text:
Connected car security has been a hot topic ever since the experiment in which hackers remotely ran an Internet-connected Jeep off the road. Even if the average driver isn't necessarily scared that the same thing will happen to them, connected automobiles could disrupt our everyday lives in other ways. And, with an estimated 250 million connected cars expected on the road by 2020, these disruptions could be coming sooner than you may think.
Automakers are eager to put Internet connectivity to good use – tracking down stolen vehicles, preprogramming trip routes, and even making driverless cars a full-scale reality — which Tesla is actively working on, having just rolled out its highly anticipated self-driving features. But that doesn't mean there won't also be a few side effects. Richard Kirk, SVP at AlienVault, the Silicon Valley-based provider of unified security management and crowd-sourced threat intelligence, outlines a few scenarios.
Related Topics : In Their Own Words: The Four Dark Horses for the Third Major Mobile OS Speak, HTC, Mobile Search, 3G, Location-Based Services
Wearables are revolutionizing the workplace, with innovations that create a safer work environment or enhance the way professionals are able to go about their job. ... More >>
Here are the top 10 strategic technology trends that will impact most organizations in 2017. Strategic technology trends are defined as those with substantial disruptive potential or those reaching the tipping point over the next five years. ... More >>
Digital innovation is by far the biggest influencer, changing the way we do just about everything, from shopping to communication to running a business. ... More >>


text:
Text Size Large SizeMedium SizeSmall Size Color Scheme Black SchemeWhite SchemeGrey SchemePaper Scheme
Rosalie Hale had stayed silent since after the night of the voting, but she continues to endure feelings of self-guilt and frustration as she watches Isabella Swann integrate herself deeply into Rosalie's family. Rosalie itches to show Bella what she would lose - humanity - and finally finds her chance the night Bella sleeps over. One thing stands between her and Bella now: Alice. Response to a prompt given by the LJ community twilightathon "A story centering on a conversation between Alice and Rosalie." Eclipse spoilers.
I'm responding to twilightathon's round 2 of prompts. #3: A story centering on a conversation between Alice and Rosalie.
1. Fair
Rating 5/5 Word Count 2060 Review this Chapter
by Marauder by Midnight
It was absurd. This entire idea was preposterous. And for what? To protect a human from something she adamantly refuses to be protected from?
I was glad Edward wasn't here; surely, my thoughts would annoy and anger him to no end. No matter what this human might think, I loved him and would cause him no more pain.
After what had happened back in March, I had remained in the background shamefully. I couldn't very well approach Bella, not after what I had said during the night of the vote. I had done her wrong, and she and Edward had assured me I was forgiven. I could not so easily excuse my behavior.
There had been so many days when I wondered if I had deliberately lied to Edward that day when Alice had sprung up and left. Did I really want so badly for Bella to disappear from our lives? Was I truly hoping that by telling Edward what I had so quickly concluded, I would erase a tainted fragment from our lives? Did I really expect Edward to get over the death of his love and carry on eternity with us and without her?
All these thoughts ravaged my mind, often leaving me either irritable or sullen most of the time. Emmett tried his best to help me overcome them, but they were my demons to face, not his. However, I finally heeded his appeals to be nicer to our visitor, not so much for him as for her.
Isabella. What a beautiful name for such a plain girl. Yet how gloriously has she awoken a part of my brother I had so long ago given up on. I may disapprove of her, but I was in their debt, her and Edward's, for my role in the fiasco last spring. And for my brother, I would not make that error again.
So I had pretended to listen as Alice chattered on and on about trivial human matters to Bella as she ate her dinner. I had watched the movie with Alice, Esme, and Bella silently, keeping an expressionless face the entire time (I hadn't mastered a convincing smile just yet). I had let Esme paint my toenails as Alice did the same to Bella. I was a good sport about the whole thing, but this…this was ridiculous.
"Hey Jake, it's me."
Esme patted my leg soothingly as she saw me tense. What was she doing? I raged inside. She couldn't have it both ways. She couldn't possibly believe she could dally with that dog when she had been so fervently to join us. No human had ever driven me to the brink of madness like her. One moment, I was indifferent to her existence. The next, I was either infuriated beyond belief or guilt-stricken to the point of depression.
I listened to this side of the conversation, and there was no mistaking the love she felt for this Jacob character, whom I had the pleasure of never meeting. I wondered if Bella had any idea what would happen when she joined us. The war was one thing, but what of her emotions? Did she know she'd never have the friendship and the love of that wolf? Did she know she would never be able to straddle the boundary line as she could now when she was human?
It was frustrating for this young woman to not see what she had. If she had known, would she throw it all away as easily as she thought she would?
It was time I let her know. It was only fair.
Alice shot a look of confusion at me from the other side of the room as she saw my decision. I met her gaze steadily, my mind set. I was nervous, but I couldn't show it. This was the time I would let my guard down around Bella and perhaps answer any questions she might have about me. I had to do this calmly and efficiently. Change her mind while I still had the time. It was the opportune moment, with the men away.
"'Night, Jake."
Immediately, Alice broke eye contact with me and returned to Bella's side. She glanced at the number Bella was now dialing. "I don't think he'll have his phone on him," she said.
Of course she'd call Edward. He was her anchor, as Emmett was mine. I almost smiled when she growled into the phone. As she hung up, she voiced her intentions to go to bed. It was now or never. I too stood up to follow Bella to her room.
However, just as approached Bella's back, Alice danced in between. She shot me a warning look that clearly said, "Not now," and followed Bella possessively up the stairs, keeping one eye on me the whole time. Bella made some remark about Alice's overprotective manner, and Alice answered innocently. They disappeared into Edward's room, and though they were still within earshot, I turned away.
I shouldn't act on impulse. But the more I thought about it, the more Bella deserved to know my story. If it would save her from making a mistake, then I didn't care how much it would hurt me to relive that night's events. I owed her that much.
I had worked up the courage to dredge up those terrible memories, but after being so shot down, I didn't have the time to rebuild the dam between my mind and my creation. Images of Royce and his friends, in drunken fun, flashed before me. I felt the pain and roughness as they penetrated me, ignoring my cries of protest. I experienced that familiar shame as I did that night when I had realized it was all my fault. But strongest of all, I suffered the remorse of knowing I will never have my king or my little prince. My knees almost buckled from the strength of that human emotion. I grabbed the railing for support, and one hand flew to my mouth to suppress my cry of anguish.
"What are you trying to pull, Rosalie?" Alice had returned, catching me in my moment of weakness, but her voice contained cool malice as she ignored my shriveled state.
I straightened slowly and as normally as possible, but Alice watched my every move. I was good at hiding my passion. "Is she tucked in?" I asked with indifference. I knew I sounded innocent, too innocent, but I didn't mean to be. I turned around to face her.
She narrowed her eyes, scrutinizing me. As her eyes flitted to my face, I showed my concern and my sorrow in my expression. I was never one to wear her feelings on her sleeves, so Alice twitched with surprise.
Finally, she lowered her gaze. "What are you doing here, Rose? She doesn't need to talk to you right now."
"Yes, I can't really say I don't understand why."
Alice's small face hardened. "If you're trying to scare her out of this, it won't work." She glared at me. "She's got enough nightmares to deal with without your help." She added a snarl at the end to warn me.
I turned away again. I wasn't going to fight her about this, but I was going to talk to Bella, whether Alice approved or not. She had to see from my point of view.
"Alice," my voice was uncharacteristically small, "this is something only I understand. Only I can point out her options and her mistakes. If you truly call yourself her friend – " Alice emitted a defensive growl, "then you'd agree to let her know everything that might affect her ultimate decision in the end."
"I can't believe you," Alice's voice trembled with anger. I looked back at her, surprised at how Alice was reacting. I thought I had reasoned with her. I had thought that if I mentioned her friendship with Bella that she'd feel obligated, just as I do.
"I can't believe that you'd do this. I knew you were vain, but this is just selfish, Rosalie Hale." I opened my mouth to retort with indignation, but Alice cut me off. "You don't like her, Rosalie. Fine. This family dealt with your animosity as best we could. We tried to persuade you. We compromised with Bella. We even ignored it when it became so strong that even Bella felt uncomfortable. But still you want to chase her away like some prey, trying to protect our lifestyle."
Alice didn't raise her voice, but I barely suppressed the shudder that rippled through me as she spoke more and more vehemently. Esme, who had left to give us privacy, swiftly entered the room, concern shining in her golden eyes. I glanced at her, conveying to her that we weren't to be interrupted, no matter how ugly this might get.
"Well, I've had it, Rosalie. It's not about him and Bella anymore. We're connected. You, me, Emmett, Edward, everyone. I'd lose my friend. And Edward…he'd lose his life. And then what?" This time, Alice's voice went up a few pitches. "That would hurt Esme and Carlisle. That would hurt everyone in this family. And it might even hurt you, the one without a heart even metaphorically speaking." I winced. Her accusations weren't unfounded, but they hurt all the same.
"Alice!" Esme exclaimed with displeasure.
"The decision is Bella's, that's true enough," Alice continued, ignoring Esme's interruption, "She has the right to change her mind for whatever reason she wants. But damn it, Rosalie, if I let you hurt her in the process."
"Those aren't my intentions, Alice," I murmured. "I need to speak with Bella. My story is crucial to her decision, but I won't try to scare her into remaining human. Humanity isn't something that should be frightening anyway. I…I want her to know what she has that she'll have to give up to join us. She could have so much that we can't offer her. A husband who won't lust after her blood. Children to play with and love. Friends she won't have to guard herself against. And a rest." I knew I was treading on dangerous ground, but I had to say it. "Death isn't always a bad thing, Alice. I wouldn't have minded dying because in my human years. Humans usually come to terms with the fact that they have a definite end. What makes you think she wouldn't want that after maybe seventy, eighty years of life?
"She might not see all the benefits yet, and I just want her to see that…future as a human isn't so bad." Alice still stood stonily in my way. "Look, Alice. I'm not going to tell her to stay away from us, okay? That wouldn't be fair to her or Edward, and they certainly can't handle separation anyway." I tried to ignore the guilt that tugged on me. Memories of that March day and images of what could have happened flashed in my mind.
"She has a werewolf friend, Alice. What we're doing is asking her to forget about him and whatever he had done to help her cope with our abandonment. And what about Charlie? Reneé? Are you asking her to leave them behind without a second thought? You're asking to tear her in two. She's so blinded by her love for Edward and us that she doesn't even see that she has other options. I want to present to her the case for humanity, however biased that might be. That, I think, is fair."
Alice finally seemed to understand my argument. She struggled with the decision, but I already knew I would talk to Bella tonight. After a long period of time, she warned menacingly, "You're not allowed to lose your temper around her. Be patient when you explain your story. You're not to frighten her. If you do anything to hurt her, Rosalie, not even Emmett will save you." She straightened. "I'll be listening."
I nodded. "I promise to behave, Alice, but," I hesitated, "I can't promise I'll be her friend."
Alice nodded too. "We can't ask that much from you, now can we?"
I ignored her retort and brushed past her toward the stairs on my way to reveal the weakest part of my life I had sworn never to relive again. But it was only fair.
- Author
- Marauder by Midnight
- Rating
1 2 3 4 5
- Reviews
- 12
- Words
- 2060
- Views
- 1
- Published
- 15 Aug 07
- Updated
- 15 Aug 07
- Status
- Complete

