text:
Skift Take
AirAsia will come in with a big splash, but will have to sustain the cost structure long term and learn from past failures of players before them.
AirAsia Bhd., the region's biggest budget carrier, is considering offering some seats for free when it starts flying in India, a move that may frustrate rivals seeking to recoup $6.6 billion of losses.
The operator plans to give away vacant seats for nothing at airports, expanding similar promotional offers at home in Malaysia, a company official with direct knowledge of the matter said, asking not to be named citing rules. Passengers will have to pay taxes and other fees, the person said. AirAsia, which is awaiting a license after winning the Indian government's approval this month to form a joint venture, is targeting to start operations by end-2013.
Chief Executive Officer Tony Fernandes, who has said ticket prices will be the "No. 1 differentiator" in India where 60 percent of the market is controlled by discount airlines, is counting on the South Asian country for growth. His strategy may threaten a recovery at Jet Airways (India) Ltd. and SpiceJet Ltd., which are raising fares to cover costs after cash-strapped Kingfisher Airlines Ltd. ended operations in October.
"It will excite the market, but will hurt the airlines," said Harsh Vardhan, chairman of New Delhi-based Starair Consulting that advises carriers. "AirAsia is entering a market where competition has matured. All of them have burnt their fingers, learnt their lessons and now they've stabilized themselves."
Checking Costs
The company's India venture will fly planes already ordered by its Malaysian parent and may also replicate its home model of charging a fee for services including baggage check-in, preferred seats and hot meals to boost revenue in India, the executive said. It will keep costs under check by selling tickets on-line and saving on payments to sales agents, the executive said.
"How can you reduce costs beyond a point?" Starair's Vardhan said. "Can you reduce the salaries, can you reduce the fuel cost, taxes or airport charges? Everybody is paying the same."
Jet fuel accounts for about half of a carrier's expenses. India's airports regulator last year approved to raise charges more than fourfold at the New Delhi facility, increasing costs.
"We are not commenting on the subject at all," Aziz Laikar, spokesman of the Sepang Selangor, Malaysia-based company, said in an e-mailed response.
Depressed Earnings
AirAsia, whose profit more than tripled in 2012 to 1.9 billion ringgit ($610 million), is coming to India when the local industry is saddled with a combined $20 billion of debt. Fuel prices that cost 60 percent more than in Singapore, surging airport costs and other fees have depressed earnings even as passenger traffic doubled in the past seven years.
While about half-a-dozen operators took off in the past eight years as rising disposable incomes made air travel affordable to Indians, only IndiGo, a discount carrier, made a profit in the year ended March 31, according to government data. High taxes, inadequate infrastructure and a weaker rupee are some of the challenges airlines in India face, according to Aditya Ghosh, president of IndiGo.
As much as 70 percent of airline costs, including jet fuel and aircraft prices, are denominated in dollars, he said in Mumbai on March 17. The Indian rupee has depreciated about 17 percent against the greenback in the past two years, versus 2.5 percent for the Malaysian ringgit, according to data compiled by Bloomberg.
Enough Experience
"Forex volatility does play a crucial role in determining profit or loss," Shukor Yusof, a Singapore-based aviation analyst at Standard & Poor's, said in an e-mail on March 22. "However, AirAsia is operating in many different jurisdictions, including Japan, Thailand and Indonesia where forex volatility is often present and we believe it has sufficient experience to manage this."
Boeing Co. estimates Indian airlines priced tickets as much as $11 below cost as of December 2011 as they competed to lure fliers amid high fuel costs. Jet Airways, the nation's biggest listed carrier, hasn't made an annual group profit in five years, while losses at state-owned Air India have mounted since the government combined Indian Airlines with the flag carrier in 2007.
SpiceJet, the nation's only publicly traded budget airline, is headed for its second straight annual loss, according to 10 analysts' estimates compiled by Bloomberg. Kingfisher was saddled with 85 billion rupees of debt before Chairman Vijay Mallya decided to shut down operations last year.
State Bailout
The industry in India has lost more than 360 billion rupees ($6.6 billion) since the year ended March 31, 2007, data provided by the government show. Air India last year won a 300 billion-rupee state bailout through 2020, adding to the competition.
Jet Airways shares have declined 3 percent this year, while SpiceJet has dropped 35 percent.
With one carrier less after the departure of Kingfisher, the airlines may be turning around their performance for the better, data from Boeing show. Tickets for a flight between Mumbai and Delhi may have sold for a $5 profit starting October, according to the Chicago-based aircraft maker.
Decent Profit
AirAsia aims to start Indian operations in the fourth quarter after winning approval March 6 for the nation's first foreign aviation investment since rules were eased in September. AirAsia will own 49 percent of the Indian venture, while Tata Sons Ltd. will hold 30 percent and Arun Bhatia of Telestra Tradeplace Pvt., whose son is married to the daughter of billionaire Lakshmi Mittal, will own 21 percent.
"AirAsia is adept at offering fares that will be very competitive compared to its rivals," S&P's Yusof said. There are "key challenges in terms of managing India's higher-than- average airport, fuel costs etc. But with a large pool of middle-income earners, it is within the realm of possibility for AirAsia and partners to make a decent profit."
CEO Fernandes has expanded the carrier into the region's biggest discount carrier by setting up ventures in the Philippines, Japan, Thailand and Indonesia. In December, the airline ordered 100 Airbus SAS A320s valued at $9.4 billion, in addition to the 200 it had agreed in 2011 to purchase.
"I won't tell you my strategy now," Fernandes said in an interview to Bloomberg TV on March 20. "India is a 1 billion population country, there's plenty of places we can go. I think if we get it right, it's massive. That's the big question whether we can get it right."
–Editors: Sam Nagarajan, Arijit Ghosh
To contact the reporter on this story: Karthikeyan Sundaram in New Delhi at [email protected]
To contact the editor responsible for this story: Anand Krishnamoorthy at [email protected]
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This chapter describes issues associated with Oracle Fusion Middleware high availability and enterprise deployment. It includes the following topics:
This chapter contains issues you might encounter while configuring any of the any of the Oracle Fusion Middleware products for high availability or an enterprise deployment.
Be sure to review the product-specific release note chapters elsewhere in this document for any additional issues specific to the products you are using.
This section describes general issue and workarounds. It includes the following topics:
Section 6.1.2, "Accessing Web Services Policies Page in Cold Failover Environment"
Section 6.1.6, "Failover Is Not Seamless When Creating Reports in Oracle BI Publisher"
Section 6.1.7, "Cannot Save Agent When Oracle Business Intelligence Managed Server Fails Over"
Section 6.1.9, "JMS Instance Fails In a BI Publisher Cluster"
Section 6.1.10, "Undelivered Records not Recovered During RAC Failover of Singleton SOA Server"
It is highly recommended that the application tier in the SOA Enterprise Deployment topology and the WebCenter Enterprise Deployment topology is protected against anonymous RMI connections. To prevent RMI access to the middle tier from outside the subset configured, follow the steps in "Configure connection filtering" in the Oracle WebLogic Server Administration Console Online Help. Execute all of the steps, except as noted in the following:
Do not execute the substep for configuring the default connection filter. Execute the substep for configuring a custom connection filter.
In the Connection Filter Rules field, add the rules that will allow all protocol access to servers from the middle tier subnet while allowing only http(s) access from outside the subnet, as shown in the following example:
nnn.nnn.0.0/nnn.nnn.0.0 * * allow 0.0.0.0/0 * * allow t3 t3s
In a Cold Failover Cluster (CFC) environment, the following exception is displayed when Web Services policies page is accessed in Fusion Middleware Control:
Unable to connect to Oracle WSM Policy Manager. Cannot locate policy manager query/update service. Policy manager service look up did not find a valid service.
To avoid this, implement one the following options:
Create virtual hostname aliased SSL certificate and add to the key store.
Add "-Dweblogic.security.SSL.ignoreHostnameVerification=true" to the JAVA_OPTIONS parameter in the startWeblogic.sh or startWeblogic.cmd files
In an active-active Oracle SOA cluster, when a node failure occurs, the timeout settings for request-response operations in receive activities are not propagated from one node to the other node or nodes. If a failure occurs in the server that scheduled these activities, they must be rescheduled with the scheduler upon server restart.
The "Adding the I/PM Server Listen Addresses to the List of Allowed Hosts in UCM" section in the Oracle Fusion Middleware Enterprise Deployment Guide for Oracle Enterprise Content Management Suite and the "Adding the I/PM Server Listen Addresses to the List of Allowed Hosts in UCM" section in the Oracle Fusion Middleware High Availability Guide describe how to add hostname-based filters for Oracle I/PM managed server listen addresses to the list of allowed hosts in Oracle UCM.
When using hostname-based filters in Oracle UCM (config.cfg
file) a high latency/performance impact may be observed in the system for very intensive uploads of documents from Oracle I/PM to Oracle UCM. This is caused by the reverse DNS lookup that is required in Oracle UCM to allow the connections from Oracle I/PM servers. Using hostname-based filters is recommended in preparation for configuring the system for Disaster Protection and to restore to a different host (since the configuration used is IP-agnostic when using hostname-based filters). However if the performance of the uploads needs to be improved, users can use instead IP-based filters. To do this:
Edit the file /u01/app/oracle/admin/
and remove or comment out:
SocketHostNameSecurityFilter=localhost|localhost.mydomain.com|ecmhost1vhn1|ecmhost2vhn1 AlwaysReverseLookupForHost=Yes
Add the IP addresses (listen address) of the WLS_IPM1 and WLS_IPM2 managed servers (ECMHOST1VHN1 and ECMHOST2VHN1, respectively) to the SocketHostAddressSecurityFilter parameter list as follows:
where X.X.X.X and Y.Y.Y.Y are the listen addresses of WLS_IPM1 and WLS_IPM2 respectively. Notice that 127.0.0.1 also needs to be added as shown above.
