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Violoncello [cello]
The bass instrument of the violin family. In the Hornbostel-Sachs system it is classified as a bowed lute (fiddle). The violoncello's present name means, in Italian, a 'small large viol', as it employs both the superlative suffix -one, and a diminutive one, -ello. Such a bizarre name suggests that its early history is not straightforward. In this article the term Bass violin will be used for the earliest forms of the instrument: not until the early years of the 18th century did the smaller model of cello become standard, and the name violoncello was generally adopted at about the same time. The bass violin was given myriad names before this date: 'bas de violon' (Jambe de Fer, 1556, p.61f); 'basso di viola' (Zacconi, 1592, p.218); 'bass viol de braccio' (Praetorius, ii, 2/1619, 'Tabella universalis', p.26); and 'basse de violon' (Mersenne, 1637, ii, p.185). Other terms given in Italian prints from 1609 to 1700 include: bassetto, bassetto di viola, basso da brazzo, basso viola da brazzo, viola, viola da braccio, viola da brazzo, violetta, violoncino, violone, violone basso, violone da brazzo, violone piccolo, violonzino, violonzono, vivola da brazzo. The variety of names shown here were often localized in time, place, or both. They further suggest that in the 16th and 17th centuries the instrument existed in several sizes.
The two earliest prints that are known to include music for bass violin are Monteverdi's L'Orfeo (Venice, 1609), under the name 'basso viola da braccio', and Caterina Assandra's Motetti op.2 (Milan, 1609), under the name 'violone'. G.C. Arresti, in his Sonate op.4 (Venice, 1665), was the earliest known composer to use the term 'violoncello'. This newer term was soon generally accepted in Italy and Germany, and after 1700 in France and England, though the term 'bassett' persisted in Austria during Haydn's younger years. The abbreviation 'cello' is commonly used in English and German.
Origins and history to c1700
n Italy, until the early years of the 18th century and with the exception of Venice, the term 'violone' probably indicated bass violin. From the 1660s Venetians seem to have applied this term to a contrabass instrument. Depending on time and place in Italy, the terms 'violetta' and 'viola' could apply either to alto or bass instruments. What seems certain is that the bass violin first appeared and attained its present size, name and tuning south of the Alps.
The earliest-known evidence of the instrument's existence is found in Agricola's Ein kurtz deudsche Musica (Wittenberg, 1528), where the Geige appears as the bass member of a newly emergent, four-part violin consort. The earliest-known pictorial representation appears in an 'Angel Concert', painted by Gaudenzio Ferrari in 1534–6 on the dome of the sanctuary of the Madonna dei Miracoli in Saronno.
The history of the instrument, before it was called violoncello, may have been directly related to the material used for its strings. Originally, all four were made solely of sheep gut. Numerous illustrations of early bass and contrabass instruments demonstrate how great was the disparity in thickness between top and bottom strings. Thick strings, regardless of material, are afflicted by inharmonicity (the overtones are badly out of tune, resulting in a poor quality of sound).
The early bass violin existed in two sizes with different families of higher and lower tunings. Instruments with the higher tunings are somewhat older. Agricola (C1529) and Ganassi (Lettione seconda, Venice, 1543/R) were the first to mention a three-string bass instrument tuned F–c–g. Hans Gerle (Musica teusch, Nuremberg, 1532) was the earliest to describe a four-string cello, and gave the tuning that is used today: C–G–d–a. Praetorius (Syntagmu Musicum, ii, 2/1619) was the next to give this tuning. However in the intervening years, and even later, the tuning of the bass violin was most often one step lower, Bb'–F–c–g, given by Lanfranco (C1533), Jambe de Fer (C1556), Zacconi (C1592), Cerone (El melopeo y maestro, Naples, 1613), Mersenne (Harmonie Universelle) and Playford (C1664). This tuning continued the downward progression based on fifths established for the violin, the common note between soprano and bass instruments being g.
An analysis of the tessitura used by Monteverdi favours the tuning of C–G–d–a. Other composers, such as Giovanni Valentini, (Musiche concertate, 1619), wrote bass lines that call for Bb'. The tuning based on Bb' was in use in France and England until the 18th century; Corrette (Méthode … pour apprendre … le violoncelle, 1741) stated that the tuning based on C was introduced to France around 1710, and J.F. de la Fond's A New System of Music indicates that by 1725 it was in use in England.