subset: commoncrawl


text:
More Examples Of Patent Incentives Making The World Less Safe
from the hoarding-the-info-needed-to-save-us deptFor years, we've written about how Indonesia has been hoarding bird flu samples and refusing to share them with researchers, because they're afraid that someone will come in and patent the cure, based on the samples they provide, and that will make it much costlier to Indonesia to get the vaccine. Of course, the end result instead might be no vaccine at all... It looks like we may be facing a similar issue with Ug99, a fungus that is aggressively killing wheat crops in Africa and the Middle East -- potentially having a massive impact on global food supplies. FormerAC alerts us to an article about the fight against Ug99, where it's noted that Pakistan won't share some important samples with the rest of the world, again out of fear that some big company will patent what they find:
As the breeders keep tinkering, South Asia is bracing for impact. The CDL recently tried to get its hands on a suspicious P. graminis sample from Pakistan that is said to knock out Sr31. But the country is reluctant to share: "Some countries regard isolates of their pathogens as part of their genetic heritage," CDL director Marty Carson says. "I guess there's a fear that we'll patent something off of it."Well, given Monsanto's history of patenting disease resistant crops -- and then over-aggressively attacking anyone who uses such crops (even accidentally), it would seem like a rather legitimate fear. Perhaps, rather than brushing this fear off, the USDA's Cereal Disease Laboratory (CDL) should work to do something to fix things?
Filed Under: cdl, indonesia, intellectual property, monsanto, pakistan, patent
Companies: monsanto, usda


text:
Stocks to Watch: Orexigen Therapeutics, Mead Johnson, OCZ Technology
By Mia Lamar
Among the companies with shares expected to actively trade in Wednesday's session are Orexigen Therapeutics Inc. (OREX), Mead Johnson Nutrition Co. (MJN) and OCZ Technology Group Inc. (OCZ).
Orexigen Therapeutics said it expects to complete enrollment in an interim study of cardiovascular risks associated with its weight-loss treatment Contrave in the first quarter next year, potentially reducing its initial estimates by half. Shares climbed 7.4% to $6.42 in premarket trading.
A Chinese university said it falsely accused Mead Johnson and other foreign manufacturers of selling baby formula containing unsafe additives due to testing errors, adding to the uncertainty surrounding the safety of dairy products in China. The report caused a scare among Mead Johnson investors, spurring a 4% decline in its stock Tuesday. Shares were up 4.3% to $78.50 in premarket trading.
OCZ Technology Group's fiscal first-quarter loss narrowed on prior-year acquisition-related charges as the data-storage-technology company reported strong revenue growth. Shares were down 13% at $4.73 premarket as the adjusted loss was wider than analysts had forecast.
HHGregg Inc. (HGG) projected downbeat fiscal first-quarter results, noting continued weakness in its video business, and also lowered its full-year guidance. The home-appliances and electronics retailer's shares slumped 28% to $8.32 premarket.
Shares of Abercrombie & Fitch Co. (ANF) climbed 4.5% to $34.25 in premarket trading after the New York Post reported sources say the company may be planning a "massive" buyback of its shares. A spokesman for teen retailer did not immediately respond to a request for comment.
VOXX International Corp. (VOXX) swung to a fiscal first-quarter loss as the audio-equipment maker logged heavy charges on litigation, an acquisition and foreign-exchange translation, masking a jump in revenue. Analysts had projected the company to post a profit. VOXX also lowered its full-year outlook for earnings before interest, taxes, depreciation and amortization. Shares slid 12% to $8.58 premarket.
Prospect Capital Corp. (PSEC) plans to offer 21 million shares. Shares of the specialty finance company fell 6.7% to $11.10 premarket.
Adtran Inc.'s (ADTN) second-quarter earnings fell 43% as the company's revenue declined and costs rose. Chief Executive Tom Stanton said the results "reflect a tightening spending environment."
American Campus Communities Inc. (ACC) said its offering of 15 million shares of common stock priced at a 1.7% discount to Tuesday's closing price.
Beazer Homes USA Inc. (BZH) said its offering of 22 million shares of common stock priced at a 2.7% discount to Tuesday's closing price.
Chubb Corp. (CB) said it expects second-quarter catastrophe losses of approximately $200 million to $240 million before tax, primarily due to severe hail and wind storms in the U.S.
Cliffs Natural Resources Inc. (CLF) has agreed to sell its 45% stake in the Sonoma coal mine joint venture in Queensland, Australia, to privately owned QCoal Sonoma Pty. Ltd. for approximately A$141 million.
CYS Investments Inc. (CYS) said it will offer 30 million shares and said it plans to use the proceeds to invest in residential mortgage-backed securities issued by government-sponsored enterprises.
Duke Energy Corp. (DUK) said three of its executives have resigned, effective immediately, a week after the completion of the company's merger with Progress Energy Inc. and the abrupt ouster of its chief executive.
Eli Lilly & Co. (LLY) said Wednesday that results from its clinical trial investigating a drug to treat patients suffering an acute exacerbation of schizophrenia missed the study's primary endpoint.
Goldcorp Inc. (GG, G.T) cut its full-year gold-production guidance due to reduced output at its Red Lake mine in Ontario in the first half of the year and expected lower production at its Penasquito mine in Mexico in the second half.
Healthcare Services Group Inc. (HCSG) second-quarter earnings rose 15% as the company posted strong revenue growth.
KLA-Tencor Corp. (KLAC) expects fiscal fourth-quarter earnings to exceed its prior guidance as revenue came in near the high end of its projected range.
OraSure Technologies Inc. (OSUR) said its offering of 6.1 million shares of common stock priced at $12.30 a share, a 0.3% discount to Tuesday's closing price.
VeriFone Systems Inc. (PAY) was awarded a five-year contract by the District of Columbia Taxicab Commission valued at between $35 million and $45 million to install electronics systems to handle credit-card payments and provide other information.
Weight Watchers International Inc. (WTW) has named Nicholas P. Hotchkin to be finance chief, succeeding Ann Sardini, who recently retired.
Williams Partners L.P. (WPZ) and other investment partners agreed to invest $800 million in a joint venture with Caiman Energy II aimed at supporting oil and gas production in the Utica Shale region.