Restart the UCM servers.
Because of a known issue in 11.2 Oracle RAC databases, it is required to use srvctl
to set up AQ notification and server-side TAF. Using DBMS_SQL packages will not work as expected.
Here is an example use of srvctl
srvctl modify service -d orcl -s orclSVC -e SELECT -m BASIC -w 5 -z 5 -q TRUE
In the example:
orcl - Database Name
orclSVC - Service Name used by middleware component
SELECT - Failover type
BASIC - Failover method
5 - Failover delay
5 - Failover retry
TRUE - AQ HA notifications set to TRUE
Please refer to the Oracle 11.2 Oracle database documentation for detailed information about this command usage.
If you create a report in Oracle BI Publisher, and a Managed Server is failed over before the report is saved, the failover might not be seamless. For example, when you attempt to save the report, the system might not be responsive.
If this occurs, click one of the header links, such as Home or Catalog, to be redirected to the Oracle BI Publisher login page. Then, log in and create and save the report again.
If you create an agent in the Oracle Business Intelligence Web interface, and a Managed Server fails over before you save the agent, an error occurs when you try to save the agent.
To work around this issue, log out, then log back in to Oracle Business Intelligence and create the agent again.
This issue occurs with Oracle Portal, Forms, Reports, and Discoverer 11g environments that have been upgraded from using Oracle Single-Sign On 10g to Oracle Access Manager 11g for authentication.
When performing subsequent Oracle Portal, Forms, Reports, and Discoverer 11g installations against the same environment where the initial Oracle Portal, Forms, Reports, and Discoverer 10g installation was upgraded to Oracle Access Manager, there are some requirements that must be met.
For each subsequent Oracle Portal, Forms, Reports, and Discoverer 11g installation, you must maintain the original Oracle Single Sign-On 10g instance and keep it actively running--in addition to new Oracle Access Manager 11g instance--while the additional Oracle Portal, Forms, Reports, and Discoverer 11g installations are performed.
This is necessary because Oracle Portal, Forms, Reports, and Discoverer 11g cannot be installed directly against Oracle Access Manager 11g.
After the subsequent classic installs are completed, the Oracle Single Sign-On 10g to Oracle Access Manager 11g upgrade procedure must be performed again. For more information, including an upgrade roadmap, see the Oracle Fusion Middleware Upgrade Guide for Oracle Identity and Access Management.
This procedure upgrades the new Oracle Portal, Forms, Reports, and Discoverer 11g instance to Oracle Access Manager 11g.
Note that these considerations apply only in an environment with Multiple Oracle Portal, Forms, Reports, and Discoverer 11g middle tiers that are installed or added to a your environment after the initial upgrade from Oracle Single Sign-On 10g to Oracle Access Manager 11g.
On rare occasions, a JMS instance is missing from a BI Publisher Scheduler cluster.
To resolve this issue, restart the BI Publisher application from the WebLogic Server Administration Console.
To restart your BI Publisher application:
Log in to the Administration Console.
Click Deployments in the Domain Structure window.
Select bipublisher(11.1.1).
Click Stop.
After the application stops, click Start.
If there is a RAC failover in a singleton server in a SOA RAC environment, recovery of undelivered records that appear recoverable in EM will fail.
On a SOA cluster, the following scenarios are not supported:
Synchronous BPEL process with mid-process receive.
Synchronous BPEL process calling asynchronous services .
Callback from synchronous processes.
This section describes configuration issues and their workarounds. It includes the following topics:
Section 6.2.1, "Fusion Middleware Control May Display Incorrect Status"
Section 6.2.2, "Accumulated BPEL Instances Cause Performance Decrease"
Section 6.2.3, "Extra Message Enqueue when One a Cluster Server is Brought Down and Back Up"
Section 6.2.4, "Duplicate Unrecoverable Human Workflow Instance Created with Oracle RAC Failover"
Section 6.2.5, "No High Availability Support for SOA B2B TCP/IP"
Section 6.2.6, "WebLogic Administration Server on Machines with Multiple Network Cards"
Section 6.2.7, "Additional Parameters for SOA and Oracle RAC Data Sources"
Section 6.2.8, "Message Sequencing and MLLP Not Supported in Oracle B2B HA Environments"
Section 6.2.9, "Credentials not Propagated for Transport Protocols in B2B"
Section 6.2.11, "Managed Server goes into Suspended Status After Oracle RAC Failover"
Section 6.2.12, "Primary/Secondary Configuration Section of the Availability Tab is Not Visible"
Section 6.2.14, "Ensuring the Oracle HTTP Server Lock File is on a Local Drive"
Section 6.2.15, "Recreating OSSO Agents that Point to the Load Balancer URL"
Section 6.2.16, "Use Lower-Case Letters for GridLink Data Source RAC Service Name"
Section 6.2.17, "Additional Steps Needed for Oracle RTD Request Forwarding to Work Correctly"
Section 6.2.18, "Error INST-08075 Occurs When Scaling Out the BI System"
In some instances, Oracle WebLogic Fusion Middleware Control may display the incorrect status of a component immediately after the component has been restarted or failed over.
In a scaled out clustered environment, if a large number of BPEL instances are accumulated in the database, it causes the database's performance to decrease, and the following error is generated: MANY THREADS STUCK FOR 600+ SECONDS.
To avoid this error, remove old BPEL instances from the database.
In a non-XA environment, MQSeries Adapters do not guarantee the only once delivery of the messages from inbound adapters to the endpoint in case of local transaction. In this scenario, if an inbound message is published to the endpoint, and before committing the transaction, the SOA server is brought down, inbound message are rolled back and the same message is again dequeued and published to the endpoint. This creates an extra message in outbound queue.
In an XA environment, MQ Messages are actually not lost but held by Queue Manager due to an inconsistent state. To retrieve the held messages, restart the Queue Manager.
As soon as Oracle Human Workflow commits its transaction, the control passes back to BPEL, which almost instantaneously commits its transaction. Between this window, if the Oracle RAC instance goes down, on failover, the message is retried and can cause duplicate tasks. The duplicate task can show up in two ways - either a duplicate task appears in worklistapp, or an unrecoverable BPEL instance is created. This BPEL instance appears in BPEL Recovery. It is not possible to recover this BPEL instance as consumer, because this task has already completed.
High availability failover support is not available for SOA B2B TCP/IP protocol. This effects primarily deployments using HL7 over MLLP. For inbound communication in a clustered environment, all B2B servers are active and the address exposed for inbound traffic is a load balancer virtual server. Also, in an outage scenario where an active managed server is no longer available, the persistent TCP/IP connection is lost and the client is expected to reestablish the connection.
When installing Oracle WebLogic Server on a server with multiple network cards, always specify a Listen Address for the Administration Server. The address used should be the DNS Name/IP Address of the network card you wish to use for Administration Server communication.
To set the Listen Address:
In the Oracle WebLogic Server Administration Console, select Environment, and then Servers from the domain structure menu.
Click the Administration Server.
Click Lock and Edit from the Change Center to allow editing.
Enter a Listen Address.
Click Save.
Click Activate Changes in the Change Center.
In some deployments of SOA with Oracle RAC, you may need to set parameters in addition to the out-of-the-box configuration of the individual data sources in an Oracle RAC configuration. The additional parameters are:
Add property oracle.jdbc.ReadTimeout=300000
(300000 milliseconds) for each data source.
The actual value of the ReadTimeout
parameter may differ based on additional considerations.
If the network is not reliable, then it is difficult for a client to detect the frequent disconnections when the server is abruptly disconnected. By default, a client running on Linux takes 7200 seconds (2 hours) to sense the abrupt disconnections. This value is equal to the value of the tcp_keepalive_time
property. To configure the application to detect the disconnections faster, set the value of the tcp_keepalive_time
, tcp_keepalive_interval
, and tcp_keepalive_probes
properties to a lower value at the operating system level.
Setting a low value for the tcp_keepalive_interval
property leads to frequent probe packets on the network, which can make the system slower. Therefore, the value of this property should be set appropriately based on system requirements.
For example, set tcp_keepalive_time=600
at the system running the WebLogic Server managed server.
Also, you must specify the ENABLE=BROKEN
parameter in the DESCRIPTION
clause in the connection descriptor. For example:
dbc:oracle:thin:@(DESCRIPTION=(enable=broken)(ADDRESS_LIST=(ADDRESS=(PRO TOCOL=TCP)(HOST=node1-vip.mycompany.com)(PORT=1521)))(CONNECT_DATA=(SERVICE_ NAME=example.com)(INSTANCE_NAME=orcl1)))
As a result, the data source configuration appears as follows:
<url>jdbc:oracle:thin:@(DESCRIPTION=(enable=broken)(ADDRESS_LIST=(ADDRESS=(PRO TOCOL=TCP)(HOST=node1-vip.us.example.com)(PORT=1521)))(CONNECT_DATA=(SERVICE_NAME=example.com)(INSTANCE_NAME=orcl1)))</url> <driver-name>oracle.jdbc.xa.client.OracleXADataSource</driver-name> <properties> <property> <name>oracle.jdbc.ReadTimeout</name> <value>300000</value> </property> <property> <name>user</name> <value>jmsuser</value> </property> <property> <name>oracle.net.CONNECT_TIMEOUT</name> <value>10000</value> </property> </properties>
Message sequencing and MLLP are not supported in Oracle B2B high availability (HA) environments.