Although the term 'violoncello' was increasingly used in publications in the latter years of the 17th century, the earlier name for this instrument, 'violone', persisted well into the 18th century. Corelli used the term 'violone' for the bass string instrument in all his prints. The partbook for the bass string instrument in G.A. Silvani's Il secondo libro delle litanie op.14 (Bologna, 1725) was entitled 'Violone o tiorba'. Ten years later, G.A. Perti's Messa e salmi concertati op.2 was published in Bologna, including a partbook entitled 'Violoncello o violone di ripieno'.
Andrea Amati and his descendants in Cremona (c1511–1740), and Gasparo da Salò (1540–1609) and his successor G.P. Maggini (c1580–?1630/1) in Brescia, were among the earliest makers of bass violins. Other somewhat later makers included Francesco Rugeri (c1630–1698) and members of the Guarneri family (1623–1744) in Cremona, G.B. Rogeri (fl c1670–c1705) in Brescia, and members of the Grancino family (1637–c1726).
Technique and performers
The early bass violin rested on the floor while being played, this position was still used as late as the 1750s. Towards 1700 it became usual for the player to raise the instrument off the floor, supporting it with the calves, in the traditional posture of the bass viol player. This higher position made it easier for the performer to explore more demanding fingering and bowing techniques. Published tutors for the instrument do not exist before the 18th century.
Little is yet known about performers on the instrument, especially those north of the Alps. In the last decades of the 17th century, three men made reputations as solo cellists performing in and around Bologna: Petronio Franceschini (c1650–80); Domenico Gabrielli (1651–90), and Giuseppe Maria Jacchini (c1663–1727). All three were cellists at S Petronio.
The only repertory for the early bass violin that has thus far been investigated with any thoroughness is music that was used in the Roman Rite. Among the earliest surviving prints of pieces with a part for the bass violin (called 'violone' in each instance) are two published in Milan. The first, a motet entitled O salutaris hostia in Motetti à due, & tre voci op.2 (1609) by Caterina Assandra, a nun at the convent of S Agata, Lomello, near Milan, has a violone part with a very limited range, F–c', and could be performed in first position on either size of bass violin or on some kind of bass viol. The second, the Concerti ecclesiastici by G.P. Cima, was published the following year, and contains a Sonata per violino e violone.
Evidence that in late 17th-century Italy the violone had become distinct from the violoncello appears in G.A. Perti's Messa à 5 concertate con instromenti (c1675–85), which includes partbooks for violoncello, violone and contrabasso. The range of the violoncello part is D–c'.
The appearance of the term 'bassetto' adds to the confusion: the title of Andrea Grossi's op.1 (1678) reads Balletti … a tre, due violini e violone, and Giorgio Buoni's op.2 (1693) is entitled Suonate a due Violini, e Violoncello, yet in each case the bass partbook is labelled 'Bassetto'.
Other early Italian composers for the bass violin (using various terminology) include (published in Venice): Claudio Monteverdi (viola da brazzo), Vespro della Beata Vergine (1610), Selva morale (1641), and Messe à 4 et salmi (1650); Alessandro Grandi (violone), Il secondo libro de motetti (1613) and (viola) Motetti a una, et due voci, libro III (1629); Giovanni Priuli (violone), Missae [8vv] (1624) and (viola), Delicie musicali (1625); Tarquinio Merula (violone), Libro secondo de concerti spirituali (1628), Canzoni overo sonate (1637), and Il quarto libro delle canzoni da suonare (1651); G.B. Buonamente (basso da brazzo), Il quinto libro di varie sonate sinfonie, gagliarde, corrente, & ariette (1629) and Sonate et canzoni … libro sesto (1636); Maurizio Cazzati (violone), Canzoni op.2 (1642), Sonate op.8 (1648). Composers who published in Bologna include Cazzati, Sonate op.35 (1665), and Varii, e diversi capricci op.50 (1669); Cherici (violetta), Inni sacri (1672) and (bassetto), Harmonia di devoti concerti op.2 (1681) and Compieta op.3 (Bologna, 1686). The following composers, publishing in either Bologna or Venice, specified 'violoncino' as the bass: G.B. Fontana, Sonate (1641); Domenico Freschi, Messe e salmi op.1 (1660); Simpliciano Olivo, Salmi di compieta op.2 (1674); Francesco Cavalli, Musiche sacre (1656) and Gasparo Gaspardini, Sonate op.1 (1683).
