
Click the link below to be redirected to the website for signing up.
It's all very similar to the WITN app you can add to your phone-- you can visit our website, witn.com to get news and weather updates sent straight to you.
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text: Expert witness fined for creating fake child pornography Culture 12 November 12 by David Kravets walknboston/Flickr/CC BY 2.0 In the US, an Ohio lawyer who serves as an expert witness in child pornography cases is on the hook for $300,000 (£188,500) in civil damages for Photoshopping courtroom exhibits of children having sex, a federal appeals court ruled on 9 November.Attorney Dean Boland purchased innocent pictures of two juvenile girls from a Canadian stock-image website, then digitally modified them to make it appear as if the children were engaged in sexual conduct.Boland was an expert witness for the defence in half a dozen child porn cases and made the mock-ups to punctuate his argument that child pornography laws are unconstitutionally overbroad because they could apply to faked photos.As a result, in 2007 he found himself the defendant in a deferred federal child-porn prosecution in Ohio, even though his exhibits helped clear at least one client of child-porn-related allegations. Now, a federal appeals court is upholding a $300,000 (£188,500) verdict in a lawsuit brought by the parents of two of the girls whose images Boland doctored."This $300,000 (£188,500) award undoubtedly amounts to tough medicine for Boland," the 6th US Circuit Court of Appeals ruled (.pdf). "When he created morphed images, he intended to help criminal defendants, not harm innocent children. Yet his actions did harm children, and Congress has shown that it 'means business' in addressing this problem by creating sizeable damages awards for victims of this conduct."Boland, a former state prosecutor, transformed a picture of a five-year-old girl eating a doughnut into one of her having oral sex. Another photo was of a six-year-old girl's face placed on the body of an adult woman having sex with two men. He purchased the pictures from iStockPhoto, according to court records, and morphed them to help child porn defendants make a nuanced legal defence.The parents of the children, who were not named in the case, lodged the complaint (.pdf) against him in 2007 after learning of the photo morphing from the FBI. Under the 1986 Child Abuse Victims Rights Act, each victim is entitled to a minimum $150,000 (£94,200) in damages.Boland argued that he was immune from such a lawsuit because, among other reasons, he'd created the images for use in court, never distributed them, and that the First Amendment of the US Constitution protected him.But the court ruled that it was immaterial that Boland never displayed the images outside of court and never transmitted them electronically."The creation and initial publication of the images itself harmed Jane Doe and Jane Roe, and that is enough to remove Boland's actions from the protections of the First Amendment," the appeals court ruled.The law under which the parents sued demands proof that the girls suffered "personal injury." But Boland argued that the children didn't know about the pictures, a point the appeals court said was immaterial."Even if Doe and Roe never see the images, the spectre of pornographic images will cause them continuing harm by haunting [them] in years to come," the appeals court said.Boland's morphing was to help those caught possessing child pornography make a nuanced legal defence. Child pornography laws prohibit "knowingly" accessing child pornography. The morphed images were a bid to demonstrate that the law violated the First Amendment on "vagueness and over-breadth grounds," because a defendant could not know whether what he was viewing was an actual or virtual image of a child having sex.Boland did not immediately respond for comment. Source: Wired.com Edited by David Cornish Latest on wired.co.uk


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6th period Spring 2013
Welcome to my class blog. Students are exploring different foreign languages as well as specific historical time periods within Western Civilization.
by TW
Julia Osteen
Chapter 2
After the game Steven was exhausted and took a nap he had scored the game-winning goal after that other team scored 3 unanswered points his teammates battled back and won the game 4-3 Steven had 3 goals and 1 assist. After 4 hours Steven woke up, went down stairs for dinner and his dad asked him how his game went, he explained the things that he did while his younger brother Paul was eating cheerios with his fingers, his dad started talking about Steven's birthday which would be the Sunday of next week.
The next Saturday Steven found himself on the lacrosse field again playing the best team in the league, The Ewford Wildcats. Steven played as hard as he could, he got the ground balls on defense, he made the right passes on offense, and he even scored a goal. The game was tied 5-5, with 30 seconds left in the fourth and Steven got the ball, he went hard to the crease, he jumped, he shot, and he got hit by the biggest defender in the league at the same time, he landed awkwardly on his leg and heard a crack.