The Oracle FMW credential store maintains usernames and passwords that you define for Transport protocols. If you use the default file store for these credentials, changes you make to usernames and passwords do not propagate across nodes. You must use a central LDAP for these credentials to be synchronized across nodes in a cluster, as described in, and required by, the Oracle Fusion Middleware High Availability Guide and Enterprise Deployment Guides.
Oracle recommends using the full name of the host, including the domain name, when configuring front-end hosts in Oracle Fusion Middleware high availability configurations. Use the host's full name instead of using only the host name.
For example, if myhost is the name of a frontend host in a high availability configuration, set the frontend host URL to the fully-qualified hostname, such as myhost.mycompany.com as DNS or local host name resolution files (for example, /etc/hosts) define.
The Managed Server wls_ods(x) can enter a suspended status in the following situations:
A database connection in the data source is wrong or not complete.
The host is not a fully-qualified host for the database.
To correct the status of the Managed Server wls_ods(x):
Under the data source, verify that the database connection is correct and complete with the domain.
Under the data source, verify that the host name for the database is a fully- qualified hostname with the domain.
Verify the connection by selecting the Test button.
During the system component scale out process, the Primary/Secondary Configuration section in the Availability tab of the Capacity Management page in Fusion Middleware Control may not be visible in the browser. This issue occurs when you perform the scale out process using Microsoft Internet Explorer version 7.0.5730.11.
To avoid this issue, do not use the browser Microsoft Internet Explorer version 7.0.5730.11 to scale out; use another browser such as Google Chrome.
After scaling out Oracle Business Intelligence, Server Start parameters are not getting set correctly. To work around this issue, update the Server Start parameters for the scaled out BI Managed Server to include the following:
-Dserver.group=obi arguments
If you configure an Oracle instance for Oracle HTTP Server 11g on shared storage, such as NAS, NFS, or SAN storage, you must ensure that the lock file is created on a local drive instead of the shared drive. If you do not do this, Oracle HTTP Server might experience performance problems. Perform these steps to point the LockFile
directive at a local fi le system:
Stop the OHS instances on WEBHOST1
and WEBHOST2
Open the file ORACLE_INSTANCE
in a text editor.
Find the LockFile
directive, configured under both the prefork
and worker MPM
configuration blocks in the httpd.conf
file. It looks like this:
LockFile ORACLE_INSTANCE/diagnostics/logs/COMPONENT_TYPE/COMPONENT_NAME/http_lock
Change the LockFile
directive under the appropriate MPM configuration to point to a local file system, for example:
LockFile /local_disk/path/http_lock
Restart Oracle HTTP Server.
Verify that the http_lock
file exists in the directory specified by the LockFile
A high availability Classic environment typically has a load balancer in front of the Classic OHS instances. When you configure a classic instance with OAM 11g, the Configuration Wizard automatically configures an OSSO agent. The OSSO agent contains the individual Classic OHS instance URL. In a high availability cluster consisting of two Classic instances, the Configuration Wizard automatically configures two OSSO agents. Each OSSO agent contains the URL information of one Classic Webtier instance URL.
In a high availability cluster, you must recreate an OSSO agent that points to the load balancer URL.
To recreate an OSSO agent that points to the load balancer URL:
From the OAM console, click New OSSO Agent to open the OSSO Wizard application.
Enter the following information:
Name: Enter any name
Token Version: Use the default setting, v3.0
Base URL: Enter the load balancer URL, for example http://haqaedg04.us.example.com:7788
Admin ID: Leave blank
Admin Inf: Leave blank
Host Identifier: Keep default value from the Name field.
Auto Create Policies: Check this setting to enable it.
Copy the osso.conf
file of the new OSSO agent from the OAM server to the Classic Web Instances config directory.
When you create a GridLink data source in the Configuration Wizard, you must verify that the service name on the database uses lowercase letters only and is a qualified domain name. For example, <mydbservice>.us.example.com
. The Service Name field is in the Configure GridLink RAC Component Schema screen.
The Oracle RAC Service name is defined on the database; it is not a fixed name. Oracle recommends that you register/add the RAC service name with the database domain name, for example, us.example.com
Due to an Oracle RTD issue related to request forwarding, the frontend URL must be the same as the backend URL for deployments that include Oracle RTD. To set the frontend URL for Oracle RTD, perform the steps listed in the following procedures at the point indicated in the Oracle Business Intelligence EDG task flow.
After performing the steps listed in Section 5.7, "Setting the Listen Address for bi_server1 Managed Server," set the frontend URL for the bi_server1 Managed Server, as follows:
Log in to the Administration Console.
In the Change Center, click Lock & Edit.
Expand the Environment node in the Domain Structure window.
Click Servers. The Summary of Servers page is displayed.
Select bi_server1 in the Names column of the table. The settings page for bi_server1 is displayed.
Click the Protocols tab.
Click the HTTP tab.
Set the Frontend Host field to APPHOST1VHN1 (your bi_server1 Listen address).
Click Save, then click Activate Changes.
After performing the steps listed in Section 6.4.1, "Setting the Listen Address for the bi_server2 Managed Server," set the frontend URL for the bi_server2 Managed Server, as follows:
Log in to the Administration Console.
In the Change Center, click Lock & Edit.
Expand the Environment node in the Domain Structure window.
Click Servers. The Summary of Servers page is displayed.
Select bi_server2 in the Names column of the table. The settings page for bi_server2 is displayed.
Click the Protocols tab.
Click the HTTP tab.
Set the Frontend Host field to APPHOST2VHN1 (your bi_server2 Listen address).
Click Save, then click Activate Changes.
When you are scaling out the BI System using the Oracle Business Intelligence Configuration Assistant, the following error occurs:
INST-08075: Weblogic Server 10.3.6.0 is installed but Weblogic Server Temporary is used in the BI Domain.
To work around this error, perform the following steps:
Open MW_HOME/registry.xml
for editing.
Locate the following line:
<component name="WebLogic Server" version="10.3.6.0" InstallDir="ORACLE_BASE/fmw/wlserver_10.3">
Change the line to the following:
<component name="WebLogic Server" version="Temporary" InstallDir="ORACLE_BASE/fmw/wlserver_10.3"
Save and close the file.
Return to the Oracle Business Intelligence Configuration Assistant and proceed past the Scale Out BI System Details screen.
Revert the entry in registry.xml
back to version="10.3.6.0"
When you configure the RAC data source for OPSS, Oracle recommends using an Oracle GridLink data source type. If you decide to use a RAC multi data source, you must ensure that the first RAC instance listed in the multi data source definition is available during the first domain startup. If you do not use the first RAC instance listed, configuration fails.
If JMS messages and transaction logs are stored on an NFS-mounted directory, Oracle strongly recommends that you verify the behavior of a server restart after abrupt machine failures. Depending on the NFS implementation, different issues can arise post failover/restart.
To verify server restart behavior, abruptly shut down the node that hosts WebLogic servers while the servers are running.
If you configured the server for server migration, it should start automatically in failover node after the failover period.
If you did not configure the server for server migration, you can manually restart the WebLogic Server on the same host after the node completely reboots.
If Oracle WebLogic Server does not restart after abrupt machine failure, the following error entry may appear in server log files:
<MMM dd, yyyy hh:mm:ss a z> <Error> <Store> <BEA-280061> <The persistent store "_WLS_server_soa1" could not be deployed: weblogic.store.PersistentStoreException: java.io.IOException: [Store:280021]There was an error while opening the file store file "_WLS_SERVER_SOA1000000.DAT" weblogic.store.PersistentStoreException: java.io.IOException: [Store:280021]There was an error while opening the file store file "_WLS_SERVER_SOA1000000.DAT" at weblogic.store.io.file.Heap.open(Heap.java:168) at weblogic.store.io.file.FileStoreIO.open(FileStoreIO.java:88) ... java.io.IOException: Error from fcntl() for file locking, Resource temporarily unavailable, errno=11
This error occurs when the NFSv3 system does not release locks on the file stores. WebLogic Server maintains locks on files that store JMS data and transaction logs to prevent data corruption that can occur if you accidentally start two instances of the same managed server. Because the NFSv3 storage device doesn't track lock owners, NFS holds the lock indefinitely if a lock owner crashes. As a result, after abrupt machine failure followed by a restart, subsequent attempts by WebLogic Server to acquire locks may fail.
If it is not reasonably possible to tune locking behavior in your NFS environment, use one of the following solutions to unlock the logs and data files:
Use the WebLogic Server Administration Console to disable WebLogic file locking mechanisms for the default file store, a custom file store, a JMS paging file store, and a Diagnostics file store. To do this, see Considerations for Using File Stores on NFS in the Oracle Fusion Middleware High Availability Guide.
Manually unlock the logs and JMS data files and start the servers by creating a copy of the locked persistence store file and using the copy for subsequent operations. See the following section Unlocking Logs and Data Files Manually.