18th and 19th centuries
Although there is evidence that Maggini, Francesco Rugeri and members of the Amati family manufactured a small type of cello before 1700, Antonio Stradivari is credited with standardizing and perfecting its dimensions in about 1707 with his smaller model, labelled 'forma B' and 'forma B piccola' on original patterns found in Stradivari's workshop. The 'forma B' body length measured 75–6 cm, and its maximum width was 44·5 cm, being both shorter and narrower than at least 30 cellos that he made between 1680 and 1701. The most famous extant example of his older, larger model is the 'Servais' cello of 1701 (whose proportions have not been altered except for the modern neck, bridge and fingerboard) which measures 79 cm in body length and 47 cm in width. By the end of the 18th century, however, Stradivari's 'forma B' dimensions, exemplified by his 'Duport' and 'Mara' cellos (both of 1711), had become accepted as the norm. Some makers, such as the Austrian-born David Tecchler (b 1668; d after 1747) in Rome, were still making larger cellos (known as 'church basses' in England) into the middle of the 18th century.
During the course of the 18th century, many of these larger, late 17th- and early 18th-century instruments were cut down in size to conform to the smaller dimensions established by Stradivari. This reconstruction often also included a new, stronger bass bar and a longer, thinner neck. At the time, such 'repairs' were considered desirable by players, but the unfortunate results of such alterations were often detrimental to the integrity of an instrument's acoustic design. Frets were still used on some cellos in the mid-18th century, as observed by Quantz (1752), and advocated by Robert Crome in his tutor (C1765).
Five-string and piccolo cellos
Although cellos with four strings predominated in Italy by the end of the 17th century, cellos with more than four strings were still used elsewhere. The advent of thumb position fingerings (the technique in which the whole hand is put on top of the strings with the thumb placed across and perpendicular to them, functioning as a moveable nut in relation to the other fingers) may have caused the redundancy of cellos with more than four strings at the beginning of the 18th century. However, five-string cellos were used in Germany into the middle of the 18th century. In addition to J.S. Bach's solo cello suite no.6 bwv1012, written for a five-string cello, the cello part of his cantata Gott ist mein König bwv71, requires a range extended to c'' (f'' in Bach's original, unorchestrated version), suggesting that an E string would have been required for the execution of this part. Five-string cellos also appear in numerous Dutch, Flemish and German paintings and etchings from the 17th and 18th centuries.
The correct definition of the violoncello piccolo has been widely debated. At least eight of Bach's cantatas written between 1724 and 1726 have obbligato parts designated as such. The term piccolo means 'small'. An original cello pattern of Antonio Stradivari is labeled forma B piccola di violincello but it is likely that Stradivari sought simply to distinguish this new smaller pattern from his earlier larger instruments. But these violoncello piccolo parts by Bach imply that a four-string cello tuned G–d–a–e' was used.
A late 18th-century account by E.L. Gerber (whose father was a student of Bach) claimed that Bach invented a special sort of small cello or large viola – called a viola pomposa – to facilitate the execution of rapid obbligato parts in the bass. Dreyfus has suggested that this instrument may have been the same as the Viola da spalla ('shoulder-viola') mentioned by J.J. Walther in his Musicalisches Lexicon (Leipzig, 1732), which was tuned like a cello but with an added fifth string and held over the shoulder by a strap. This reflects the broad variety of instrument sizes and types still being used in Germany around 1720, and the terminological ambiguity associated with them together with false rumors.
The basic design of the cello changed very little in the 19th century from that established in the 18th century. 19th-century cello manufacture continued to rely principally on older Italian models, especially Stradivari's model 'B'. However, crude alterations to older cellos at the beginning of the 19th century were very common. Exhortations against these practices occur frequently in 19th-century treatises and literature on violin-making, and suggest that efforts to establish more firmly the standard dimensions of the cello at this time occurred in response to the damage to many fine old instruments caused by these 'repairs'.
Two different terms were still used in the Paris Conservatoire Méthode (1805): violoncelle to describe the solo instrument, and basse for the accompaniment and orchestral instrument.