The goalie grabbed the ball, threw it to the next closest middie who ran as fast as he could with the last 20 seconds he had he passed it to there best attack man. 15 seconds. The middie on the opposite side cut to the middle and called for the ball. 10 seconds left. The attack then through the ball to the middie in the middle that reared back to shoot. 4 seconds. The goalie got ready for the ball. 3 seconds. The defense ran to the middle and the stick came forward. 2 seconds. The ball slips past the goalie for the game-winning goal. 1 second. The crowd is mixed with sighs and cheers. 0 seconds. Game over. Steven is still on the ground.
The computer you are commenting from has an id number. It is 188.8.131.52!
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AOpen Ryou Series Art PC
Technology does not necessary have to look dull. And Taiwanese manufacturer AOpen's answer to that is their new stylish small form factor PC, called the Art PC, as listed on their website. We expect more information about the Art PC soon.
For a long time, high technology products had nothing to do with art, culture, or traditional handicraft. In recent years, however, some 3C brands have been trying to combine their designs and concepts with fashion brands or to create their own luxury brand. Examples are Vertu mobile phones and Acer Ferrari notebook PC. These products combine high quality materials with special design to make them very special and expensive products, but they lack an important thing – a soul.
These extravagant products are outstanding in terms of material and design – some of them are even handmade. You need to wait at least one month after you placed an order for the Vertu phone, but Vertu phones are still mass-produced. There will always be someone who will own the same Vertu phone as yours; the only difference is the serial number. And this is not good enough for some collectors – they need a more unique products with an artistic touch and soul.
Every human has different characteristic and unique features; therefore, unique products would possess unique features as well. Artists have their way to animate none-living things; Leonardo da Vinci gave life to Mona Lisa using his painting skills and Michelangelo di Lodovico Buonarroti Simoni crafted the famous sculpture David out of a stone. A real masterpiece must be given a soul by a great artist with outstanding handicraft skills.
To perfectly fusion technology and art, Universal Roaming Inc. and AOpen Inc. proudly present the Ryou series Art PC. Every Art PC is handmade by a Japanese master and sports unique features. Your Art PC is just like you – the one and only.
Source: AOpen


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Amateur Game Developer seeking to enter the games industry; having worked in the Source engine as a part of multiple mod teams for several years, I have moved on to working with the UDK and Unity engines.
Pictures of the Beta 01 release of Koth_Shrinehold. No custom content here save the cloud layers and roof textures; the rest is all stock HL2


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Transitioning to College
Helpful Links for Parents and Students
The links on the page below have been taken from a SEPTA presentation by Dr. Anthony Pantaleno, High School Psychologist.
WNY Collegiate Consortium of Disability Advocates
The organization was created to serve the needs of students with disabilities on college campuses, but has expanded its domain to include helping special needs students with the transition process from high school to college.
What are accommodations and how do I know which ones I might need?
Students may take this quiz to help them determine what services they (the student) may need access to when they go to college. The survey will also help students see their strengths and weaknesses as a student so that they can work on building skills before college.
Marist College: Office of Special Services
Students can click on the "self-assessment survey" link to take a quick quiz to help them assess what their strengths are and what their needs will be when they reach college.
College Board Website
The College Board website will provide parents and students with information for taking the SAT's and Advanced Placement exams with testing accommodations.
Testing Accommodations for the PSAT/SAT and ACT
VESID Transition Webpage
This website will help students with disabilities and their families to prepare for post school employment, community living and postsecondary education. VESID works alongside schools and families to help students successfully transition out of high school.
National Center for Learning Disabilities
The National Center for Learning Disabilities offers information for parents and students on the college transitioning process.