Unlocking Logs and Data Files Manually
Manually unlock the logs and JMS data files and start the servers by creating a copy of the locked persistence store file and using the copy for subsequent operations. To create a copy of the locked persistence store file, rename the file then copy it back to its original name. The following sample steps assume that transaction logs are stored in the /shared/tlogs
directory and JMS data is stored in the /shared/jms
cd /shared/tlogs mv _WLS_SOA_SERVER1000000.DAT _WLS_SOA_SERVER1000000.DAT.old cp _WLS_SOA_SERVER1000000.DAT.old _WLS_SOA_SERVER1000000.DAT cd /shared/jms mv SOAJMSFILESTORE_AUTO_1000000.DAT SOAJMSFILESTORE_AUTO_1000000.DAT.old cp SOAJMSFILESTORE_AUTO_1000000.DAT.old SOAJMSFILESTORE_AUTO_1000000.DAT mv UMSJMSFILESTORE_AUTO_1000000.DAT UMSJMSFILESTORE_AUTO_1000000.DAT.old cp UMSJMSFILESTORE_AUTO_1000000.DAT.old UMSJMSFILESTORE_AUTO_1000000.DAT
With this solution, the WebLogic file locking mechanism continues to protect against accidental data corruption if multiple instances of the same servers are accidently started. However, you must restart the servers manually after abrupt machine failures. File stores create multiple consecutively numbered.DAT files when they store large amounts of data. You may need to copy and rename all files when this occurs.
This section describes documentation errata. It includes the following topics:
This section contains Documentation Errata for Oracle Fusion Middleware High Availability Guide.
It includes the following topics:
Section 188.8.131.52, "Latest Requirements and Certification Information"
Section 22.214.171.124, "Error in Line to Add to mod_wl_ohs.conf File"
Several manuals in the Oracle Fusion Middleware 11g documentation set have information on Oracle Fusion Middleware system requirements, prerequisites, specifications, and certification information. For the latest informationon these topics, see the following documents on Oracle Technology Network:
This document contains information related to hardware and software requirements, minimum disk space and memory requirements, and required system libraries, packages, or patches. It also includes information on supported installation types, platforms, operating systems, databases, JDKs, and third-party products.
In Chapter 5., "Configuring High Availability for Oracle SOA Suite," the line <Location /DefaultToDoTaskFlow/>
should be <Location /workflow/DefaultToDoTaskFlow/>
in the mod_wl_ohs.conf
file. Instances of this line are in Sections 5.3.13 and 5.14.15.
This section contains documentation errata for Oracle Fusion Middleware Enterprise Deployment Guide for Oracle Identity Management.
It includes the following topics:
Section 184.108.40.206, "Set -DDomainRegistrationEnabled=true when Starting Node Manager"
Section 126.96.36.199, "Ignore Empty Section in the Oracle Virtual Directory Chapter"
Section 184.108.40.206, "Installing Identity Management Sections Are Incorrectly Organized"
Section 220.127.116.11, "Errors in Instructions for Using the Guide"
Section 188.8.131.52, "Errors in Section 2.4, Shared Storage and Recommended Directory Structure"
The November 2010 edition of Oracle Fusion Middleware Enterprise Deployment Guide for Oracle Identity Management failed to mention that, prior to starting the Node Manager that controls the WebLogic Administration Server, you must set -DDomainRegistrationEnabled=true
. For example:
export JAVA_OPTIONS=-DDomainRegistrationEnabled=true
In the November 2010 edition of Oracle Fusion Middleware Enterprise Deployment Guide for Oracle Identity Management, Section 8.1.1 in Chapter 11, "Extending the Domain with Oracle Virtual Directory is an empty section." Please ignore it.
In Oracle Fusion Middleware Enterprise Deployment Guide for Oracle Identity Management 11g Release 1 (22.214.171.124), Part Number E12035-07, Section 4.5.5, "Installing Oracle Identity Management," should be reorganized as follows:
The content beginning with "Start the Oracle Fusion Middleware 11g Oracle Identity Management Installer" should be in a subsection, Section 22.214.171.124, entitled "Installing Oracle Identity Management 188.8.131.52."
Section 4.5.6, "Upgrading the Oracle Homes for Oracle Identity Management from 184.108.40.206 to 188.8.131.52" should be Section 18.104.22.168.
Errors exist in Section 1.6, "Using This Guide." They should be corrected as follows:
Step 11 should be:
If you are using Oracle Access Manager, follow the steps in Chapter 12, "Extending the Domain with Oracle Access Manager 11g."
Steps 11 through 18 should refer to chapters, not sections.
The LDIF file in Step 2a of Section 11.4.4, "Creating Users and Groups for Oracle WebLogic Server," is missing some line breaks. It should appear as follows:
dn: cn=orclFAUserReadPrivilegeGroup,cn=Groups,dc=mycompany,dc=com changetype: modify add: uniquemember uniquemember: cn=IDROUser,cn=Users,dc=mycompany,dc=com
In the chapters "Extending the Domain with Oracle Internet Directory" and "Extending the Domain with Oracle Virtual Directory," you are instructed run
./emctl switchOMS ReposURL
to enable the local emagent to communicate with the WebLogic Administration Server using the virtual IP address. After you have run that command, you must also perform the following tasks:
Force the agent to reload its configuration by issuing the command:
./emctl reload
Check that the agent is using the correct Upload URL using the command:
./emctl status agent
Table 2-3, Recommended Directory Structure, is missing some values in the Shared Storage column. The following table entries should have the value "Yes" in the Shared Storage column, indicating that these directories should be on shared storage:

subset: commoncrawl


text:
Henry Purcell
born in 1659 in London, England, United Kingdom
died on 21/11/1695 in London, England, United Kingdom
Henry Purcell
Henry Purcell (/ˈpɜːrsəl/ or /pɜːrˈsɛl/;[1] c. 10 September 1659[Note 1] – 21 November 1695) was an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no later native-born English composer approached his fame until Edward Elgar, Ralph Vaughan Williams, William Walton and Benjamin Britten in the 20th century.
Early life
Purcell was born in St Ann's Lane, Old Pye Street, Westminster – the area of London later known as Devil's Acre – in 1659. Henry Purcell Senior,[2] whose older brother, Thomas Purcell, (died 1682) was a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England.[3] Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell (died 1717),[3] the youngest of the brothers, was also a prolific composer who wrote the music for much of the final act of The Indian Queen after Henry Purcell's death. Henry Purcell's family lived just a few hundred yards west of Westminster Abbey from 1659 onwards.[4]
After his father's death in 1664, Purcell was placed under the guardianship of his uncle Thomas, who showed him great affection and kindness.[5] Thomas was himself a gentleman of His Majesty's Chapel, and arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke (died 1672),[6] Master of the Children, and afterwards under Pelham Humfrey (died 1674),[3] Cooke's successor.[7] Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.[4]
Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670.[8] (The dates for his compositions are often uncertain, despite considerable research.) It is assumed that the three-part song Sweet tyranness, I now resign was written by him as a child.[5] After Humfrey's death, Purcell continued his studies under Dr John Blow. He attended Westminster School and in 1676 was appointed copyist at Westminster Abbey.[3] Henry Purcell's earliest anthem Lord, who can tell was composed in 1678. It is a psalm that is prescribed for Christmas Day and also to be read at morning prayer on the fourth day of the month.[9]
In 1679, he wrote songs for John Playford's Choice Ayres, Songs and Dialogues and an anthem, the name of which is unknown, for the Chapel Royal. From an extant letter written by Thomas Purcell we learn that this anthem was composed for the exceptionally fine voice of the Rev. John Gostling, then at Canterbury, but afterwards a gentleman of His Majesty's Chapel. Purcell wrote several anthems at different times for Gostling's extraordinary basso profondo voice, which is known to have had a range of at least two full octaves, from D below the bass staff to the D above it. The dates of very few of these sacred compositions are known; perhaps the most notable example is the anthem They that go down to the sea in ships. In gratitude for the providential escape of King Charles II from shipwreck, Gostling, who had been of the royal party, put together some verses from the Psalms in the form of an anthem and requested Purcell to set them to music. The challenging work opens with a passage which traverses the full extent of Gostling's range, beginning on the upper D and descending two octaves to the lower.[3]
In 1679, Blow, who had been appointed organist of Westminster Abbey 10 years before, resigned his office in favour of Purcell.[10] Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. However, during the early part of the year, probably before taking up his new office, he had produced two important works for the stage, the music for Nathaniel Lee's Theodosius, and Thomas d'Urfey's Virtuous Wife.[10] Between 1680 and 1688 Purcell wrote music for seven plays.[11] The composition of his chamber opera Dido and Aeneas, which forms a very important landmark in the history of English dramatic music, has been attributed to this period, and its earliest production may well have predated the documented one of 1689.[10] It was written to a libretto furnished by Nahum Tate, and performed in 1689 in cooperation with Josias Priest, a dancing master and the choreographer for the Dorset Garden Theatre. Priest's wife kept a boarding school for young gentlewomen, first in Leicester Fields and afterwards at Chelsea, where the opera was performed.[12] It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Each work runs to less than one hour. At the time, Dido and Aeneas never found its way to the theatre, though it appears to have been very popular in private circles. It is believed to have been extensively copied, but only one song was printed by Purcell's widow in Orpheus Britannicus, and the complete work remained in manuscript until 1840, when it was printed by the Musical Antiquarian Society under the editorship of Sir George Macfarren.[3] The composition of Dido and Aeneas gave Purcell his first chance to write a sustained musical setting of a dramatic text. It was his only opportunity to compose a work in which the music carried the entire drama.[11] The story of Dido and Aeneas derives from the original source in Virgil's epic the Aeneid.[13]
Soon after Purcell's marriage, in 1682, on the death of Edward Lowe, he was appointed organist of the Chapel Royal, an office which he was able to hold simultaneously with his position at Westminster Abbey.[14] His eldest son was born in this same year, but he was short-lived.[15] His first printed composition, Twelve Sonatas, was published in 1683.[16][17] For some years after this, he was busy in the production of sacred music, odes addressed to the king and royal family, and other similar works.[18][19] In 1685, he wrote two of his finest anthems, I was glad and My heart is inditing, for the coronation of King James II.[14] In 1690 he composed a setting of the birthday ode for Queen Mary, Arise, my muse[20] and four years later wrote one of his most elaborate, important and magnificent works – a setting for another birthday ode for the Queen, written by Nahum Tate, entitled Come Ye Sons of Art.[21]
In 1687, he resumed his connection with the theatre by furnishing the music for John Dryden's tragedy Tyrannick Love. In this year, Purcell also composed a march and passepied called Quick-step, which became so popular that Lord Wharton adapted the latter to the fatal verses of Lillibullero; and in or before January 1688, Purcell composed his anthem Blessed are they that fear the Lord by express command of the King. A few months later, he wrote the music for D'Urfey's play, The Fool's Preferment. In 1690, he composed the music for Betterton's adaptation of Fletcher and Massinger's Prophetess (afterwards called Dioclesian)[22] and Dryden's Amphitryon. In 1691, he wrote the music for what is sometimes considered his dramatic masterpiece, King Arthur, or The British Worthy .[12] In 1692, he composed The Fairy-Queen (an adaptation of Shakespeare's A Midsummer Night's Dream), the score of which (his longest for theatre)[23] was rediscovered in 1901 and published by the Purcell Society.[24] The Indian Queen followed in 1695, in which year he also wrote songs for Dryden and Davenant's version of Shakespeare's The Tempest (recently, this has been disputed by music scholars[25]), probably including "Full fathom five" and "Come unto these yellow sands".[3] The Indian Queen was adapted from a tragedy by Dryden and Sir Robert Howard.[23] In these semi-operas (another term for which at the time was "dramatic opera"), the main characters of the plays do not sing but speak their lines: the action moves in dialogue rather than recitative. The related songs are sung "for" them by singers, who have minor dramatic roles.