The high demand for cellos in Italy during the period 1680-1740 was reflected in the growing output of Italian makers. In addition to Stradivari, other North Italian makers of good cellos in the late 17th and early 18th centuries included Domenico Montagnana, Sanctus Seraphin, Pietro Guarneri and Matteo Goffriller in Venice; Francesco Rugeri, G.B. Rogeri and Andrea and Guiseppe Guarneri in Cremona; P.G. Guarneri in Mantua; the Grancino and Testore families in Milan; and (slightly later) G.B. Guadagnini in Turin. The Gagliano family in Naples made cellos from about 1700 for well over a century. An important 19th-century maker was Giuseppe Rocca in Turin (later in Genoa).
Makers in the second half of the 18th century were influenced by the work of Stradivari and the Cremonese school, although features of the earlier English style were retained, such as high arching of the back and belly, and square bouts.
In France the documented ownership of good Italian instruments by prominent 18th-century French cellists, such as J.L. Duport, suggests that fine Italian cellos were readily available and preferred over locally manufactured instruments. However, French makers later achieved high standards in the production of cellos, such as the Lupot family in the second half of the 18th century, and Vuillaume in the 19th.
The bow
The evolution of the cello bow in the 18th century was influenced by that of both the violin and viola da gamba. Early cellists used bows of many different sizes; measurements of pre-Tourte, 18th-century bows range from approximately 67 cm to 74 cm in length and weight from 65 to 86 grams. Italian players were known to use thicker strings and correspondingly heavier bows that produced more sound. Quantz also provides evidence that cellists may have used different types of bow hair: coarser black hair on a heavier bow for orchestral use and white hair on a lighter bow for solo playing.
Holding the cello
Although all treatises and tutors of the 18th and early 19th centuries advocate supporting the cello by holding it solely with the legs, iconographic and documentary evidence indicates that endpins, stools and boxes were used by cello players, probably for reasons of acoustic enhancement or comfort, throughout the 18th century. The adjustable endpin was introduced after 1890. An increase in the number of women cellists in the late 19th and early 20th centuries, especially in England, may reflect the greater freedom the endpin offered, allowing the cello to be held in a side-saddle manner that did not conflict with prevailing rules of decorum. Lisa Cristiani (1827–53) was the only notable female cellist before the late 19th century.
Various types of endpin material – such as wood or metal – were thought to have special acoustic properties; Hugo Becker (1864–1941) apparently used not only a wooden endpin, but rested it on a box to enhance and augment his cello's tone. Many prominent late 19th-century cellists, such as Alfredo Piatti (1822–1901) and Robert Haussmann (1852–1909), never used an endpin. Haussman was closely associated with Brahms and known to produce a very powerful tone. A photograph of the young David Popper from 1861 shows him holding the cello in the older manner, without an endpin.
Technical aspects
According to John Gunn in his Theory and Practice of Fingering on the Violoncello (C1789), earlier cellists held the neck of the cello with the fingers of the left hand at a slanted, oblique angle and the thumb behind the first finger. This position, a diatonic fingering system adapted from the violin, was adopted by English cellists, probably following Italian models, and is documented elsewhere as being used by some late 18th-century cellists, such as J.B. Janson (1742–1803), J.B. Tricklir (1750–1813), and Romberg as late as 1839.
Virtuoso left-hand techniques, such as the use of thumb position, were developed early in the 18th century by Italian cellists such as Salvatore Lanzetti (c1710–80). French cellists, beginning with Berteau, used harmonics as a technical effect, and works written by prominent 18th-century French cellists such as Jean Barrière, J.-B.-A. Janson, J.-P. Duport and J.B. Bréval often feature passage-work in the highest positions. 18th-century German virtuosos favoured thumb position fingerings for passage-work, using stationary, 'blocked' hand positions with fingerings across the strings, thus avoiding frequent position changes. They also had a propensity to use the fourth finger in thumb position. French cellists avoided using the C string until the early 19th century, possibly because of the lower pitch standard in Paris and the resulting lower tension of the string.
Vibrato is mentioned in a few 18th- and 19th-century treatises. The bow was held in a variety of ways by 18th-century cellists. The underhand grip, derived from viol technique, was still used towards the end of the 18th century by some players. The most common way of holding the lighter, convex bow was the violin-influenced overhand grip, above the frog, with the thumb under the stick. The use of the bow grip above the frog is documented in France, England and Spain to the end of the 19th century. French bowing in the 18th and 19th centuries was characterized by use of regulated bow strokes and varied bowing styles. The custom of holding the bow above the frog allowed for development of light and off-the-string virtuoso bowing techniques, such as slurred staccato.