Back to the Special Education Page
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Thursday, May 05, 2016
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Out of High Gear
Transmission misaligned
with Bell Housing
Align transmission case
to Bell Housing and Bell Housing to Engine
End play in Main Drive
Tighten front retainer or
bearing requires bushing
Damaged Pilot Bearing or
Front Bearing
Bent Shifting Fork
Interlock Plunger Not in
Out of Second
Worn Gear
Weak Poppet Spring
Noise in
Low Gear
Rear Ball Bearing Broken
Gear Teeth Pitted or Worn
Replace Gears
Shifting Fork Bent
Lack of Lubrication
Drain and Refill
Out of Gear
Weak or broken poppet
Interlock plunger not in
Install plunger
Transmission gears or
bearings worn
Shift fork bent, causing
partial gear engagement
Transmission loose on
bell housing
Damaged bell housing
Noise in
Low Gear
Interlock plunger missing
Remove transmission and
transfer case, install interlock
Clutch fails to release
Adjust clutch pedal free
travel or replace
Gear shift end worn or
damaged; binding in housing
Shift plate worn or bent
Shift rods binding in case
Replace, check case for
Transmission loose on bell
Clutch shaft pilot binding
in bushing case or shift housing damaged
Replace pilot bushing,
measure pilot end for tolerance, examine housing
Leaks into Bell Housing
Cup missing from shifter
Gasket Broken Front
Bearing Retainer
Transmission Case
Overfilled with Lubricant
Drain off to proper level
Incorrect driving practice
Correct practice
Insufficient lubricant
Add lubricant
Incorrect lubricant
Gears or bearings broken
or worn: shift fork bent; gears worn on spline
Examine and replace faulty
Overheated transmission
Check lubricant grade and
Loss of
Worn or damaged seals or
Overfilled with lubricant
Drain to proper level
Pumping lubricant from
transfer case
Install recessed spacer
and internal seal
Loose bolts and screws
A lot of the problems you might have with your transmission can usually be attributed to just a few parts.
A worn gear shift will play on your nerves. It doesn't take a whole lot of wear on the cam shaped end of the stick and the next thing you know you're having trouble in the transmission.
It's unlikely but you might have an early shift plate which is more readily bent then later plates. The later shift plates had an extra "U" shaped plate to add strength. However, like as not, it is just a well worn plate that is adding to you trouble.
Some fellows think that leaving out the interlock plunger makes it easier to shift. In fact it can make it harder to shift. It's easy to forget to put the plunger in place when assembling the transmission and transfer case together...so DON'T FORGET!
The synchronizer contains brass parts that wear more readily than steel. These parts have the responsibility to help keep your transmission from grinding gears and eliminating the need to "double clutch."
Of course, in a 60 year old transmission it could be that you have a combination of issues, all related to wear and abuse. This wear and abuse can be rapidly caused by using the "wrong" type of gear lube.
Another issue is noise. Some jeep enthusiasts are convinced that a jeep transmission has to be noisy. They believe that they all are noise makers. That is just not true! Using new gears and shafts, your "like-new" transmission will be quiet.
Of course, the T84J is not going to be as quiet as a transmission in a modern car but it will be a huge improvement. When I had my full enclosure set up on my jeep I would need to wear ear plugs with the cacophony of noise coming from the transmission. After rebuilding my transmission with new gears and shafts—no longer do I need the earplugs.
My philosophy is "if in doubt, replace the part". It is a false economy to rebuild your transmission and not to replace questionable parts. Of course that doesn't mean you have to replace every part but you want to carefully measure or examine the parts for wear and tear.
With a modicum of care and maintenance, the rebuilt transmission will last a long time.


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- Appearance
- Ailanthus altissima is a rapidly growing, typically small tree up to 80 ft. (24.4 m) in height and 6 ft. (1.8 m) in diameter. It has large leaf scars on the twigs.
- Foliage
- Foliage is one of the best identifying characteristics for this species. The leaves are pinnately compound and 1-4 ft. (0.3-1.2 m) in length with 10-41 leaflets. Ailanthus altissima resembles native sumac and hickory species, but it is easily distinguished by the glandular, notched base on each leaflet.
- Flowers
- Species is dioecious and flowering occurs in early summer when large clusters of yellow flowers develop above the foliage.
- Fruit
- Fruit produced on female plants are tan to reddish, single winged and can be wind or water-dispersed.
- Ecological Threat
- Ailanthus altissima forms dense, clonal thickets which displace native species and can rapidly invade fields, meadows, and harvested forests. This invasive tree species is extremely tolerant of poor soil conditions and can even grow in cement cracks. Ailanthus altissima is not shade tolerant, but easily invades disturbed forests or forest edges causing habitat damage. Introduced as an ornamental, it was widely planted in cities because of its ability to grow in poor conditions. Management and control efforts for this species continue across the United States at great economic cost.