text:
|Forum Tools
|Search this Forum
|TokuNation News & Rumors
|Mattel Reveals SDCC Exclusive Hot Wheels Spider Machine G7!
|S.H.Figuarts Kamen Rider Geiz Revive Shippu Teased
|Sodo Chronicle Den-O 2 revealed
|Super Minipla Sun Vulcan Teaser
|Zi-O & RyuSoulger Summer Movie Trailers
|TokuNation Galleries
|S.H. Figuarts Kamen Rider Grease Blizzard Gallery
|Max Combine DX Full Power Gridman Gallery
|S.H. Figuarts Shinkocchou Seihou Kamen Rider Todoroki Gallery
|Power Rangers Beast Morphers 6" Basic Cybervillain Blaze Gallery
|Power Rangers Lightning Collection S.P.D. Shadow Ranger Gallery
|More New Posts
|How is everyone today?
|The Marvelous Marvel Comics Thread
|Glovesker's Drawings
|What are you watching? (Kamen Rider Edition)
|Recent Purchases June 2019 Edition
|Kishiryu Sentai RyuSoulger Episode 13- "The Prime Minister From The RyuSoul Tribe?!"
|How i make a kids network channel ?
|Ultraman Discussion Thread
|The All Encompassing POKÉMON Thread
|Can help identify this stuff?
All times are GMT -5. The time now is 01:57 PM.
Powered by vBulletin®
Copyright ©2000 - 2019, vBulletin Solutions, Inc.
Powered by vBadvanced CMPS


text:
- Home
- News
- Sports
- Opinion
- Obituaries
- Features
- Special Sections
- Classifieds
- Public Notices
What about that mayor's race? Four candidates who want to be the mayor of the city of Lancaster. When filing started, who would've predicted we'd have so many candidates vying for mayor? The interest in this seat certainly surprised us. How about you?
If you currently subscribe or have subscribed in the past to the The Lancaster News, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
|ZIP Code:


text:
December 30, 2011 – The Top Five Yankee Highlights of 2011
Since no current or former Yankees are born on today's date, I thought it would be an appropriate time to review the Pinstripe Birthday Blog's five favorite moments of the Yankees 2011 season.
Number 1 – Derek Jeter getting his 3000th hit – Those who've read this blog over the three-plus years it has been live know my feelings for the Yankee Captain. I've watched Yankee baseball closely for over fifty years and can honestly say that no other player has given me more great memories as a Yankee fan than Mr. Jeter has. He's a class act. So when the Yankee front office started blabbing to the media about their closed-door negotiations to re-sign the shortstop over the past winter and then when that same New York press started piling on Jeter for his slow start this past season at the plate, I was pretty upset. On July 9, during an afternoon game against Tampa at Yankee Stadium, Jeter once again proved why he is one of the most admired and loved Yankees in franchise history. When that game started, he had needed two hits to reach the 3,000 mark and he went out and got five. And after weeks of listening to and reading idiots write about how Jeter was now just a Punch & Judy singles hitter, Derek's hallmark hit was a deep home run, pulled to left field. A great moment for a great Yankee. (The answer to today's Pinstripe Birthday Trivia Question is – Jeter had 162 hits during the 2011 regular season.)
Number 2 – Mariano Rivera getting his 602nd save – Yankee fans have been especially blessed over the past decade and a half because in addition to Jeter, we've watched the very best closer in the history of baseball get the last crucial outs in hundreds of Yankee games. On September 19th of this past season, Mo was called in to pitch the ninth inning of an afternoon game against the Twins at the Stadium. He was given a two-run lead and proceeded to pitch a perfect final inning with the record-setting third out coming on a called third strike on Twin first baseman Chris Parmelee. The save was the 602nd of Rivera's unbelievable career, sending him past Trevor Hoffman to the top spot on the All-Time career Saves list.
Number 3 – Jorge Posada playing in his last Yankee game – This one was bittersweet because you know it breaks Posada's heart to realize he will almost certainly never take another at-bat in Yankee pinstripes. I was afraid his farewell tour was headed for a disastrous ending when he refused to play in the Boston game after Girardi demoted him in the lineup. But cooler heads prevailed and Jorge sucked it up and reminded everyone why he has become one of the most beloved Yankees of his era. If his solid hitting performance during the Yankees 2011 ALDS versus Texas turns out to have been his Yankee swan song, all I can say is; Hip Hip Jorge! You have been a great Yankee!
Number 4 – The emergence of Ivan Nova – I have to admit that as the 2011 spring training season opened, I did not think this kid was quite ready for prime time but he certainly proved me wrong. He was pretty much phenomenal the whole year and really showed the mettle of a professional when after he was unfairly demoted early in the season, he just kept pitching.
Number 5 (tie) – The emergence of David Robertson – After being spoiled for a decade and a half watching the most dominating closer in baseball do his stuff game after game, I found myself wondering if it was actually possible that his successor was already wearing Yankee pinstripes. That's how good David Robertson looked on the mound in 2011.
Number 5 (tie) – Curtis Granderson's outstanding season – I have watched and followed Yankee baseball pretty closely for a very long time and I do not remember a player who conquered a weakness in his game as dominantly as Granderson has overcome his inability to hit left-handers. In my opinion, he was the Yankee MVP of 2011 as he helped fill the power deficit caused by A-Rod's frequent absences from the lineup, especially against southpaw pitching.


text:
Blog Archives for tag how to make tilapia puttu
Tilapia Puttu Recipe | Meen Puttu | Shredded Tilapia Fry
A humble lunch; Steamed rice – Hot Rasam – 'Warm Tilapia Fish Puttu' –> If you are enjoying this sitting at home, consider you are blessed! Did I say I used to feel weird when the cleaning-cooking-eating is done by me while handling meat/poultry/fish in my previous post ? Several years back, when I prepared my 'first' non-veg dish [which was Chicken Varutha Kari – a family recipe], that night, I had ugly dreams of handling and cutting countless chicken pieces and mutton pieces with great difficulty. I can still remember how my face looked in that dream. It looked like an angry butcher working with a blunt knife . I felt as though the chicken is taking the revenge by haunting me in my dreams. It's true that the same dream re-played every time I had to work with meat/fish. But it's all 'thoughts'. Once I started to… Continue reading »


text:
Elements Massage Bannockburn, IL-02-005
Accepts Multi-Use Cards
Accepts Single-Use Cards
2519 Waukegan Rd., Bannockburn, IL 60015 United States
Elements Massage provides personalized, deep tissue, relaxing Swedish and other types of customized massage therapy to clients seeking therapeutic relief from neck and back pain, stress reduction, improved immunity, as well as relaxation. With The Elements Promise, each massage is guaranteed to meet or exceed expectations, or the next massage is on us. The affordable and flexible membership program offered by Elements Massage, the Elements Wellness Program, empowers clients to regularly enjoy a service that supports their health and wellness. The Elements Massage has been rated the top massage in the industry, based on Net Promoter scores from 2014 market research.
Hours of Operation
Monday: 9:00 AM - 9:00 PM
Tuesday: 9:00 AM - 9:00 PM
Wednesday: 9:00 AM - 9:00 PM
Thursday: 9:00 AM - 9:00 PM
Friday: 9:00 AM - 9:00 PM
Saturday: 9:00 AM - 9:00 PM
Sunday: 10:00 AM - 7:00 PM


text:
JACKSONVILLE � White Oak had captured all of the momentum.
JACKSONVILLE � White Oak had captured all of the momentum.
After trailing by 12 points midway through the third quarter, the Vikings managed to even things at 39-39 in the fourth quarter in their boys� basketball game with Havelock on Monday night.
But White Oak ran out of gas and ultimately dropped a 54-40 decision to the Rams in a game featuring the top two teams in the Coastal 3-A Conference.
Havelock (11-5, 8-0) held White Oak to just one fourth-quarter field goal and allowed just one point in the final five minutes to record their second win this season over the Vikings (11-7, 5-2) and seize control in the conference race.
Earlier, White Oak lost the girls� game to Havelock 48-28.
�I feel like Havelock stepped up their intensity and really limited us to just one shot. They did a solid job of boxing out,� WOHS coach Chris Grimes said. �We just didn�t make shots down the stretch. We had good looks, but it wasn�t our night.�
The Rams, who were led by Kyran Bowman�s 24 points and 11 rebounds, led 34-22 with 4:44 left in the third quarter. However, White Oak used a 10-2 run late in the period to get to within 36-32.
Trailing by four after three quarters, the Vikings scored the first four points of the fourth quarter to tie the game at 39-39 on a free throw by Noah Snowden with 5:50 left.
Then it was all Havelock, who defeated the Vikings 59-58 on Dec. 17.
Michael Bowman scored on a tip-in with 3:55 left to give the Rams a 41-39 lead and spark a 7-0 Havelock run. White Oak�s Cedrick Harris made a free throw with 1:27 remaining to cut the Vikings� deficit to 46-40, but the Rams scored the final eight points to pull away.
�I think we had a little more depth than them today,� Havelock coach Bill Fryczynski said. �One of the things I thought we had to do was go a little bit smaller. That�s why I put (Michael) Bowman in there because he�s probably our best athlete on the team. What we tried to do offensively was just spread out once we got inside three minutes. Defensively, we just told them to guard, keep kids in front of them and no fouls. I think we did a pretty good job of that.�
The Vikings were hurt late when senior Kendall White fouled out with 3:37 left with Havelock leading 41-39. White drew his fifth foul on an offensive foul call.
�Obviously he�s our best athlete and he can play a variety of positions, offensively,� Grimes said. �So losing that versatility on offense put us out of whack for a couple of positions after he fouled out.�
Snowden led White Oak with 15 points and eight rebounds. He had 11 points in the second half to help the Vikings get back in the game after falling behind by double digits.
Harris added nine points, scoring eight in the third quarter to also help the Vikings rally. He made a 3-pointer with 1:35 left in the third quarter to pull WOHS to within 38-35.
�Cedrick gave us a huge lift in the third quarter,� Grimes said.
But Kyran Bowman was just too strong to let Havelock lose.
The 6-foot-2 sophomore had 16 second-half points, and most of the time when the Rams needed a big shot he delivered. Bowman was also 10 of 14 from the free throw line.
�This is typical of him,� Fryczynski said. �He�s an everything player for us and he leads us in just about every statistical category. I think he�s going to be a big-time player before his time at Havelock is up.�
A White Oak team without a Coastal Conference win stood toe-to-tie with a Havelock squad looking for a league title as the Vikings trailed just 23-20 at halftime.
However, the Rams opened the third quarter on a 10-0 run and never looked back en route to a victory over the Vikings (2-13, 0-7).
Apriel Barrette finished with 15 points for the Rams (11-6, 7-1), who had defeated the Vikings 71-36 on Dec. 17.
�Young mistakes,� WOHS coach Carolyn Ashdown said. �A couple of bad turnovers, they made baskets in transition and we didn�t score. We went a long time in the third quarter without even a bucket.�
The Vikings� first second-half points came when Hailey Czigler made a 3-pointer with 3:38 left in the period to cut White Oak�s deficit down to 33-23. But the Vikings scored just five more points in the game.
Emily McLain led the Vikings with nine points and seven rebounds while Czigler added eight points.
Havelock 16 7 19 6 � 48
White Oak 10 10 5 3 � 28
Johnson 8, Barrette 15, Cooper 6, Frazier 6, Wilson 8, McKinley 3, Beall 2. Totals� 21-56 3-10 48.
McLain 9, Krick 5, Pawlowski 6, Czigler 8. Totals� 12-46 1-4 28.
3-Point Goals� H 3 (Frazier 2, McKinley). W 3 (Czigler 2, Krick). Rebounds� H 38 (Wilson 8, Coyne 6). W 34 (McLain 7). RECORDS� H: 11-6, 7-1, at Swansboro on Thursday. W: 2-13, 0-7, hosts Swansboro on Wednesday.
Havelock 11 15 13 15 � 54
White Oak 13 7 15 5 � 40
K. Bowman 24, M. Bowman 8, Boykin 2, Joyner 5, Cuthbertson 2, Granison 11, Begley 2. Totals� 20-43 13-20 54.
Garrison 7, Harris 9, White 6, Hale 3, Snowden 15. Totals� 15-49 7-15 40.
3-Point Goals� H 1 (Granison). W 3 (Harris 2, Garrison). Rebounds� H 39 (K. Bowman 11, Granison 9). W 27 (Snowden 8). RECORDS� H: 11-5, 8-0, at Swansboro on Thursday. W: 11-7, 5-2, hosts Swansboro on Wednesday.