In Germany, Romberg and his pupils, including Friedrich Dotzauer (1783–1860), held the bow on the frog, allowing for increased leverage and bowing power. It is possible that this manner of holding the bow developed when concave sticks began to be used in Mannheim in the third quarter of the 18th century. The pervasive influence of the Dresden school, originating with Romberg's pupil Dotzauer, can be seen in 19th-century German and Russian cello technique, and throughout the 20th century; today the frog-held bow is the standard practice of most modern cellists.
In the early 18th century, when Italian cellists dominated the field, vocal clefs were most commonly used, i.e. bass (F4) clef, combined with movable c clefs to notate passages in high positions. In the middle of the century, this practice changed and passages not written in bass clef were written in g2 clefs, both at pitch and transposed one octave below. By the latter part of the century, it was common practice for high solo passages in cello music to be notated in theg2 clef an octave above the actual pitch played, although accompaniments and lower parts were still written in bass and tenor (c4) clefs.
The art of accompaniment was a special skill, the importance of which was emphasized in 18th- and early 19th-century cello methods (e.g. Baudiot, Baumgärtner, Corrette, Gunn, Kauer, Mozart, Quantz, Schetky). The accompanying cellist was seen as a subordinate partner to the principal melodic voice, instrumental or vocal, in aria, melody and recitative. Required skills for the cellist in this role included the regulation of time (rhythm, meter and tempo) in an ensemble, and the expressive articulation of musical character through the sensitive and appropriate use of bow strokes.
18th century performers and repertory
Composers and repertory
Antonio Caldara (c1670–1736): Lezioni (A-Wn EM 69); Benedetto Marcello (Amsterdam, c1734): six sonatas for cello and basso continuo; Vivaldi; Domenico Della Bella; Francesco Scipriani (1678–1753); Francesco Alborea (1691–1739); Salvatore Lanzetti (c1710–80); Boccherini wrote 11 cello concertos, 34 sonatas for cello and basso continuo, and dozens of string quintets with two cellos. Italian composers include without restriction: Boni, Vandini, Platti, Porpora, Antoniotti, Bononcini, Pergolesi, J.-B. Canavas, Caporale, Cervetto, and Graziani. Six solo suites by J.S. Bach; Anton Fils; Peter Ritter (1763–1846); M.G. Monn (1745); G.C. Wagenseil (1752 and 1763); Haydn's Concerto in C (c1761–5) is the first cello concerto by a major composer of the Classical period; Kraft composed virtuoso sonatas, duos, salon pieces and concertos; Beethoven's two sonatas op.5; C.P.E. Bach wrote three concertos for cello; Jan Šťastný (c1764–c1826); four sets of cello sonatas were published by Jean Barrière (1707–47) between 1733 and 1739; J.-B.S. Bréval (1753–1823), a student of Cupis, was a cello virtuoso, a prolific composer and a teacher, Bréval's works for solo cello include seven concertos and several sets of continuo sonatas.
Alborea, known popularly as 'Francisc(h)ello', was the most famous and admired virtuoso of the early 18th century, and his skill on the cello remained legendary for later generations of musicians including Quantz, Geminiani and Benda. Lanzetti, also became a touring cello virtuoso. Luigi Boccherini (1743–1805) was possibly the greatest cellist of the late 18th century. Joseph Weigl, Anton Kraft (1749–1820), Josef Reicha (1752–95); J.B. Mara (1744–1808); Lanzetti, Giovanni Bononcini (1670–1747) and Giacobbe Basevi Cervetto (1680–1783), Andrea Caporale (fl mid-18th century), Guiseppe Dall'Abaco (1662–1726) and Pasqualini de Marzis (fl 1740s) were known in England in the first part of the 18th century. Cervetto's son, James (1748–1837), and John Crosdill (1751–1825) were the leading English cellists of the latter half of the 18th century. Robert Lindley (1776–1855), a pupil of James Cervetto, exceeded his master in ability and reputation. Martin Berteau (1708–71) was one such player who, according to legend, abandoned the viol for the cello after hearing Francischello (Francesco Alborea) play, and became the founder of the French school of cello playing. Berteau's noteworthy students included François Cupis (1732–1808) and his nephew Jean-Baptiste (b 1741), J.-P. Duport (1741–1818), J.-B.-A.J. Janson (1742–1803) and J.B. Tillière (c1740–90). The most highly regarded of Berteau's pupils was Jean-Pierre Duport. Among Duport's distinguished pupils were his brother Jean-Louis Duport, John Crosdill, Nikolaus Kraft (1778–1853), Peter Ritter and Crown Prince Friedrich Wilhelm of Prussia. The players of the French school were distinguished by smoothness and purity of tone, and a high degree of left-hand skill, especially in high positions.