- Nonnative Invasive Plants of Southern Forests - USDA Forest Service
- Southeast Exotic Pest Plant Council Invasive Plant Manual - SE-EPPC
- Element Stewardship Abstract - The Nature Conservancy
- Weeds Gone Wild: Alien Plant Invaders of Natural Areas - Plant Conservation Alliance
- Invasive Plant Atlas of New England - University of Connecticut
- Weed of the Week - USDA Forest Service
- Weed Field Guide - USDA Forest Service
- Plant Invaders of Mid-Atlantic Natural Areas - National Park Service and U.S. Fish and Wildlife Service
Image Sets View other image sets:
EDDMapS Distribution - This map is incomplete and is based only on current site and county level reports made by experts, herbaria, and literature. For more information, visit www.eddmaps.org
State Invasive List - This map identifies those states that list this species on their invasive species list. For more information, visit Invasive.org
Invasive Listing Sources
- Alabama Invasive Plant Council
- California Invasive Plant Council
- California Noxious Weeds
- City of Ann Arbor Michigan Parks and Recreation
- Commonwealth of Pennsylvania, Department of Conservation and Natural Resources, 1994.
- Connecticut Invasive Plant List
- Connecticut Invasive Plant Working Group
- Delaware Natural Resources and Environmental Control, 2004
- EDDMapS Ontario
- Faith Campbell, 1998
- Georgia Exotic Pest Plant Council - Category 1
- Great Lakes Early Detection Network
- Hoffman, R. & K. Kearns, Eds. 1997. Wisconsin manual of control recommendations for ecologically invasive plants. Wisconsin Dept. Natural Resources, Bureau of Endangered Resources. Madison, Wisconsin. 102pp.
- Illinois Invasive Plant List
- Indiana Native Plant and Wildflower Society
- Jil M. Swearingen, Survey of invasive plants occurring on National Park Service lands, 2000-2007
- John Randall, The Nature Conservancy, Survey of TNC Preserves, 1995.
- Kentucky Exotic Pest Plant Council - Severe Threat
- Maryland Cooperative Extension Service. 2003. Invasive Plant Control in Maryland. Home and Garden Information Center, Home and Garden Mimeo HG88. 4 pp.
- Maryland Department of Natural Resources, 1994
- Massachusetts Noxious Weeds
- Mid-Atlantic Exotic Pest Plant Council, 2005
- Missouri Department of Conservation,
- Native Plant Society of Oregon, 2008
- New Hampshire Invasive Species Committee. 2005. Guide to Invasive Upland Plant Species in New Hampshire. New Hampshire Department of Agriculture, Markets and Food Plant Industry Division and New Hampshire Invasive Species Committee.
- New Hampshire Prohibited Invasive Species
- New Jersey Department of Agriculture, Division of Plant Industry, 2004
- Nonnative Invasive Species in Southern Forest and Grassland Ecosystems
- North Carolina Division of Parks and Recreation, Department of Environment and Natural Resources, 1998
- Pacific Northwest Exotic Pest Plant Council, 1998
- Pennypack Ecological Restoration Trust, Pennsylvania.
- Reichard, Sarah. 1994. Assessing the potential of invasiveness in woody plants introduced in North America. University of Washington Ph.D. dissertation.
- South Carolina Exotic Pest Plant Council - Severe Threat
- Tatyana Livschultz, Pennsylvania survey of invasive plants,
- Tennessee Exotic Pest Plant Council
- University of Hawaii, Botany Department, Hawaiian Alien Plant Studies, 1998
- Vermont Noxious Weeds
- Virginia Invasive Plant Species List
- Washington Noxious Weeds
- WeedUS - Database of Plants Invading Natural Areas in the United States
- West Virginia Noxious Weeds
- Wisconsin's Invasive Species Identification, Classification and Control Rule
Taxonomic Rank
|Kingdom: Plantae
|Phylum: Magnoliophyta
|Class: Magnoliopsida
|Subclass: Rosidae
|Order: Sapindales
|Family: Simaroubaceae
|Genus: Ailanthus
Other System LinksPlants: AIAL
Bayer: AILAL
NPDN Pest: PEVABBA
NPDN Host: 35533
Synonyms and Other Names
Other Common Names:
tree of heaven, ailanthus, copal tree, stinking shumac, varnish tree, Chinese sumac, paradise-tree
Related Scientific Names:
|Ailanthus glandulosa (P. Mill.) Swingle
CategoriesCategory: Hardwood Trees
|Common Name Reference:
| Weed Science Society of America Common Names List
|Scientific Name Reference:
|USDA, NRCS. 2010. The PLANTS Database. National Plant Data Center, Baton Rouge, LA, USA.