I was Glad
Ode 1 – Sinfonia
Ode 2 – Welcome to All
Ode 3 – Hail to this Happy Assembly
Ode 4 – Here the Deities Approve
Ode 5 – While Joys Celestial
Ode 6 – Then Lift Up Your Voices
Ode 7 – Beauty, Thou Scene of Love
Ode 8 – In a Consort of Voices
Toccata in A major
Performed by Sylvia Kind
"The Queen's Dolour (A Farewell)"
Realised by Ronald Stevenson (1958), performed live by Mark Gasser
Problems playing these files? See media help. |
Purcell's Te Deum and Jubilate Deo were written for Saint Cecilia's Day, 1694, the first English Te Deum ever composed with orchestral accompaniment. This work was annually performed at St Paul's Cathedral until 1712, after which it was performed alternately with Handel's Utrecht Te Deum and Jubilate until 1743,[3] when both works were replaced by Handel's Dettingen Te Deum.[26]
He composed an anthem and two elegies for Queen Mary II's funeral.[27] Besides the operas and semi-operas already mentioned, Purcell wrote the music and songs for Thomas d'Urfey's The Comical History of Don Quixote, Bonduca, The Indian Queen and others, a vast quantity of sacred music, and numerous odes, cantatas, and other miscellaneous pieces.[3] The quantity of his instrumental chamber music is minimal after his early career, and his keyboard music consists of an even more minimal number of harpsichord suites and organ pieces.[28] In 1693, Purcell composed music for two comedies: The Old Bachelor, and The Double Dealer. Purcell also composed for five other plays within the same year.[10] In July 1695, Purcell composed an ode for the Duke of Gloucester for his sixth birthday. The ode is titled Who can from joy refrain?[29] Purcell's four-part sonatas were issued in 1697.[10] In the final six years of his life, Purcell wrote music for forty-two plays.[10]
Purcell died in 1695 at his home in Marsham Street,[30] at the height of his career. He is believed to have been 35 or 36 years old at the time. The cause of his death is unclear: one theory is that he caught a chill after returning home late from the theatre one night to find that his wife had locked him out. Another is that he succumbed to tuberculosis.[31] The beginning of Purcell's will reads:
- In the name of God Amen. I, Henry Purcell, of the City of Westminster, gentleman, being dangerously ill as to the constitution of my body, but in good and perfect mind and memory (thanks be to God) do by these presents publish and declare this to be my last Will and Testament. And I do hereby give and bequeath unto my loving wife, Frances Purcell, all my estate both real and personal of what nature and kind soever...[32]
Purcell is buried adjacent to the organ in Westminster Abbey. The music that he had earlier composed for Queen Mary's funeral was performed during his funeral as well. Purcell was universally mourned as "a very great master of music." Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense in the north aisle of the Abbey.[33] His epitaph reads: "Here lyes Henry Purcell Esq., who left this life and is gone to that Blessed Place where only His harmony can be exceeded."[34]
Purcell fathered six children by his wife Frances, four of whom died in infancy. His wife, as well as his son Edward (1689–1740) and daughter Frances, survived him.[10] Frances the elder died in 1706, having published a number of her husband's works, including the now famous collection called Orpheus Britannicus,[3] in two volumes, printed in 1698 and 1702, respectively. Edward was appointed organist of St Clement Eastcheap, London, in 1711 and was succeeded by his son Edward Henry Purcell (died 1765). Both men were buried in St Clement's near the organ gallery.
Purcell worked in many genres, both in works closely linked to the court, such as symphony song, to the Chapel Royal, such as the symphony anthem, and the theatre.[35]
Influence and reputation
After his death, Purcell was honoured by many of his contemporaries, including his old friend John Blow, who wrote An Ode, on the Death of Mr. Henry Purcell (Mark how the lark and linnet sing) with text by his old collaborator, John Dryden. William Croft's 1724 setting for the Burial Service, was written in the style of "the great Master". Croft preserved Purcell's setting of "Thou knowest Lord" (Z 58) in his service, for reasons "obvious to any artist"; it has been sung at every British state funeral ever since.[36] More recently, the English poet Gerard Manley Hopkins wrote a famous sonnet entitled simply "Henry Purcell", with a headnote reading: "The poet wishes well to the divine genius of Purcell and praises him that, whereas other musicians have given utterance to the moods of man's mind, he has, beyond that, uttered in notes the very make and species of man as created both in him and in all men generally."
Purcell also had a strong influence on the composers of the English musical renaissance of the early 20th century, most notably Benjamin Britten, who created and performed a realisation of Dido and Aeneas and whose The Young Person's Guide to the Orchestra is based on a theme from Purcell's Abdelazar. Stylistically, the aria "I know a bank" from Britten's opera A Midsummer Night's Dream is clearly inspired by Purcell's aria "Sweeter than Roses", which Purcell originally wrote as part of incidental music to Richard Norton's Pausanias, the Betrayer of His Country.
Purcell is honoured together with Johann Sebastian Bach and George Frideric Handel with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.[37] In a 1940 interview Ignaz Friedman stated that he considered Purcell as great as Bach and Beethoven. In Victoria Street, Westminster, England, there is a bronze monument to Purcell, sculpted by Glynn Williams and erected in 1994.
Purcell's works have been catalogued by Franklin Zimmerman, who gave them a number preceded by Z.
A Purcell Club was founded in London in 1836 for promoting the performance of his music, but was dissolved in 1863. In 1876 a Purcell Society was founded, which published new editions of his works.[3] A modern-day Purcell Club has been created, and provides guided tours and concerts in support of Westminster Abbey.
So strong was his reputation that a popular wedding processional was incorrectly attributed to Purcell for many years. The so-called Purcell's Trumpet Voluntary was in fact written around 1700 by a British composer named Jeremiah Clarke as the Prince of Denmark's March.
Michael Nyman, at the request of the director, built the score of Peter Greenaway's 1982 film, The Draughtsman's Contract, on ostinati by Purcell from various sources, one misattributed. He credited Purcell as a "music consultant." Another of Purcell's ostinati, the Cold Genius aria from King Arthur, was used in Nyman's Memorial.