text:
ETC > NSA Home > Language Arts 9-12 > Veterans of Past American Wars Project
Veterans of Past American Wars Project
Students will understand the impact of war by interviewing a war veteran.
- Students will gain an understanding of the impact that war has had on the society, economy, family, individual and other aspects of life in American History.
- In groups of two, students will be assigned a U.S Military Veteran from a past war.
- The students will be asked to research the specific war and time period in order to gain a better understanding prior to the interview. It is recommended that students use internet sites, text books, and other resources to better prepare themselves for the interview.
- Students will come up with questions to ask the veteran during a 30-60 minute discussion. Topics should be related to the war but should focus on the veterans past experiences and recollections. The questions and answers from the interview will be typed and recorded.
- The discussion should be recorded and students will be asked to individually write a reflection paper on the interview.
- In pairs, students will complete the project by creating a Movie-Maker presentation on some aspect of the interview.
- The completed work will be presented to the class at a later date.
Sunshine State Standards
NETS Profiles for Technology Literate Students
- Make informed choices among technology systems, resources, and services.
- Routinely and efficiently use online information resources to meet needs for collaboration, research, publication, communication, and productivity.
- Select and apply technology tools for research, information analysis, problem solving, and decision making in content learning.
- Reference Materials
- Laptop Cart
- Internet
- Word Processor
- Digital Video Camera
Return to top of page
Return to lesson plans menu
ETC > NSA Home > Language Arts 9-12 > Veterans of Past American Wars Project


text:
Product 5/24
MonochromeDie Cut Sheet - No Cutting RequiredA4 3D Decoupage / Papertole Sheets* Metallic Foil Decoupage / Papertole* Perfect For Waterfall Cards* Waterfall Instructions & Templates Included* Popular "Die Cut" Sheets* Special Dufex Sparkly & Reflective Colours* Different Colours On Different Angles* No Cutting Required* Popular A4 Size* Acid Free / Lignin Free* Numbered For Ease* Ideal For BeginnersEvery image is numbered to make a truly easy step by step card. These are great for beginners, children, elderly or anyone new to card making and scrapbooking. Perfect for cardmaking, scrapbooking or as a simple embellishment. Only limited by your imagination. Dufex Die Cut Decoupage are a welcome change to traditional A4 3D Decoupage Sheets. Enjoy!
This product was added to our catalog on Friday 23 April, 2010.


text:
Lead and Gold: Gangs of the Wild West catapults the player straight into the dramatic crescendo of the Western myth. Relive the high-noon duel on the main street of a frontier town or the intense firefight during a bank heist. Immerse yourself in gameplay drawing from a perfect mix of cool-headed player skill and the brutal close quarter brawl of the classic Western shoot out. In addition to a strong multiplayer focus, players will have the opportunity to practice versus AI driven teams either by themselves or in co-op mode.
Also known as: Lead & Gold
Release Region: United States
Release Date: April 8, 2010
Publisher: Paradox Interactive
Release Region: United Kingdom
Release Date: April 8, 2010
Publisher: Paradox Interactive
Also available on: PlayStation 3
Lead and Gold: Gangs o... at IGN
Lead and Gold: Gangs o... at GameSpy
Lead and Gold: Gangs o... at GameStats