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ARLINGTON, TX - APRIL 07: The Connecticut Huskies celebrate after defeating the Kentucky Wildcats 60-54 in the NCAA Men's Final Four Championship at AT&T Stadium on April 7, 2014 in Arlington, Texas. (Photo by Jamie Squire/Getty Images)
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21 Feb 2002: Viola Bauer of Germany in action in the Women's 4x5km Cross Country Relay at Soldier Hollow during the Salt Lake City Winter Olympic Games in Utah. DIGITAL IMAGE. \ Mandatory Credit: Donald Miralle/Getty Images
Salt Lake City 2002,
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I have some Freebie Glitter available on my blog HERE
I have some Freebie Glitter available on my blog HERE
Wow Charlie! Love me some glitter and these colours are fab from Kim's challenge. Hope things are going well for you over at DSO and DSV
Creating for Gypsy Couture @ The Digichick
thanks Sharon..they are thankyou
OK, so glitter is new to me and I've been seeing it all over the place. Please enlighten me on what I do with this glitter? Do I add it to one of my presets folder in my PS files? Sorry for the dumb moment. I know once someone tells me I'll be saying "doh!".
Jeryn Carlisi
My blog
Happily creating for:
Design House Digital | Simply Tiffany Studios |Scrapbook News and Review
depends on what program your using ps or pse?In ps just go to the styles pallette on right..pressthe litle arrow pointing down..you can either load in the preset manager(which is generally easier and recommended or just load style it will find it on your computer and load it into ps..hope that helps


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31st Annual – September 9,10,11,2016 "Atlantic Canada's Most Colourful Festival"
Sussex, New Brunswick, Canada. FREE Admission to the festival grounds!
"Always The Weekend After Labour Day"
Our festival features: · Hot Air Balloons fly twice daily,… First launch: Thursday Evening, September 8th at 5:30pm. · (6:30am and 5:30pm) · Our renowned Craft Fair with over 70 crafters and artisans. · Loads of children's games and activities. · Amusement Rides. · A Sparade through downtown Sussex – (Saturday at 1pm) · All weekend free outdoor SuperStore Bandstand . · Antique Car Show & Shine with over 500 vehicles on Sunday. · Talent Show & Talent Contest on Sunday afternoon. · Lots of vendors & concessions. ·Friday & Saturday evening at dusk, the Balloons inflate for our spectacular Moon glow….and lots more
Parking is available from nonprofit organizations surrounding the festival grounds.
*We have a no dogs policy…Please do not bring them.
*We do not have visitor camping…please check local campgrounds. www.Sussex.ca
We would like to thank our pilots, volunteers and sponsors, without whom we would not be able to enjoy this unique festival of colour, friendliness and hospitality!
Paid Rides are available:
You can sign up in the info booth anytime the weekend of the festival.
Paid rides: Thursday evening, Friday morning and evening, Saturday morning and evening, Sunday morning and evening. We will need your names, if you are flying together, and your weight. Mornings have less people wanting rides. They fill up fast in the afternoon, so sign up early!


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Lance Lemoine, a physical therapist at Audubon Home Health, received a 10-year renewal of his Fellowship status with the American Academy of Orthopaedic Manual Physical Therapists. Fellowship is based on structured study; direct supervised clinical practice; and exams.
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The United Lutheran Theological SeminaryPaulinum is sponsored jointly by the Evangelical Lutheran Church in the Republic of Namibia and the Evangelical Lutheran Church in Namibia It is training men and women for the Office of the ministry of the Church of Jesus Christ.
For the past 40 years until present, ULTSPaulinum has been a constituent member of the Joint Board for the Diploma in Theology in Southern Africa which is an ecumenical body of 15 theological training institutions. As such, the seminary has been offering a Diploma in Theology which is recognised as an academic qualification by universities in South Africa and theological seminaries in America.
In 2007 ULTS Paulinum got the formal accreditation by the Namibian Qualification Authority as a tertiary academic institution. Satisfactory progress in Paulinum coursework will lead to a Certificate in Theology, Diploma in Theology (DipTh) or Bachelor in Theology (BTh).
The highest level of education is the Bachelor of Theology Degree program followed by the Diploma in Theology. Both fulfil the requirements for ordained ministry in both constituent churches of the seminary.
The Certificate in Theology program makes possible the study of theology and of competent religious ministry and leadership skills. This Certificate does not lead to an ordination. Duration of study is four years for both the Diploma and Bachelor Degree while the Certificate is completed within two years.