In popular culture
Music for the Funeral of Queen Mary was reworked by Wendy Carlos for the title music of the 1971 film by Stanley Kubrick, A Clockwork Orange. The 1973 Rolling Stone review of Jethro Tull's A Passion Play compared the musical style of the album with the one of Purcell.[38] In 2009 Pete Townshend of The Who, an English rock band that established itself in the 1960s, identified Purcell's harmonies, particularly the use of suspension and resolution that Townshend had learned from producer Kit Lambert, as an influence on the band's music (in songs such as "Won't Get Fooled Again" (1971), "I Can See for Miles" (1967) and the very Purcellian intro to "Pinball Wizard").[39][40]
In the 21st century, the soundtrack of the 2005 film version of Pride and Prejudice features a dance titled "A Postcard to Henry Purcell." This is a version by composer Dario Marianelli of Purcell's Abdelazar theme. In the German-language 2004 movie, Downfall, the music of Dido's Lament is used repeatedly as the end of the Third Reich culminates. The 2012 film Moonrise Kingdom contains Benjamin Britten's version of the Rondeau in Purcell's Abdelazar created for his 1946 The Young Person's Guide to the Orchestra. In 2013, the Pet Shop Boys released their single "Love Is a Bourgeois Construct" incorporating one of the same ground basses from King Arthur used by Nyman in his Draughtsman's Contract score. Olivia Chaney performs her adaptation of "There's Not a Swain" on her CD "The Longest River."[41]
- ^ According to Holman and Thompson (Grove Music Online, see References) there is uncertainty regarding the year and day of birth. No record of baptism has been found. The year 1659 is based on Purcell's memorial tablet in Westminster Abbey and the frontispiece of his Sonnata's of III. Parts (London, 1683). The day 10 September is based on vague inscriptions in the manuscript GB-Cfm 88. It may also be relevant that he was appointed to his first salaried post on 10 September 1677, which would have been his eighteenth birthday.
- ^ Wells, J.C., Longman Pronunciation Dictionary. Harlow, Essex: Longman. ISBN 0-582-36467-1
- ^ Holman and Thompson (Grove Music Online, see References).
- ^ a b c d e f g h i j k One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Purcell, Henry". Encyclopædia Britannica. 22 (11th ed.). Cambridge University Press. pp. 658–659.
- ^ a b Zimmerman, Franklin. Henry Purcell 1659–1695 His Life and Times. (New York City: St. Martin's Press Inc., 1967), 34.
- ^ a b Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 8.
- ^ Burden, Michael. The Purcell Companion. (Portland, Oregon: Amadeus Press, 1995), 55.
- ^ Burden, Michael. The Purcell Companion. (Portland, Oregon: Amadeus Press, 1995), 58.
- ^ Zimmerman, Franklin. Henry Purcell 1659–1695 His Life and Times. (New York City: St. Martin's Press Inc., 1967), 29.
- ^ Zimmerman, Franklin. Henry Purcell 1659–1695 His Life and Times. (New York City: St. Martin's Press Inc., 1967), 65.
- ^ a b c d e f g Runciman, John F. (1909). Purcell. London: George Bell & Sons. OCLC 5690003.
- ^ a b Harris, Ellen T. Henry Purcell's Dido and Aeneas. (Oxford: Clarendon Press, 1987), 6.
- ^ a b Hutchings, Arthur. Purcell. (London: British Broadcasting Corporation, 1982), 54.
- ^ Harris, Ellen T. Henry Purcell's Dido and Aeneas. (Oxford: Clarendon Press, 1987), 11.
- ^ a b Hutchings, Arthur. Purcell. (London: British Broadcasting Corporation, 1982), 85.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 41.
- ^ "No. 1872". The London Gazette. 25 October 1683. p. 2.
- ^ "No. 1874". The London Gazette. 1 November 1683. p. 2. Announcements of the publication of Purcell's Sonata, first for subscribers, then for general purchase
- ^ "No. 1928". The London Gazette. 8 May 1684. p. 2.
- ^ "No. 2001". The London Gazette. 19 January 1684. p. 2. Announcements of the publication of Purcell's Ode for St Cecilia's Day, first performed, 22 November 1683
- ^ Tore Frantzvåg Steenslid (2004). "Arise, my muse". steenslid.com. Retrieved 3 December 2013.
- ^ Westrup, J .A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 77.
- ^ Muller 1990
- ^ a b Hutchings, Arthur. Purcell. (London: British Broadcasting Corporation, 1982), 55.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 75.
- ^ "Henry Purcell – The Tempest, Z.631 (semi-opera)". classicalarchives.com.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 80.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 82–83.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 81.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 83.
- ^ Often miscited as Dean's Yard; Frederick Bridge in his brief biography of 1920, Twelve Good Composers, uses rental information/rate sheets to clear this up.
- ^ Zimmerman, Franklin. Henry Purcell 1659–1695 His Life and Times. (New York City: St. Martin's Press Inc., 1967), 266.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 85.
- ^ Zimmerman, Franklin. Henry Purcell 1659–1695 His Life and Times. (New York City: St. Martin's Press Inc., 1967), 267.
- ^ Westrup, J. A. Purcell. (London: J. M. Dent & Sons Ltd., 1975), 86.
^ Shay, Robert; Thompson, Robert (2006). Purcell Manuscripts: The Principal Musical Sources. p. 137. ISBN 0521028116.
The distinctive nature of the symphony song, a genre as closely linked to the court as the symphony anthem was to the Chapel Royal, 16 is underlined by the principal concordance of the longer works in R.M. 20.h.8, Lbl Add. 33287
- ^ Melvin P. Unger, Historical Dictionary of Choral Music, Scarecrow Press 2010, ISBN 978-0-8108-5751-3 (p.93)
- ^ Holy Women, Holy Men: Celebrating the Saints. Church Publishing, 2010.
- ^ "Jethro Tull Press: Rolling Stone, 30 August 1973". tullpress.com. Archived from the original on 3 March 2016.
- ^ Radio Times, 24–30 October 2009, previewing Baroque and Roll (BBC Radio 4, 27 October 2009).
- ^ Jim Paterson. "Henry Purcell – an overview of the classical composer". mfiles.co.uk.
- ^ "The Delicate Intensity of Olivia Chaney". WNYC.
- Burden, Michael, ed. The Purcell Companion, Faber and Faber, London, 1994.
- Burden, Michael, Purcell Remembered, Faber and Faber, London, 1995.
- Burden, Michael, ed. Performing the Music of Henry Purcell, Clarendon Press, Oxford, 1996.
- Burden, Michael, ed. Henry Purcell's Operas; The Complete Texts, Oxford University Press, Oxford, 2000.
- Dent, Edward J. Foundations of English Opera, Cambridge University Press, Cambridge, 1928.
- Duffy, Maureen, Henry Purcell, Fourth Estate Ltd, London, 1994.
- Herissone, Rebecca (ed.), The Ashgate Research Companion to Henry Purcell, Farnham, Surrey: Ashgate, 2012
- Holman, Peter and Robert Thompson. "Henry Purcell (ii)," Grove Music Online, ed. L. Macy (accessed 17 March 2006), grovemusic.com (subscription access).
- Holman, Peter, Henry Purcell, Oxford University Press, Oxford, 1994.
- Holst, Imogen, ed. Henry Purcell 1659–1695: Essays on His Music, Oxford University Press, London, 1959.
- Keates, Jonathan, Purcell, Chatto & Windus, London, 1995
- King, Robert, Henry Purcell, Thames & Hudson, London, 1994
- Moore, R. E., Henry Purcell and the Restoration Theatre, Greenwood Press, Westport CT, 1961.
- Muller, Julia, Words and Music in Henry Purcell's First Semi-Opera, Dioclesian, Edwin Mellen Press, New York, 1990.
- Orrey, Leslie and Rodney Milnes, Opera: A Concise History, World of Art, Thames & Hudson. ISBN 0-500-20217-6.
- Price, Curtis A., Henry Purcell and the London Stage, Cambridge University Press, Cambridge, 1984.
- Shay, Robert, and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources, Cambridge University Press, Cambridge, 2000.
- Stickland, Peter, Dido's Lament. A Tale about the Making of the Opera "Dido and Aeneas", Grey Suit Editions, London, 2007, second edition 2008
- Stickland, Peter, Dido's Lament or The Willing Librettist, 77 Books, London, 2009
- Westrup, Jack A., Purcell, Dent & Sons, London 1980
- Zimmerman, Franklin B., Henry Purcell, 1659–1695, His Life and Times, University of Pennsylvania Press, Philadelphia PA, 1983
External links
Wikiquote has quotations related to: Henry Purcell |
Wikimedia Commons has media related to Henry Purcell. |
- Works written by or about Henry Purcell at Wikisource
- Henry Purcell at Encyclopædia Britannica
- Free scores by Henry Purcell in the Choral Public Domain Library (ChoralWiki)
- Works by or about Henry Purcell in libraries (WorldCat catalog)
- Free scores by Henry Purcell at the International Music Score Library Project (IMSLP)
- "Discovering Purcell". BBC Radio 3.
- The Mutopia Project has compositions by Henry Purcell
- Purcell by John F. Runciman, a biography forming part of Bell's Miniature Series of Musicians published in 1909, from Project Gutenberg
- Purcell's London by Brian Robins
- The Purcell Society
- Short biography, audio samples and images of Purcell
- Monument to Purcell
- Dido's Lament – Research leading to a narrative account of how Henry Purcell's opera Dido and Aeneas was created.
- Henry Purcell at AllMusic
- Henry Purcell on IMDb
- National Trust catalogue entry for manuscript music, copied by Philip Hayes directly from Purcell's original manuscripts
- Select digitized images from Old English Songs, containing works by Purcell, housed at the University of Kentucky Libraries Special Collections Research Center
This article uses material from the article Henry Purcell from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.