text:
Music, art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, usually according to cultural standards of rhythm, melody, and, in most Western music, harmony. Both the simple folk song and the complex electronic composition belong to the same activity, music. Both are humanly engineered; both are conceptual and auditory, and these factors have been present in music of all styles and in all periods of history, throughout the world.
Music is an art that, in one guise or another, permeates every human society. Modern music is heard in a bewildering profusion of styles, many of them contemporary, others engendered in past eras. Music is a protean art; it lends itself easily to alliances with words, as in song, and with physical movement, as in dance. Throughout history, music has been an important adjunct to ritual and drama and has been credited with the capacity to reflect and influence human emotion. Popular culture has consistently exploited these possibilities, most conspicuously today by means of radio, film, television, musical theatre, and the Internet. The implications of the uses of music in psychotherapy, geriatrics, and advertising testify to a faith in its power to affect human behaviour. Publications and recordings have effectively internationalized music in its most significant, as well as its most trivial, manifestations. Beyond all this, the teaching of music in primary and secondary schools has now attained virtually worldwide acceptance.
But the prevalence of music is nothing new, and its human importance has often been acknowledged. What seems curious is that, despite the universality of the art, no one until recent times has argued for its necessity. The ancient Greek philosopher Democritus explicitly denied any fundamental need for music: "For it was not necessity that separated it off, but it arose from the existing superfluity." The view that music and the other arts are mere graces is still widespread, although the growth of psychological understanding of play and other symbolic activities has begun to weaken this tenacious belief.
Music is treated in a number of articles. For the history of music in different regions, see African music; Oceanic music and dance; Western music; Central Asian arts: Music; Chinese music; Japanese music; Korean music; Islamic arts; Native American music; South Asian arts: Music; and Southeast Asian arts: Music. See also folk music. Aspects of music are treated in counterpoint, harmony, instrumentation, mode, music criticism, music composition, music performance, music recording, musical sound, music notation, rhythm, scale, and tuning and temperament. See also such articles as blues, chamber music, choral music, concerto, electronic music, fugue, jazz, opera, rhythm and blues, rock, symphony, sonata, theatre music, and vocal music. Musical instruments are treated in electronic instrument, keyboard instrument, percussion instrument, stringed instrument, and wind instrument, as well as in separate articles on individual instruments, such as clarinet, drum, guitar, kayagŭm, piano, tabla, and theremin.
Historical conceptions
Music is everywhere to be heard. But what is music? Commentators have spoken of "the relationship of music to the human senses and intellect," thus affirming a world of human discourse as the necessary setting for the art. A definition of music itself will take longer. As Aristotle said, "It is not easy to determine the nature of music or why anyone should have a knowledge of it."
Early in the 20th century, it was regarded as a commonplace that a musical tone was characterized by the regularity of its vibrations; this uniformity gave it a fixed pitch and distinguished its sounds from "noise." Although that view may have been supported by traditional music, by the latter half of the 20th century it was recognized as an unacceptable yardstick. Indeed, "noise" itself and silence became elements in composition, and random sounds were used (without prior knowledge of what they would be) by composers, such as the American John Cage, and others in works having aleatory (chance) or impromptu features. Tone, moreover, is only one component in music, others being rhythm, timbre (tone colour), and texture. Electronic machinery enabled some composers to create works in which the traditional role of the interpreter is abolished and to record, directly on tape or into a digital file, sounds that were formerly beyond human ability to produce, if not to imagine.
Early Indian and Chinese conceptions
From historical accounts it is clear that the power to move people has always been attributed to music; its ecstatic possibilities have been recognized in all cultures and have usually been admitted in practice under particular conditions, sometimes stringent ones. In India, music has been put into the service of religion from earliest times; Vedic hymns stand at the beginning of the record. As the art developed over many centuries into a music of profound melodic and rhythmic intricacy, the discipline of a religious text or the guideline of a story determined the structure. In the 21st century the narrator remains central to the performance of much Indian traditional music, and the virtuosity of a skillful singer rivals that of the instrumentalists. There is very little concept of vocal or instrumental idiom in the Western sense. The vertical dimension of chord structure—that is, the effects created by sounding tones simultaneously—is not a part of South Asian classical music; the divisions of an octave (intervals) are more numerous than in Western music, and the melodic complexity of the music goes far beyond that of its Western counterpart. Moreover, an element of improvisation is retained that is vital to the success of a performance. The spontaneous imitation carried on between an instrumentalist and narrator, against the insistent rhythmic subtleties of the drums, can be a source of the greatest excitement, which in large measure is because of the faithful adherence to the rigid rules that govern the rendition of ragas—the ancient melodic patterns of Indian music.
Chinese music, like the music of India, has traditionally been an adjunct to ceremony or narrative. Confucius (551–479 bce) assigned an important place to music in the service of a well-ordered moral universe. He saw music and government as reflecting one another and believed that only the superior man who can understand music is equipped to govern. Music, he thought, reveals character through the six emotions that it can portray: sorrow, satisfaction, joy, anger, piety, love. According to Confucius, great music is in harmony with the universe, restoring order to the physical world through that harmony. Music, as a true mirror of character, makes pretense or deception impossible.
Ancient Greek ideas
Although music was important in the life of ancient Greece, it is not now known how that music actually sounded. Only a few notated fragments have survived, and no key exists for restoring even these. The Greeks were given to theoretical speculation about music; they had a system of notation, and they "practiced music," as Socrates himself, in a vision, had been enjoined to do. But the Greek term from which the word music is derived was a generic one, referring to any art or science practiced under the aegis of the Muses. Music, therefore, as distinct from gymnastics, was all-encompassing. (Much speculation, however, was clearly directed toward that more-restricted meaning with which we are familiar.) Music was virtually a department of mathematics for the philosopher Pythagoras (c. 550 bce), who was the first musical numerologist and who laid the foundations for acoustics. In acoustics, the Greeks discovered the correspondence between the pitch of a note and the length of a string. But they did not progress to a calculation of pitch on the basis of vibrations, though an attempt was made to connect sounds with underlying motions.
Plato (428–348/347 bce), like Confucius, looked on music as a department of ethics. And like Confucius he was anxious to regulate the use of particular modes (i.e., arrangements of notes, like scales) because of their supposed effects on people. Plato was a stern musical disciplinarian; he saw a correspondence between the character of a person and the music that represented him or her. Straightforward simplicity was best. In the Laws, Plato declared that rhythmic and melodic complexities were to be avoided because they led to depression and disorder. Music echoes divine harmony; rhythm and melody imitate the movements of heavenly bodies, thus delineating the music of the spheres and reflecting the moral order of the universe. Earthly music, however, is suspect; Plato distrusted its emotional power. Music must therefore be of the right sort; the sensuous qualities of certain modes are dangerous, and a strong censorship must be imposed. Music and gymnastics in the correct balance would constitute the desirable curriculum in education. Plato valued music in its ethically approved forms; his concern was primarily with the effects of music, and he therefore regarded it as a psychosociological phenomenon.
Yet Plato, in treating earthly music as a shadow of the ideal, saw a symbolic significance in the art. Aristotle carried forward the concept of the art as imitation, but music could express the universal as well. His idea that works of art could contain a measure of truth in themselves—an idea voiced more explicitly by Plotinus in the 3rd century ce—gave added strength to the symbolic view. Aristotle, following Plato, thought that music has power to mold human character, but he would admit all the modes, recognizing happiness and pleasure as values to both the individual and the state. He advocated a rich musical diet. Aristotle made a distinction between those who have only theoretical knowledge and those who produce music, maintaining that persons who do not perform cannot be good judges of the performances of others.
Aristoxenus, a pupil of Aristotle, gave considerable credit to human listeners, their importance, and their powers of perception. He denigrated the dominance of mathematical and acoustical considerations. For Aristoxenus, music was emotional and fulfilled a functional role, for which both the hearing and the intellect of the listener were essential. Individual tones were to be understood in their relations to one another and in the context of larger formal units. The Epicureans and Stoics adopted a more naturalistic view of music and its function, which they accepted as an adjunct to the good life. They gave more emphasis to sensation than did Plato, but they nevertheless placed music in the service of moderation and virtue. A dissenting 3rd-century voice was that of Sextus Empiricus, who said that music was an art of tones and rhythms only that meant nothing outside itself.
The Platonic influence in musical thought was to be dominant for at least a millennium. Following that period of unquestioned philosophical allegiance, there were times of rededication to Greek concepts, accompanied by reverent and insistent homage (e.g., the group of late 16th-century Florentines, known as the Camerata, who were instrumental in the development of opera). Such returns to simplicity, directness, and the primacy of the word have been made periodically, out of loyalty to Platonic imperatives, however much these "neo" practices may have differed from those of the Greeks themselves.
In the 21st century the effects of Greek thought are still strongly evident in the belief that music influences the ethical life; in the idea that music can be explained in terms of some component such as number (that may itself be only a reflection of another, higher source); in the view that music has specific effects and functions that can be appropriately labelled; and in the recurrent observation that music is connected with human emotion. In every historical period there have been defectors from one or more of these views, and there are, of course, differences of emphasis.
Music in Christianity
Much of the Platonic-Aristotelian teaching, as restated by the Roman philosopher Boethius (c. 480–524), was well suited to the needs of the church; the conservative aspects of that philosophy, with its fear of innovation, were conducive to the maintenance of order. The role of music as accessory to words is nowhere more clearly illustrated than in the history of Christianity, where the primacy of the text has always been emphasized and sometimes, as in Roman Catholic doctrine, made an article of faith. In the varieties of plainchant, melody was used for textual illumination; the configurations of sound took their cue from the words. St. Augustine (354–430 ce), who was attracted by music and valued its utility to religion, was fearful of its sensuous element and anxious that the melody never take precedence over the words. These had been Plato's concerns also. Still echoing the Greeks, Augustine, whose beliefs were reiterated by St. Thomas Aquinas (c. 1225–74), held the basis of music to be mathematical; music reflects celestial movement and order.
Martin Luther (1483–1546) was a musical liberal and reformer. But the uses he envisioned for music, despite his innovations, were in the mainstream of tradition; Luther insisted that music must be simple, direct, accessible, an aid to piety. His assignment of particular qualities to a given mode is reminiscent of Plato and Confucius. John Calvin (1509–64) took a more cautious and fearful view of music than did Luther, warning against voluptuous, effeminate, or disorderly music and insisting upon the supremacy of the text.
17th- and 18th-century Western conceptions
In reviewing the accounts of music that have characterized musical and intellectual history, it is clear that the Pythagoreans are reborn from age to age. The German astronomer Johannes Kepler (1571–1630) perpetuated, in effect, the idea of the harmony of the spheres, attempting to relate music to planetary movement. René Descartes (1596–1650), too, saw the basis of music as mathematical. He was a faithful Platonist in his prescription of temperate rhythms and simple melodies so that music would not produce imaginative, exciting, and hence immoral, effects. For another philosopher-mathematician, the German Gottfried von Leibniz (1646–1716), music reflected a universal rhythm and mirrored a reality that was fundamentally mathematical, to be experienced in the mind as a subconscious apprehension of numerical relationships.
Immanuel Kant (1724–1804) ranked music as lowest in his hierarchy of the arts. What he distrusted most about music was its wordlessness; he considered it useful for enjoyment but negligible in the service of culture. Allied with poetry, however, it may acquire conceptual value. Georg Wilhelm Friedrich Hegel (1770–1831) also extolled the discursive faculties, saying that art, though it expresses the divine, must yield to philosophy. He acknowledged the peculiar power of music to express many nuances of the emotions. Like Kant, Hegel preferred vocal music to instrumental, deprecating wordless music as subjective and indefinite. The essence of music he held to be rhythm, which finds its counterpart in the innermost self. What is original in Hegel's view is his claim that music, unlike the other arts, has no independent existence in space, is not "objective" in that sense; the fundamental rhythm of music (again an aspect of number) is experienced within the hearer.
After the 18th century, speculations upon the intrinsic nature of music became more numerous and profound. The elements necessary for a more comprehensive theory of its function and meaning became discernible. But philosophers whose views have been summarized thus far were not speaking as philosophers of music. Music interested them in terms extrinsic to itself, in its observable effects; in its connections with dance, religious ritual, or festive rites; because of its alliance with words; or for some other extramusical consideration. The only common denominator to be found, aside from the recognition of different types of music, is the acknowledgment of its connection with the emotional life, and here, to be sure, is that problematic power of the art to move. Various extramusical preoccupations are the raison d'être of "contextualist" explanations of music, which are concerned with its relation to the human environment. The history of music itself is largely an account of its adjunctive function in rituals and ceremonies of all kinds—religious, military, courtly—and in musical theatre. The protean character of music that enables it to form such easy alliances with literature and drama (as in folk song, art song, opera, "background" music) and with the dance (ritual, popular entertainment, "social," ballet) appears to confirm the wide range and influence that the Greeks assigned to it.
Theories of musical meaning since the 19th century
Before the 19th century, musicians themselves seldom were theorists, if theorist is defined as one who explicates meaning. Music theory, when it was something other than the exposition of a prevalent or emerging style, was likely to be a technical manual guiding vocal or instrumental performance, a set of directions for meeting current exigencies in church or theatre practice, or a missive advocating reforms. Prolific masters, such as Johann Sebastian Bach, produced not learned treatises but monuments of art.
The 19th century saw the emergence of composer-critics (Carl Maria von Weber, Robert Schumann, Hector Berlioz, Franz Liszt), versatile artists with literary proclivities who were not, to be sure, propounding comprehensive theories or systems of thought. Richard Wagner, an active theorist, presaged a new species, the composer-author. But he did little to advance music theory. He proposed a unity of music and drama (Gesamtkunstwerk)—a reflection of the programmatic preoccupations of 19th-century composers—but its multiplicity of musical and extramusical elements only added to the confusion of musical thought. The distinctly musical character of Wagner's genius, clearly discernible in The Ring of the Nibelung (Der Ring des Nibelungen), a set of four operas, is in no way explained by his discursive credos. Igor Stravinsky, Arnold Schoenberg, and other composer-authors of the 20th century were somewhat more successful in elucidating their techniques and aims.
The concept of dynamism
Ideas of music as a type of symbolism owe much to two German philosophers, Arthur Schopenhauer (1788–1860) and Friedrich Nietzsche (1844–1900), who brought to the theory of music a new concept, articulated by each in different ways and in divergent terms but faithful to the same principle—dynamism. Both saw in music an art that is not "spatialized" (hence not "objective") in the way that other arts are by the very conditions of their manifestation. Music is closer to the inner dynamism of process; there are fewer technical (and no concrete) impediments to immediate apprehension, for an entire dimension of the empirical world has been bypassed.
Schopenhauer looked upon Platonic ideas as objectifying will, but music is
by no means like the other arts, the copy of the Ideas, but the copy of the will itself. This is why the effect of music is so much more powerful and penetrating than that of the other arts, for they speak only of shadows, but it speaks of the thing itself.
In contrast to Kant he accords a special efficacy to music:
The effect of music is stronger, quicker, more necessary and infallible. Men have practiced music in all ages without being able to account for this; content to understand it directly, they renounce all claim to an abstract conception of this direct understanding itself.
Schopenhauer acknowledged a connection between human feeling and music, which "restores to us all the emotions of our inmost nature, but entirely without reality and far removed from their pain." Music, which he is presenting an as analogue of the emotional life, is a copy or symbol of the will.
Nietzsche posed an Apollonian-Dionysian dichotomy, the former representing form and rationality and the latter drunkenness and ecstasy. For Nietzsche, music was the Dionysian art par excellence. In The Birth of Tragedy from the Spirit of Music, Nietzsche anticipated the 20th-century discovery that symbol making (whether in dreams, myth, or art) is a necessary and to some extent even automatic human activity. The rich suggestiveness and prescience of his insights embraced the concept of the symbolical analogue—the artistic function of ordering and heightening the ingredients of the actual world—and the polarities of experience symbolized in the Apollonian-Dionysian conflict itself, which Stravinsky also explored. Nietzsche gave short shrift to mathematical aspects of music, and like Schopenhauer he deprecated blatantly programmatic music that abounds in obvious imitations of natural sounds. Discerning a power in music to create myths, he looked upon mere tone painting as the antithesis of its essential character.
Efforts of theorists to account for the universal appeal of music and to explain its effects have, since the 19th century, been various, contradictory, and highly controversial. In identifying the chief points of view that have emerged, it must be emphasized that there are no completely isolated categories, and there is usually considerable overlapping; a single spokesman, the 19th-century English psychologist Edmund Gurney (1847–88), for example, may incorporate formalist, symbolist, expressionist, and psychological elements, in varying proportions, to explain the phenomenon of music. Although some disagreements are more apparent than real because of the inherent problems of terminology and definition, diametrically opposing views are also held and tenaciously defended.
Referentialists and nonreferentialists
Among those who seek and propound theories of musical meaning, the most persistent disagreement is between the referentialists (or heteronomists), who hold that music can and does refer to meanings outside itself, and the nonreferentialists (who are sometimes called formalists or absolutists), who maintain that the art is autonomous and "means itself." The Austrian critic Eduard Hanslick, in his The Beautiful in Music (originally in German, 1854), was a strong proponent of music as an art of intrinsic principles and ideas, yet even Hanslick, ardent formalist though he was, struggled with the problem of emotion in music. Hanslick's views have been classified as a modified heteronomous theory.
One looks in vain for an extremist of either persuasion, referentialist or nonreferentialist. Igor Stravinsky first achieved fame as a composer of ballet music, and his works throughout his career were rich in extramusical associations. It would be a comfortable simplification to ally referentialism with program music and nonreferentialism with absolute music. But the problem cannot be resolved by such a choice, if only, first of all, because extramusical referents can vary in complexity from a mere descriptive title to the convolutions of the Wagnerian leitmotif, in which a particular musical phrase is consistently associated with a particular person, place, or thing. Referentialists do not require an explicit program, and nonreferentialists do not necessarily denigrate program music, though they make a point of distinguishing between the extramusical program and the musical meaning. The American musicologist and theorist Leonard Meyer, in his Emotion and Meaning in Music (1956), spoke of "designative" and "embodied" meanings; he recognized both kinds in music but appeared to give equal weight to the extrinsic and intrinsic.