Graduation is held after satisfactory completion of the fourth year of study. Ordination takes place once the graduate has been assigned a congregation.
The vision of ULTSPaulinum is to train effective church leaders.
The mission of ULTSPaulinum is to serve the Evangelical Lutheran Churches in Namibia and other churches, which send their students for theological studies and the Namibian society and context to produce academically and spiritually mature practitioners for ordained ministry and laity. The theological training at ULTSPaulinum is based on scientific research to get Gods truth deeply entrenched in minds and faith.
© 2013. United Lutheran Theological Seminary. All rights reserved


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The rest of the bundt bakers made these amazing cakes:
Nov 7, 2012
Cardamom Bundt Cake with Saffron Rosewater Cream #BundtaMonth
The rest of the bundt bakers made these amazing cakes:
23 comments:
Beautiful cake, Paula.ReplyDelete
I love the flavor combinations.
Cardamom...Rose water cream... my oh my, I would loooove to sink my teeth into that cake.ReplyDelete
Look at that gorgeous fluffy frosting! Oh my...ReplyDelete
I want a slice now, I mean right now! The flavors are so wonderful. I'm thinking about the cardamom with the saffron and rosewater. Oh heavens. Delightful!ReplyDelete
I love cardamom in sweet things. It reminds me of the sweet tea you are served in Middle Eastern markets when the carpet sellers are trying to talk you into a purchase. So, good memories. :) And your saffron icing is fabulously yellow on top of that beautiful Bundt!ReplyDelete
I just love the colors in your bundt cake!And the flavors.. this must have been heavenly to taste!ReplyDelete
Paula, as always. . such a beautiful post/recipe/cake! Love what you wrote about baking, cakes and bundt cakes. . I totally agree! Baking is so therapeutic for me. . and hey, second time is always a charm! :) and thanks for the tips on the Saffron and rosewater . . I love that you used them! Wow!ReplyDelete
Oh my goodness, what a splendid cake! The pairing of fresh cardamom with rose water, saffron and pistachios is marvelous!ReplyDelete
That thick cream on top is making me drool!ReplyDelete
This is so creative!! I love cardamom and that cake sounds amazing. That frosting though, oh that frosting! It sounds like it must have been so good. I can't say I've ever tried saffron in an icing but I need to make this. I'm so intrigued! Lovely job!ReplyDelete
Paula, this is one gorgeous bundt cake. That cardamom cream looks absolutely delicious.ReplyDelete
I've got to get Kiss My Bundt! I love all your bundts, Paula. I love how you tried again after the first wasn't perfect. This is gorgeous and you gave me an idea of what to make with my cardamom my dad just gave me. Beautiful cake and thank you for joining us again with Bundt a Month:)xxReplyDelete
I've never made a cake with such a bold spice and love the idea of grinding cardamom.And oh my goodness-- that cream!!--I'd take just the cream on a spoon of its own. So creative and beautiful too.ReplyDelete
Cardamom + Rose water Cream sounds incredibly delicious, Paula! What a beautiful cake! Love the hint of saffron - adds great color and flavor.ReplyDelete
Such a beautiful cake and looks delicious. I love the different flavors you incorporated.ReplyDelete
STUNNING. I want this cake in my life immediately.ReplyDelete
Your glaze looks amazing! So thick and gorgeous! I need cake which is prob not a good thing at 8 am.ReplyDelete
Okay seriously, the fact that you used pistachios on the top just moves you up to my new bbff status immediately. I adore them. And you used cardamom and saffron too. Seriously, I am dying here. This is too good to be true.ReplyDelete
Wow, this is a gorgeous cake and just what I have been looking for! I have been interested in using these three flavors more, and what better way than in a cake together!ReplyDelete
Okay that frosting pilled high is beyond awesome! BUT what I love is the 20 cardamom pods, I am in love! I still have not found cardamom pods, only ground at my stores. Your cake looks fantastic, Hugs, TerraReplyDelete
I drank a lassi once which reminded me of lotion--so I hear ya about using just a drop or 2! I love cardamom cakes and I love the idea of working in saffron. This is gorgeous!ReplyDelete
Paula - I know I just said I was going to make your brown sugar cheesecake, but this will have to come first! I am always looking for an Indian-inspired dessert and this imperfect! The flavors sound incredible and I am so glad you frosted with the saffron cream. I wish I could have a piece now... ~ DavidReplyDeleteReplies
I agree completely and I have your whole tangerine cake pinned because of the orange blossom glaze!Delete


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Life Story for Norman Hirst
Camden — On Sept. 5, 2012, Norman Hirst's journey through this world came to a peaceful end. It was a journey that began 80 years ago on March 8, 1932, taking his first steps in Providence, R.I., and his last in Camden.