19th century composers and repertory
The cello's capacity for cantilena playing in the tenor register, as well as for playing accompanying bass and tenor lines, is exploited by Romantic composers for dramatic and melodic effect in chamber works. Beethoven, Schubert, Schumann, Mendelssohn, Brahms, Tchaikovsky and Dvořák all wrote string quartets, quintets, trios and other works that contain prominent cello parts.
The core of the late 19th-century repertory for solo cello and orchestra consists of Schumann's Concerto in A minor op.129, the Brahms Double Concerto op.102, Dvořák's Concerto in B minor op.104, Tchaikovsky's Rococo Variations, Lalo's Concerto in D minor and the first (in A minor) of two concertos by Saint-Saëns. There are also significant works for cello and piano from this period. In the operatic literature the cello section was often divided (e.g. Rossini's Guillaume Tell, Verdi's Otello, Puccini's La bohème), and many 19th-century operas have solo cello passages. In other orchestral works a solo cellist is often given important obbligato parts, for example the piano concertos in Bb and A by Brahms and Liszt respectively, Le carnaval des animaux by Saint-Saëns and Don Quixote by Strauss. Romantic composers also wrote section solos for the cellos in the symphonic repertory.
Performers and schools of playing
At the beginning of the 19th century distinct schools of cello playing existed in Austria and Germany, France, and England, with those of J.-L. Duport in France and Bernhard Romberg in Germany dominating. As a result of the migrations during the French Revolution there was interaction between the various schools. Dotzauer was a well-known performer and composer in his own time, he is best remembered for his contribution to cello pedagogy as the founder of the 'Dresden school' in Germany. The school had much influence with time throughout Europe. The technical principles of the French school, as outlined by Duport in his Essai and the Paris Conservatoire Méthode, were disseminated by his pupils and those of Janson. N.J. Platel (1777–1835), a student of Lamare, eventually founded the Belgian school of playing when he was appointed professor at the Conservatory in Brussels in 1826. Platel's student, A.F. Servais (1807–66) was known as the 'Paganini' of the cello. In Italy and after Boccherini, no internationally prominent Italian cellist emerged until Alfredo Piatti (1822–1901). Robert Lindley was England's leading cellist for most of his life. The patronage of the Russian Counts Saltïkov and Mateusz Wielhorski, and of Prince N.B. Golitsïn (the latter two of whom were amateur cellists), was an important factor in generating a rich Russian musical life in the 19th century, and helped to stimulate interest in the cello. K.Y. Davïdov (1838–89), a pupil of Carl Schuberth, is particularly associated with the Russian school, being the first Russian cellist to gain a professorship at the St Petersburg Conservatory in 1862. David Popper (1843–1913) was appointed professor at the National Hungarian Royal Academy of Music in Budapest in 1886, establishing the Hungarian school of cello playing.
The cello' identity as a solo instrument has been confirmed in the 20th century. The endpin or spike was regarded as an accepted part of the instrument and revolutionized technique. It also allowed women to play the cello in a dignified manner. Before the 20th century, few women played the instrument owing to the way in which it was held, although a handful of women compromised by playing 'side-saddle'. Paul Tortelier later devised the longer, angled spike which was also adopted by Mstislav Rostropovich. During the 20th century many large concert halls were built; consequently there arose a need for a larger sound. Players began experimenting with steel or steel-covered gut strings, replacing the gut strings in use until this time. Although steel strings are the most widely used today, some cellists have reverted to gut for some if not all of their strings. In other respects, the construction of the instrument itself has not changed, having reached a standard form in the previous century.