text:
[74hc595] just finished his entry in the 7400 logic contest. It's a drum machine built entirely from 7400-series logic chips. He hasn't quite reached full completion of the project yet. The hardware works just fine, and he's built a foam core face plate with many more controls than you see here but much of the circuit is still on a breadboard at this point and only two of the channels have been complete thus far.
Jump to the video clip after the break to get the details of how the system works and to hear it in action. This demonstration is one of the best we've seen for a synthesizer project as he actually talks about what each control does, and how that is accomplished with the hardware. We're not going to go into detail about the circuitry he's designed. As we said before, it uses 7400 logic but also sources a 555 timer to keep the beat. The page linked above has a PDF of the schematic available and you could really lose a lot of time studying how he did this. We might even try to build it in a simulator to see what we can learn.


text:
"Love & Hip Hop: New York? Season 6 Episode 14: The Reunion (Part 2) aired on VH1 last night (March 28, 2016).
VH1 synopsis:
Host Nina Parker reunites the cast to discuss this season?s drama, and in the second and final part of the two-part LHHNY Season 6 reunion, everyone reacts to Amina?s big news, Yandy gets into it with Samantha and Kim, and Cardi B goes off on Peter Gunz. Later, DJ Self is forced to come clean when Cardi, Yorma and Rose compare receipts, and Remy Ma performs a new song.
In case you missed it, watch part 2 of the 'Love & Hip Hop: New York' Season 6 reunion below… Continue Reading…


text:
Target will sell its pharmacy and clinic businesses to the drugstore chain CVS Health for about $1.9 billion in a deal that combines the resources of two retailers seeking to polish their health care reputations.
The acquisition allows CVS Health to reach more patients and expand its in-store MinuteClinic brand, which it has been growing aggressively for the past several years. It also gives the nation's second-largest drugstore chain a retail presence in new markets like Seattle, Denver, and Salt Lake City.
Target customers, in turn, will gain access to CVS Health Corp.'s pharmacy care programs that help them manage their prescriptions, find low-cost generic drugs and buy specialty medications, a rapidly growing slice of the pharmaceutical market.
Drugstore chains, grocers and big retailers like Target and Wal-Mart have all pushed deeper into customer health in recent years, in part to serve the aging baby boom generation and the millions of uninsured people who are expected to gain coverage under the federal health care overhaul. They've added walk-in clinics to their stores and, in some cases, expanded the care those clinics provide to include monitoring chronic conditions like diabetes.
Retailers also are putting more health care products on their shelves.
Drugstores have long-since slowed their push to grow by building new stores and shifted to expanding what their existing stores offer. That includes groceries and other non-pharmacy items, aside from health care products, as they try to attract customers who are looking to buy more in a single stop.
CVS Health gained national attention last year when it announced it would pull tobacco from its store shelves as part of a push to improve its reputation as a health care provider. The drugstore chain also changed its name to CVS Health from CVS Caremark last year as part of its increased focus on health.
Target had already quit selling tobacco in 1996.
The deal announced Monday includes more than 1,660 pharmacies in Target stores that will be branded as CVS/pharmacy. The agreement also calls for new Target stores to include a CVS/pharmacy if they are going to offer pharmacy services.
Target Corp.'s nearly 80 clinic locations will be rebranded as MinuteClinic. CVS Health will also open up to 20 new clinics in Target stores within three years of the deal's closing.
In addition, Woonsocket, Rhode Island-based CVS Health and Minneapolis-based Target plan to develop five to 10 smaller stores over two years. The stores will be branded as TargetExpress and include a CVS/pharmacy.
Target has nearly 1,800 stores and also sells products through its Target.com website. The retailer, which caters to customers who have a little more money than Wal-Mart shoppers, is trying to reinvent itself as a more nimble and innovative company and is trying to reclaim its reputation as a cheap chic retailer under CEO Brian Cornell.
It expects after-tax proceeds of about $1.2 billion, which it plans to use buying back stock, among other capital priorities.
CVS Health will pay for the deal with new debt and has lowered its share repurchase guidance for this year to $5 billion from $6 billion. CVS Health runs 7,800 drugstores and nearly 1,000 walk-in medical clinics, a total it plans to expand to 1,500 clinics by 2017. It also operates one of the nation's largest pharmacy management businesses, which runs prescription drug coverage for insurers, employers and other big customers.
Shares of CVS Health climbed 66 cents to $102.88 Monday before markets opened, while Target rose 52 cents to $79.99.


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New Dinosaur-Themed Hotel Comes to Denver & Featured on The Oatmeal
By Blog Editor Susan Wells
Out of all of the blogs that contain cats, creepily drawn people and a real look at the world we live in, my favorite is The Oatmeal. Matthew Inman, the author and creator of The Oatmeal, shares his unique look at the world, customer service, pets (mostly cats), significant others and anything else that comes across his mind. His cartoons are usually not kid-friendly, but if you can tolerate his creative use of the English language, The Oatmeal is a great way to laugh away a few minutes or hours.
Last year, Inman ran a fundraiser encouraging people to donate in support of a Nikola Tesla Museum. Sponsors who gave over $33,333 would get a blog post on The Oatmeal about their product or business.
Greg and Meredith Tally, the owners of a Best Western outside of Denver, made a $35,000 donation. So Inman followed through with his promise and featured their Best Western on his blog. The Tally's Best Western isn't just a regular hotel. They are currently renovating it to be a dinosaur-themed hotel. How cool is that? You can swim in a Cretaceous sea pool, find dinosaurs and exhibits all around the hotel. My favorite is the hand-made ironwork that shows the history of life. Obviously, no stone has been left unturned.
Even though this museum isn't far from where I live, I want to go stay there. The renovated hotel will open in April 2013. I am hoping to visit the hotel after it reopens and report back.
The hotel is located close to one of my favorite museums, the Morrison History Museum as well as Dinosaur Ridge, an area in Morrison, Colorado where you can see dinosaur tracks on the side of a mountain. The Morrison History Museum sits in an area where many fossils have been discovered. You can stand in the museum and look out at the hill where the bones were found.
My one disappointment while putting together this post? I found out I missed Inman's visit to the hotel and Morrison History Museum. If I had only known, I would have followed him around town like a groupie, waving my Bobracha 4 Lyfe bumper sticker and How to Tell If Your Cat is Plotting to Kill You book.
Follow the Best Western of Denver on Facebook for fun and entertaining posts dedicated to dinosaurs.
For all of you science geeks, read The Oatmeal's post on why Nikola Tesla was the greatest geek that ever lived. Learn all about Tesla and his inventions while also discovering if you are truly a geek.


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"What we cannot speak about we must pass over in silence."
Ludwig Wittgenstein (1889-1951), Austrian philosopher
Benchmarking means measuring the speed with which a computer system will execute a computing task, in a way that will allow comparison between different hard/software combinations. It does not involve user-friendliness, aesthetic or ergonomic considerations or any other subjective judgment.
Benchmarking is a tedious, repetitive task, and takes attention to details. Very often the results are not what one would expect, and subject to interpretation (which actually may be the most important part of a benchmarking procedure).
Finally, benchmarking deals with facts and figures, not opinion or approximation.
Apart from the reasons pointed out in the BogoMips Mini-HOWTO (section 7, paragraph 2), one occasionally is confronted with a limited budget and/or minimum performance requirements while putting together a Linux box. In other words, when confronted with the following questions:
one will have to examine, compare and/or produce benchmarks. Minimizing costs with no performance requirements usually involves putting together a machine with leftover parts (that old 386SX-16 box lying around in the garage will do fine) and does not require benchmarks, and maximizing performance with no cost ceiling is not a realistic situation (unless one is willing to put a Cray box in his/her living room - the leather-covered power supplies around it look nice, don't they ?).
Benchmarking per se is senseless, a waste of time and money; it is only meaningful as part of a decision process, i.e. if one has to make a choice between two or more alternatives.
Usually another parameter in the decision process is cost, but it could be availability, service, reliability, strategic considerations or any other rational, measurable characteristic of a computer system. When comparing the performance of different Linux kernel versions, for example, stability is almost always more important than speed.
Very often read in newsgroups and mailing lists, unfortunately:
Hosting by: Hurra Communications Ltd.
Generated: 2007-01-26 17:58:07


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Campo San Salvador (St. Salvador Square)
History has it that in this square there was a deep well with a water-tank where wayfarers used to tie their horses and let them drink. A decree dating from 29th February 1287 forbade the riding of horses through the main street.
The church of San Salvatore has ancient origins and was erected by the Carosii and Gatollosi Families. Originally the floor was probably made of iron gratings under which water flowed (just like the church of Saint Sepulchre in Jerusalem). The façade (1663) by Giuseppe Sardi is nothing special, but the inside (1505 – 1534) is one of the most original Italian Renaissance churches. Giorgio Spavento's design wasn't realized until after his death in 1509 when Tullio Lombardo undertook the project. It was later finished by Jacopo Sansovino.
On Carnival Thursday 1579, at the church of San Salvatore Marco Giustinian, one of the council of 10 was seriously injured by a masquerader and died shortly afterwards from his injuries.
On Carnival Thursday 1602, Nicolò Moro q. Santo, was killed trying to stop the kidnapping of a lady by 3 men from that part of town.


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This article is more than 1 year old
4 in 10 Brits feel lonely without a daily texting
Rarely actually 'laugh out loud'
Britons' self esteem is ruled by their mobile phones, according to a survey commissioned by a UK mobile phone comparison website.