If there is intrinsic, or embodied, meaning, one may well ask what meaning is embodied and how it is to be apprehended. An extreme formalist would say that the acoustic pattern itself and nothing more is the sense of music; Hanslick, indeed, said this, though he did not hold consistently to the view. But most nonreferentialists regard music as, in one way or another, emotionally meaningful or expressive. Referentialists, too, find expressive content in music, though this emotional content may be extramusical (even if not explicit) in origin, according to the American theorists John Hospers in Meaning and Truth in the Arts (1946) and Donald Ferguson in Music as Metaphor (1960). Meyer made the observation that while most referentialists are expressionists, not all expressionists are referentialists. He made the useful distinction between absolute expressionists and referential expressionists and identified his own position as "formalist–absolute expressionist." In acknowledging that music can and does express referential (designative) meanings as well as nonreferential ones, Meyer exhibited an eclectic and certainly permissive view. But he has been criticized for failing to make clear the modus operandi of this referential meaning in music.
Intuition and intellect
Most theorists agree that music is an auditory phenomenon and that hearing is the beginning of understanding. Beyond this there is little agreement. There is contention especially between proponents of intuition, such as Benedetto Croce (1866–1952), and champions of intellectual cognition, such as Hospers. Gurney was constrained to postulate a special musical faculty that need not reside exclusively either in the mind or the heart. The main problem for theorists arises from the inveterate tendency to dichotomize thought and feeling. Henri Bergson (1859–1941) broke with this tradition when he spoke for "an intellectual act of intuition." In the first half of the 20th century, a reawakened philosophical and artistic concern for the concept of organic unity revealed strong affinities among such disparate works as Gurney's The Power of Sound (1880), the American philosopher Susanne K. Langer's Philosophy in a New Key (1942) and her later works, John Dewey's classic Art as Experience (1934), and the American composer Roger Sessions's The Musical Experience (1950).
It is apparent that music is connected in some way with human emotional life, but the "how" continues to be elusive. Sessions (echoing Aristotle) stated the problem fairly:
No one denies that music arouses emotions, nor do most people deny that the values of music are both qualitatively and quantitatively connected with the emotions it arouses. Yet it is not easy to say just what this connection is.
It was long fashionable to speak of the "language" of music, or of music as the "language of the emotions," but, since a precise semantics is wanting in music, the analogy breaks down. Two or more listeners may derive very different "meanings" from the same piece of music, and, since written and spoken language cannot render these musical "meanings," whatever they may be, in consistent and commonly recognizable terms, verbal explication often seems to raise more questions than it settles. Philosophical analysts who hold that all meaning is capable of rendition in language therefore pronounce music—unless it can be saved by the referentialists—without meaning, confronting thoughtful listeners, thereby, with a proposition that seems clearly to contradict (and trivialize) their own experiences. The difficulty, of course, is a semantic one and explains why some theorists have substituted such terms as import, significance, pattern, or gestalt for meaning. Recognizing an incompatibility between the modalities of nonverbal arts and their treatment by discursive thought, it is hardly surprising that music aestheticians have been few.
Symbolist contributions
Significant contributions to music theory were made in the mid-20th century by several investigators who may be classified as symbolists, though most of them exhibited formalist, expressionist, and psychological elements as well. Some of the most influential (and controversial) work was done by Langer. Her most adamant critics (such as John Hospers) objected to her use of the term symbol, which, in their lexica, must stand for something definite; she took pains to ascribe this more limited usage to the term signal. The more general use of the term symbol that she endorsed already had a long history, notably in such 19th-century figures as Goethe, Thomas Carlyle, and the French Symbolist poets. Langer was accused of having somewhat weakened her argument through a vacillating terminology, and she described the musical symbol as "unconsummated" because of its ambiguity. But the validity of her theory did not depend upon the term symbol; her thought, indeed, had much in common with that of Edmund Gurney, who did not employ the term and whose ideal motion, if substituted for symbol, would remove most of her critics' objections. Her use of symbol was nevertheless defensible; she construed art as a "symbolic analogue of emotive life," rendering the "forms of sentient being" into intelligible configurations. She was a naturalist; she saw art as organic in origin, and she echoed the view, long held among symbolists, that artistic form and content compose an indissoluble unity that each art manifests according to its peculiar conditions. The symbolism of music, she contended, is therefore tonal (or, at its broadest, auditory) in character and can be realized only in time; in psychological experience, time assumes an ideal guise. (Painting and sculpture, in their distinctive modalities, embody ideal space.) Langer embraced all the arts in her purview. The American music theorist Gordon Epperson applied her concepts, with modifications, intensively to music in The Musical Symbol (1967).
Contextualist theories
In moving from symbolic to contextualist explanations of music, it is well to note that a source of great confusion, in the former, is the fact that tone painting (with explicit signals that yield, when the code is understood, designative meanings) is widely regarded as musical symbolism. An example of such tone painting is Bach's introduction of musical notes, corresponding to the letters of his own name, as a theme in the unfinished final fugue of the Art of the Fugue. And surely it may be argued that this qualifies on one level. But the contention that there is an intrinsic symbolism in the musical meaning itself is a claim that referentialists are generally unwilling to honour. Yet many theorists, whose concern is with the sociological or psychological effects of music, are not so much opposed to the idea of inner or profound meaning as indifferent to such meaning per se. Even an absolutist, however, is unable to examine music in isolation from its human environment. Meyer deliberately eschewed logical and philosophical problems of music and made "no attempt to decide whether music is a language or whether musical stimuli are signs or symbols." (He did not defend the inference that such concerns are irrelevant to meaning.) Musical meaning and communication, he maintained, cannot exist in the absence of the cultural context. The statement is hardly open to dispute; theorists are classified according to their proximity to the referential or nonreferential pole. If referentialists emphasize explicit aims and associations of a particular work (as in varieties of Gebrauchsmusik, or "utility" music, written for specific social or educational purposes), formalists can maintain that there is also an intrinsic, or embodied, meaning to which they attach the greater aesthetic value.
Among contextualists, however, a simple referential view is the exception rather than the rule. Any theorists who examine musical perception are studying a complex human activity. They are dealing with the psychology of music, in which certain elements—e.g., music, listener, mode of apprehension, cultural context—are indispensable and in which characteristic processes recur. Specialists will emphasize one element or another: formalists the music itself, sociologists the listeners and their milieu, psychologists the how of perception. Though psychology could survey the whole field, in practice psychologists, according to their persuasions, investigate the perception of measurable acoustic phenomena, the physical-mental effects of musical sound, or—more rarely—the functional role of music in human experience, and pragmatists and analysts alike may leave something out of account. But it remains for the comprehensive theorist, probably one who, like Langer, is equipped to discern relationships among many departments of thought, to construct a valid hierarchical structure of musical meaning in all its ramifications.
Deryck Cooke, the British musicologist and the author of The Language of Music (1959), who may be classified as a referential expressionist, offered a sophisticated argument for the notion of music as language. Concepts, however, may not be rendered by this language, only feelings. Cooke reaffirmed the possibility, long disputed by many theorists, that such feelings may be recognized, identified, and even classified. But he confined his investigation to the last few hundred years of the Western tradition.
Information theory
The French theorist Abraham Moles's Information Theory and Esthetic Perception (1966) brought the science of information theory to bear on musical perception, emphasizing that the concept of form is the essential thing; the "sonic message," whose dimensions vary from one composition to another, is a whole. Information theory thus proved to be a novel ally for organicists. The message, which is subjected to atomistic study of its components, is (thanks to recording) concrete; there is a temporal sonic material, a materia musica. Moles gave reinforcement to the aesthetic theory of distance:
The esthetic procedure of isolating sonic objects is analogous to the sculptor's or decorator's isolating a marble work against a black velvet draping: This procedure directs attention to it, alone and not as one element among many in a complex framework.
Information theory, which Leonard Meyer also discussed, begins its investigations without the help of traditional theory, which it finds to be untenable for its procedures. Musical messages discerned through information theory are not referential, yet Moles chose to describe the measurable elements in the sonic repertoire as symbols: "each definable temporal stage represents a 'symbol' analogous to a phoneme in language." According to Moles, music must, as an art, obey rules; the role of aesthetics is to enumerate universally valid rules, not to perpetuate the arbitrary or merely traditional. He foresaw experimentation with a much richer repertoire of sounds, transcending musical instruments and drawing on whatever sources—certainly electronic ones—are available for realizing the "most general orchestra." A host of composers set out to fulfill this desideratum. In order to increase the compass of possible sounds, various electronic synthesizers were constructed. In electronically synthesized music, the medium itself is indistinguishable from its message.
The quest for some distillation of musical meaning may be foredoomed to failure. Meanings, intrinsic and extrinsic, abound; meanings of all kinds, moreover, are revealed in and through the social setting. Church, theatre, and broadcasting affect music in characteristic ways. The modern concert is a device whereby formal, autonomous meanings are emphasized; further, the scope and available repertoire of the concert have been enormously increased through recordings, for any suitably equipped room may become, at the turn of a switch, a recital hall.
Considerations related to performance practice
Listening to music for its own sake, apart from ritual or storytelling, is a relatively recent historical development. There have always been impromptu song and dance, and performances of music at home, in church, and in theatrical productions have a long history, but there was no public opera house until 1637, when the first one opened in Venice. The first public concerts for which admission was charged appeared in London in 1672. During the next 50 years there were beginnings in Germany and France also, but the modern concert was not a significant feature of musical life until the late 18th century.
Of the forms that have characterized distinct periods of music history, it is sufficient to remark here that the chief Renaissance forms—mass, motet, the polyphonic chanson, and madrigal—were allied to texts that strongly influenced their structure. Instrumental music was for the most part in the service of the voice, though instrumental church compositions, dances, and chansons arranged for organ were not uncommon. A strong alliance between voices and instruments has continued into the present, with musical theatre, the art song, and religious music. Instrumental music as a separate genre emerged in the 16th century, gaining considerable momentum in the 17th through a variety of idiomatic pieces. Increased attention to technical fluency was accompanied by greater complexity and sophistication in the instruments themselves. In response to stylistic demands for greater resonance and power, the modern forms of the violin appeared in the late 16th century, only gradually supplanting the earlier viols. The harpsichord did not finally yield to the pianoforte until the 18th century. The once-prevalent idea that early stringed and keyboard instruments were primitive precursors of their modern counterparts has been effectually demolished by research in medieval and Renaissance music and by dedicated performers, who seek to restore the sounds and spirit of those eras.
The development of opera, oratorio, and the cantata gave a prominence to vocal music throughout the Baroque era (c. 1600–1750) that made it equal in importance to instrumental music, with which these forms were closely allied. But instrumental chamber and independent orchestral ensembles, as they exist today, also had their beginnings during this period. A highly significant development of the late 18th century was the definitive appearance of the modern sonata (whether in the form of the solo and duo sonata, piano trio, string quartet, concerto, or symphony) with the Viennese classicists Haydn and Mozart and, later, Beethoven.
Since a vocal text is likely to be confused with intrinsic musical meaning, or at least to divert attention from a preoccupation with it, it is not surprising that aesthetic theory has followed on the emergence of an autonomous instrumental music requiring greater concentration on the sound itself, its colour and intensity, and the intelligibility (in terms of tonal organization alone) of a composition. Moreover, the very concept of listening as an attentive (and sometimes rigorous), serious, and necessary activity of the music lover gained acceptance only slowly, following the inauguration of public concerts, and is still vigorously resisted. The expectation that the art should provide enjoyment without effort is, indeed, widespread and accounts for much of the opposition to new and demanding idioms. But even for well-disciplined and eager listeners there is the problem of quantity: they must cope as best they can with what Langer has called "the madhouse of too much art." If more effort is required, more discrimination is also needed. In music education, articulate voices ask that teaching be centred more upon qualitative aspects of the art ("aesthetic education"), less upon music making as an activity. This concern for musical value appears to reflect a more intensive search for meaning, which is not likely to be the exclusive property of a particular style or era, nor is it to be sought in an indiscriminate acceptance or rejection of novelty per se.
A pronounced pedagogical interest developed in various genres of popular music, such as rock, soul, and similar idioms with great numbers of followers, especially among the young, whose gigantic festivals generated feelings of religious exaltation. The texts of the songs are highly emotional and deal with a broad range of themes, from political protest to calls for a loud and lively dance party; accompaniments are provided by guitars, keyboards, and percussion instruments and are electronically amplified. Music educators were attracted by the intrinsic structural values of this music, especially its distinctive rhythmic and modal characteristics, its texts, and the qualitative levels that may be distinguished. A music so vital and widespread, moreover, was deemed by many to be worth studying in school. In the mid-20th century the rock music movement emerged as a musical-sociological phenomenon of large proportions. Within a few decades, programs in popular music had been established in many postsecondary institutions, and by the early 21st century musicologists, music theorists, and educators in various disciplines were actively involved in the study of virtually every major genre of popular music across the globe.
Music and worldview
Again, music proves its protean susceptibilities in the service of disparate worldviews. Among humanist psychologists (such as the Americans Gordon Allport and Abraham Maslow) music may be one among other means toward self-fulfillment, integration, self-actualization; for aesthetic existentialists (such as the philosopher Jean-Paul Sartre) it is yet another crucial department of choice and freedom; for spiritual existentialists (such as the philosophers Karl Jaspers and Martin Buber) it transmits transcendent overtones. For expressionists (such as the composers Schoenberg, Ernst Krenek, and René Leibowitz) music carries austere, and sometimes doctrinaire, moral imperatives. Theodor Adorno, a composer-philosopher and pupil of Alban Berg, wrote powerfully of these and spoke for an awareness of dazzling lucidity, but the tone, notwithstanding his humour, was one of obligation. Only the expressionists, among those mentioned here, were committed primarily to music, though Adorno, in particular, considered music and musicians always in interaction with their environments. The aesthetic concept of play is virtually absent, except among such humanists as Maslow. With Sartre, no less a humanist, the tone was one of responsibility. Many educators long held the explicit aim (at least in part because of a misinterpretation of John Dewey) of presenting the content of a discipline as "fun"; the concern for aesthetic education, an area of great interest to Dewey himself, eschewed this trivial view. But play, in the aesthetic sense, follows rules, as information theory has demonstrated; even controlled aleatory composition observes some limits. And the play may be very serious indeed, as in the important 20th-century atonal style known as 12-tone technique, practiced by the Viennese expressionists and their successors.
Tonality and meaning
The most troublesome problem not only for the untutored listener but also for the professional musician has been, in much contemporary work, the loss of explicit tonality, and this accounts for the tardy popular response to Schoenberg and his school: the vocabulary is esoteric. Nineteenth-century compositions did, indeed, stretch the tonal system to its outer limits, but it is now clear that Wagner and Richard Strauss, and even the early Schoenberg, had not broken from it. As for Claude Debussy, his use of "exoticisms" was filigree upon a secure tonal base. So were such practices as the juxtaposition of keys by Stravinsky. This is not to say that the tonality of the Western world, fecund though it has been, is superior or more natural than other systems. Ethnomusicology has proved this to be a parochial view, though there are still those who champion harmonic practices based on the physical laws governing overtones—as Western tonality is—as the only "natural" source of development. It should not be irrelevant, however, to inquire if any folk music exhibits atonal characteristics.
Tonality in Western music, though a significant aspect, cannot be considered the crux of musical meaning. The tone rows that are used in the 12-tone compositions of Schoenberg, like major and minor tonality in earlier music, are a technical substratum and must be no more explicit in the finished work than the chemical makeup of pigments in the Mona Lisa. The devices selected may affect the comprehensibility or accessibility of the work, but they are not, per se, the determinants of its worth or quality. Similarly with musical colour, or timbre; the 19th century produced a great profusion of compositions, particularly in the orchestral repertoire (e.g., works by Liszt and Berlioz) that exploited the unique sonorities of instruments; control of volume was, in itself, a rich source of colour. Works with literary or other extramusical associations were excellent vehicles for sonorous effects, but colour, like tonality, must be evaluated in musical context. Most notably, Langer, among other 20th-century aestheticians, regarded words themselves as musical, rather than discursive, ingredients; they are "assimilated" by the song.Gordon Epperson The Editors of Encyclopaedia Britannica
Learn More in these related Britannica articles:
history of Europe: MusicAt first sight, it would seem as if music were a medium in its nature resistant to Realism, but that is to reckon without the obvious use that music has always made of sounds directly associated with life—church bells, hunting horns, military bands, and…
history of Europe: MusicIt may seem as if the art of music by its nature would not lend itself to the exploration and expression of reality characteristic of Romanticism, but that is not so. True, music does not tell stories or paint pictures, but it stirs feelings…
Islam: Music) Instrumental music was forbidden by the orthodox in the formative stages of Islam. As for vocal music, its place was largely taken by a sophisticated and artistic form of the recitation of the Qurʾān known as
tajwīd. Nevertheless, the Muslim princely courts generously patronized…
East Asian arts: MusicEast Asia can be viewed as one of the big four among the generally urban, literate cultural areas of the world. The other three are South Asia, the Middle East, and Europe. Around each of…
Ludwig van BeethovenLudwig van Beethoven, German composer, the predominant musical figure in the transitional period between the Classical and Romantic eras. Widely regarded as the greatest composer who ever lived, Ludwig van Beethoven dominates a period of musical history as no one else before or since. Rooted in the…
More About Music25 references found in Britannica articles
Assorted References
- chorus
- In chorus
- East Asian arts
- encyclopaedias
- Islamic music
- In Islam: Music
- Native American music
- Oceanic arts
- stereophonic sound system
modern music
- Minimalism
- In Minimalism