Norman's journey carried him to service in the Korean War from 1949 to 1952, then on to study at MIT, graduating in 1957 with a degree in mathematics. It was here Norman found the expression of his life's work in the lectures of Robert S Hartman, then a visiting professor. Soon, Norman began an inquiry into the nature of life itself and the organizing principles of living systems; working towards the creation of a science of value theory, which he came to believe would be the fundamental tool for righting the ills of our time.
From his youth during the Depression and coming of age in a time of war, Norman saw first hand some of the true horrors of our time, yet never stopped loving this world and trying to understand it; always believing it could be a better place.
He lived a life of inquiry, searching always for understanding. It was a life that brought him to study with men such as Robert S. Hartman and Charles Hartshorne, partnering with Eugene Pendergraft, Jon Ray Hamann, and his wife Skye to found the Autognomics Institute and further pursue inquiry into the science of human value.
He is survived by his wife Skye, his siblings Cheryl and Robert, his children Kari, David, Jeffrey, Stephen, and George, his five grandchildren Brian, Amanda, Kevin, Chelsea and Chris, and the mothers of his children, Gladys Carlson and Caroline Perkins.
For anyone so inclined, the family asks for a moment of reflection: pick some process in your life - something which you can or have used to brighten someone's day, to make this world a better place, and spend some time with it today. Look for some new insight, some understanding you didn't previously possess, something that gives new depth to your relationship with this experience, or adds wisdom or richness to the experience for you and anyone you choose to share it with.
A memorial can be found at autognomics.org/memorial for anyone wishing to contribute a thought or memory. If you would like to learn more about Norman's work, please visit the Autognomics Institute online at autognomics.org
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in Home : Projects: Garden DIY
Making a nest box for birds is much simpler than you might think. A nest box can be made from cheap, readily available materials, in just a couple of hours. By providing nest sites for birds, you'll help them raise their young, and in return they'll reward you through their tireless efforts to hunt and eat your garden pests during spring and summer.
Once you've created your nest box, why not follow our advice on installing a nest box camera, which will give you a fascinating insight into the lives of your resident birds - from egg laying, hatching and feeding to the fledglings finally leaving the nest.
Using a tape measure, carefully mark out the pieces according to these measurements: back panel 30cm x 15cm; lid 20cm x 15cm; front 17.5cm x 15cm; base 15cm x 15cm; and two side panels cut for a sloping roof, 20cm high on the back x 17.5cm high at the front.
Once you've marked the position of all your cuts, saw through the plank. Be careful to follow the lines you've marked, as a wobbly cut may mean your joints aren't flush and the box will be draughty.
Screw the parts together to ensure a firm join, drilling pilot holes first to prevent the wood from splitting. Attach the two side panels to the back board, then the base and finally the front.
Using a large drill bit, make an access hole in the front panel, near the top (so the young are out of reach of predators). Blue and coal tits need a 25mm hole, great tits 28mm, sparrows 32mm.
Attach the lid by nailing the rubber hinge, and drill drainage holes in the base. Hang the box in 2-3m high, in a sheltered spot, ideally facing north east, east or south east.
Not all birds like boxes with a hole for an entrance. Robins, wagtails and flycatchers, for example, need a box with a front panel that covers only two-thirds of the gap, leaving an open 'window'. Simply make the front panel smaller - 12cm long rather than 17.5cm.
Any type of untreated wood will do - exterior grade plywood is good, but plank wood is easier to cut
15/05/2013 at 11:28
I have asked my elderly uncle to make me a bird nest box like the one you show in your DIY projects section. However when I go on to the printable version it still comes out in tiny font which my uncle would have difficulty reading. Can you advise please. Thank you


text: Thats awesome Sir!!! looking great and also your expression tells the story. I just started cycling in June coming off ACL surgery and being about 255 lbs also w 42 waist. Now to 250 lbs and would love to get to 220.. will keep pedaling. Trek Domane 4.0 disc and Raleigh RX 2.0 disc CX bike coming this week. Lets go burn calories!!