Right Mobile Phone said 3,138 people were recently polled across the nation about how mobile phones affect their emotions. Eighty per cent in the survey responded that not receiving a reply to a text message damages their mood, and 41 per cent said that without a daily texting they felt "unpopular and lonely".
While a full 82 per cent of respondents said they look forward to being given a ring by their partners and loved ones, 19 per cent purposefully duck calls from their parents.
Eighteen per cent admit to have faked receiving a phone call or text message.
The study also concludes that folks are overwhelmingly insincere about LOLing. Only 9 per cent of respondents said they have actually laughed out loud at anything they've ever been sent via text, even though 61 per cent said they regularly use the term LOL while texting.
Furthermore, none claim to have either literally rolled on the floor laughing or laughed their ass off, despite using the corresponding acronyms. Although not covered in the survey, it can be assumed a similarly low number of British subjects has ever actually boarded a ROFLCOPTER or taken a merry twirl on their LOLLERSKATES. ®


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NASA Will Roam Around Mars with Rover (Updated!)
News story originally written on August 13, 2000
Make that two rovers! NASA is going to send twins to Mars! The rovers will be the same, but they will visit two different parts of the planet.
Scientists say we will be able to study two areas of Mars at the same time. Very cool!


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Lately I've been thinking harder and harder about the justifications for using my energy (and that of others) on musical aesthetics in times like these. Writing thousands of words explaining the exotic appeals of underground pop's next best thing doesn't come out as an obvious priority when vigorous collective opposition to the government's horrifying attacks on social equality is urgently needed. Even expansive commentary on the politics of musical creativity and the musical imagination seems a little too much like an indulgence next to the tasks of raising awareness, organisation and action. As I gesticulate in front of people, 'no, no, music really is an important part of our political lives,' I suspect that I'm appearing a bit naïve at best.
While there's a certain immediate practical truth to this concern, it's also the case that to divide political action and art / aesthetics into wheat and chaff respectively is very close to the sort of reasoning currently being employed to eviscerate higher education in this country. The splitting of art from life in general is an arrangement that has suited capitalism's commodification of the former very well. In this arrangement Art is that glorious winged escape from life into the meaningless heavens of emotion, fantasy and madness, a journey that can become the property of every sanctified individual for only 79p at the iTunes store. Or art can have 'political themes': messages preferably conveyed through a set of easily denotive elements (such as lyrics or images) while the mode of production remains essentially the same. In other words, Art may address and enhance life, but as a luxury or specialist commodity it stays at a remove from its practical concerns and present meanings.
This is exactly the ideology behind the government's proposed destruction of arts and humanities in higher education, of course. Now not just art itself, but even learning about art – thought itself – becomes a luxury or else a pre-2008-crisis-style investment in a future career. It's certainly not a natural entitlement any more. Individuals benefit, so individuals must pay for it. And when it's all reduced to monetary value, an arts or humanities degree emerges as a relatively poor investment compared to engineering, economics or business studies, or even no degree at all. But hey, at least these people will eventually acquire the disposable income to buy whatever it is that the iTunes store recommends and listen to it after work. And in the meagre instances where artistic meaning gets a look in at universities, it may well resemble something like this.In turn the elite professionalisation of music-making (and the musical disempowering of the majority that goes along with it) will grow even worse as all forms of instrumental tuition come to be seen as a career investment, especially after secondary school. This won't just apply to classical musicians, but in the coming decades it could have a powerful effect on the growing disciplines of music technology and popular music performance.
My own field, however, is music as a humanity. This often goes by the name 'musicology', but this term is often held to describe just one of a number of related discourses. I've just started a course of PhD research on the so-called 'lo-fi' aesthetics of popular music's outsiders – those who swim against the prevailing current of musical professionalisation and the music industry – and my ability to do this is entirely reliant on funding from the Arts and Humanities Research Council, who may be looking at cuts of well over 50%. My research is unlikely to be decisively threatened by the cuts, but the future of research like mine is in severe peril. Having become aware of the value of my education and the opportunity of my research in a way that future generations of students may never be makes me all the more determined to protest.
It's not just research itself that's threatened, of course, but the benefits of learning that further education brings to individuals, society and social discourse as a whole. Take the idea that there is more to the meaning of music than its marginalised role in Western capitalist society, for example. When musicology was still a young discipline, many musicologists unconsciously towed the Western capitalist line that music had little to do with life, that it was meaningless but luxurious. Since then, the discipline has gotten wise and taken a more critical turn, becoming conscious of a deeply political sociology in music-making. It is just this sort of insight, this consciousness, this ability of future generations of students to imagine a subversion of the dominant social ideology and step outside of it to view society and humanity with a more critical eye that is so threatened by the rise in tuition fees and the cuts to higher education. Without it, society cannot improve, but can only suffer ever greater injustices ever more gladly.
This is why I took part in the demonstration in central London last Wednesday. With the minor damaging and occupation of the Millbank buildings housing the Conservative Party headquarters, it became a very significant, even historical event. There has been a huge wave of responses on the internet, among them:
Nina Power in the Guardian - 'Student Protest: We Are All In This Together'
Laurie Penny in New Statesmen - 'Inside the Millbank Tower Riots'
Laurie Penny in New Statesmen - 'The Power of the Broken Pane'
University of London Union Clare Solomon's high-octane debate with Tory MP Roger Gale on BBC Radio 2's Jeremy Vine Show
Richard Seymour at Lenin's Tomb - 'Just the Beginning'
Neil Roberts in Londonist - 'Student Fees Protest: A View From the Front'
Paul Sagar at Bad Conscience - 'In Praise of Riots'
... and its follow-up - 'Seconds Out, Round Two'
Liberal Conspiracy - 'The Occupation of Millbank: What the Press Missed'
London Evening Standard Editorial: 'Expect More Rage if the Rich and Poor Divide Gets Bigger'
History is Made at Night - 'The Battle of Millbank' (includes footage)
A must-read in a more satirical vein - Trifling Offence - 'National Day of Mourning for Windows of Millbank Tower'
... its follow-up - 'We Are All Windows Now'
... and the Facebook group - 'Become a Window'
And the next outing - Guardian: 'Student Protests Planned on a National Scale on 24 November'
That day music stepped out of the record collection paradigm and played a role in raising morale, coordinating chants, and most importantly cohering and drawing attention to ourselves as an organised collective. Just south of Trafalgar Square as the march was starting I was near the back and still stationary, tightly packed in and shivering with hundreds of strangers from dozens of different universities. Eventually a sound system started up and boomed out Cee Lo Green's 'Fuck You', a powerfully catchy, upbeat song and a perfect choice at that moment.
Recognising the sentiment we all turned, smiled, and started dancing and singing along, our eyes meeting with a strong and implicit sense of mutual understanding and agreement. There were performers on instruments too. The music of drummers and samba bands contributed to the sense of a shared mood. Outside the Houses of Parliament a student brass band were playing a characteristically old-fashioned and very English sort of music, and yet it only enhanced the atmosphere of diverse voices contributing in every unique way to one cause. By the time I arrived at the Millbank buildings, sound-systems were playing techno, dub, and if I'm not mistaken, Aphex Twin's 'Come to Daddy'. Together with our reasons for being there, the sense of collectivity that music instilled that day was ten times as strong as that whipped up at the very best of raves, and I'll never forget it.
But of course it wasn't the disrespectful, insubordinate swearing of our singing 'Fuck You' or the sonic warfare of Aphex Twin that outraged most of the mainstream media. It was the 'Battle of Millbank', encapsulated in that one image of someone kickboxing a window on the ground floor of the Conservative Party headquarters. The photograph has swiftly reached iconic status. Shame to say it, but over 50,000 young people standing together in central London are relatively easy for the public and the powerful to ignore, especially in an ideological climate stoked by the propaganda of taking the bitter pill. But some broken windows, some graffiti and thousands of young voters chanting 'Nick Clegg, shame on you for turning blue' and 'Tory scum' and all the clear symbolism that goes with it cannot be so easily ignored. So the protest had to become something else in order for it to be ignored. It had to cross a threshold of excess in which it becomes different in kind. The moment windows were broken, a valid protest was transmuted, 'highjacked' into 'mindless violence', perpetrated by (take your pick) criminal anarchist yobs or arrogant, selfish kids as threathened commentators attempt to claw back the power to ignore and blot out the protest.
But every aspect of the protest – both the acceptable banner-waving at the march and the anger on Millbank – were continuous within the same historical moment and cannot be divided. Just as music and aesthetics isn't outside of life, the literal and symbolic destruction of government property was not outside of the protest. The apparently unbearable truth is that it is only a tiny and natural step from giving anger a voice and giving it more material consequences. The two are not different in kind. The only difference is that this 'violence' is bolder and less readily ignored. The real anxiety underneath the outraged reaction to the Battle of Millbank isn't the rationalizing lie of 'shame on this mindless, invalidating violence' but 'how dare you take the step of trying to stop us from ignoring you'.
As so many have already pointed out, the destruction of a sumptuous lobby is nothing compared to the infinitely more serious violence about to be inflicted on society's ability to think and imagine. Music can be a part of that fight, a way of cohering and celebrating it with a single passionate voice. If you are angry, make music using whatever you have, music strange and unique to this historical moment. Plug it into an amplifier. And be heard.
Just don't randomly throw fire extinguishers.