text:
PapersFirst (conference papers)
- Coverage Dates: 1993 - present
- Update Frequency: Semimonthly (twice a month)
The PapersFirst database is an index of papers presented at conferences worldwide. It covers every published congress, symposium, conference, exposition, workshop, and meeting received by The British Library Document Supply Centre.
- Database Provider: OCLC
Express Link (bookmark): http://www.galileo.usg.edu/express?link=zopi


text:
The NEH (National Endowment for the Humanities) and DFG (Deutsche Forschungsgemeinschaft) have announced another round of awards for their Bilateral Digital Humanities Program. The program provides support for projects that contribute to developing and implementing digital infrastructures and services for humanities research. They are awarded to collaborative projects between at least one partner based in the U.S. and one partner based in Germany.
This round's awardees were largely focused on digitization projects, especially text encoding, which seem to be indicative of the general field of digital humanities, especially those concerned with "ancient" languages and literatures. The goal of such projects is to create innovative (and hopefully better) ways to present texts in digital format. Part of the innovation is the ability to consider diachronic aspects of literature, especially variant traditions of ancient literature and critical work associated with the text in question. Additionally, these projects provide ready access to literature that had been previously limited to few (and generally quite expensive) volumes from a small group of publishers. The well-known and oft-mentioned Perseus Digital Library and the much less well-known Comprehensive Aramaic Lexicon Project provide numerous examples of the benefits of such projects. I have used a number of similar projects including these two mentioned here during my young academic career, and I can attest to their great benefits.
There are, however, a few drawbacks that seem to accompany these projects. The most central recurring caveat to these programs that I have experienced is the development of the projects seems to stop when the grant funding runs out. While it is certainly understandable why projects cannot continue to develop without funding, this problem is largely the result of the fact that these projects seem to often stand on their own, meaning they are not part of a larger collection to which they contribute. This autonomy creates an environment where the innovative technology developed by each of the individual projects seems to stagnate with the project itself. The arrested development of these individual projects creates a considerable disparity between autonomous projects—especially those that focus on relatively obscure content—and projects that are either paid applications (e.g. Accordance Bible Software) or are developed in collaboration with large tech companies (e.g. Dead Sea Scrolls Digital Project a collaborative effort between the Israel Museum and Google). I am not criticizing these latter projects. On the contrary, I have used both of these example programs with great relish. Rather, I am lamenting the stagnation of many autonomous projects whose subject matter might be more obscure (relatively speaking, of course), but is vital for a number of scholars' research.
As the process of text encoding becomes more standardized, it would be interesting to see the development of a digital library that could incorporate these autonomous projects into one central location. This may allow for the continued development of autonomous projects whose dwindling funding limits the participation of its original developers. To be sure, there are obstacles to such grand collaborative work, and, ironically, this sort of project may need to begin as an autonomous project. However, the recent launch of the Digital Public Library of America provides a substantial step toward the further development of a central digital library of various digital materials, and may itself be the very project I would like to see.
I congratulate the program awardees, and very much look forward to experiencing the results of their projects.


text:
In a happy suburban neighborhood surrounded by white picket fences with flowering rose bushes, sits a black house with a dead lawn. Unbeknownst to the neighbors, hidden deep beneath this home is a vast secret hideout. Surrounded by an army of tireless, little yellow minions, we discover Gru (Steve Carell), planning the biggest heist in the history of the world. He is going to steal the moon (Yes, the moon!) in Universal's new 3-D CGI feature, Despicable Me.
Gru delights in all things wicked. Armed with his arsenal of shrink rays, freeze rays and battle-ready vehicles for land and air, he vanquishes all who stand in his way. Until the day he encounters the immense will of three little orphaned girls who look at him and see something that no one else has ever seen: a potential Dad.
One of the world's greatest super-villains has just met his greatest challenge: three little girls named Margo, Edith and Agnes.
Despicable Me books here!
In celebration of the Despicable Me in theaters July 9th...
One Winner will receive:
- Sleepy Kittens
- My Dad the Super Villain
- The World's Greatest Villain
- Despicable Me: The Junior Novel
- Despicable Me T-shirt
- Despicable Me pencil
To win...
Leave a comment 1 entry
Follow my blogs 1 entry each
Tweet about this 1 entry daily
Follow me on Twitter here 1 entry
Add my buttons to your blog 1 entry each
Follow Despicable Me on Twitter here
2 entries
Visit Despicable Me on Facebook here 3 entries
Blog about the giveaway and leave me a link 5 entries (please leave a comment for each entry)
Giveaway ends on Tues. July 27th, 2010!
*I do not receive any money for my posts. I do however receive the review products at no charge to evaluate and express my opinion.*