At the beginning of the 20th century, the German school of cello playing was leading the field with many distinguished soloists and chamber music players, many of whom were also teachers. The two most influential figures were Julius Klengel (1859–1933) and Hugo Becker (1864–1941). But it was Pablo Casals (1876–1973) who brought the cello into equal popularity with the violin as a solo instrument. Casals popularized chamber music and, in particular, brought the Bach solo suites into the regular cello recital repertory.
Many other 20th-century cellists have contributed to the development of the instrument. They include Alexander Baillie, Christopher Bunting, Gaspar Cassado, Orlando Cole, Rohan da Saram, Joan Dickson, Emanuel Feuermann, Amaryllis Fleming, Jacqueline du Pré, Pierre Fournier, Raya Garbousova, Maurice Gendron, Karine Georgian, Natalia Gutman, Lynn Harrell, Florence Hooton, Steven Isserlis, Antonio Janigro, Ralph Kirshbaum, Julian Lloyd Webber, Yo-Yo Ma, Enrico Mainardi, Mischa Maisky, Zara Nelsova, Siegfried Palm, Gregor Piatigorsky, William Pleeth, Gabor Reijto, Leonard Rose, Miloš Sadlo, Felix Salmond, Eleanore Schoenfeld, Luigi Silva, Daniil Shafran, Frances Marie Uiti, Raphael Wallfisch and Phyllis Young. Many are or were also great teachers.
In the 20th century an enormous amount of music was written for the cello by composers from all over the world. Rachmaninoff's Sonata in G minor (1901), Dohnányi's Konzertstück in D (1904), Bloch's Schelomo (1915–16), Fauré's two Sonatas (1918 and 1922) and Elgar's Concerto (1919) are but a few examples. Webern, in his atonal Drei kleine Stücke (1914), and Debussy, in his Sonata (1915), were among the first to break with Romantic tradition. The composers who followed include: in the UK, Bax, Benjamin, Bridge, Britten, Delius, Finzi, Holst, Ireland, Rubbra and Walton; in France, Caplet, d'Indy, Françaix, Honegger, Ibert, Milhaud, Poulenc and Tortelier; in Russia/former USSR, Denisov, Glazunov, Glière, Grechaninov, Gubaydulina, Kabalevsky, Khachaturian, Myaskovsky, Prokofiev, Shostakovich, Tishchenko and Ustvol'skaya; in the USA, Barber, Carter and Piston, and US citizens born elsewhere: Bloch, Hindemith, Krenek, Schoenberg and Stravinsky; Wellesz (Austria); the Czech Martinů; Henze (Germany); Pijper (Holland); Bartók, Kodály (Hungary), Casella, Castelnuovo-Tedesco and Dallapiccola (Italy), Chávez (Mexico), Enescu (Romania), Villa-Lobos and Ginastera (S. America), Casals and Cassadó (Spain), Larsson (Sweden), Sallinen and Kokkonen (Finland).
Prokofiev wrote three concertos for cello, the first Symphony-Concerto (1950–51, rev. 1952), was published posthumously in 1955, completed by Rostropovich and orchestrated by Kabalevsky. Britten's Cello Symphony (1963, rev.1964) is dark, disturbing and highly innovative and incorporates many new ideas such as the clever use of trilled. Shostakovich's Cello Concerto no.1, op.107 (1959); Lutosławski's aleatory Cello Concerto (1969–70); Schnittke's First Cello Concerto (1986), written for Natalia Gutman; Samuel Barber's concerto (1945) is one of the most challenging works known for the cello; Rostropovich, one of the major musical figures of the latter half of the 20th century, commissioned over 100 works for his instrument from composers such as Britten, Lutosławski, Penderecki, Prokofiev and Shostakovich. Dutilleux's concerto Tout un monde lointain … (1967–70) was one of these: it is a carefully crafted work which is free in thought, and follows Debussy and Ravel in its colourful and evocative scoring.
There was a rush of compositions for solo cello from 1900 to 1960: there were over 160 composed. One of the most popular is the Sonata op.8 (1915) by Kodály, who was a cellist himself. We cite without restriction some major works: Hindemith's Sonata op.25, no.3 (1923); Iannis Xenakis in his Nomos alpha for solo cello (1965–6); Franco Donatoni's Lame (1982); Luigi Dallapiccola's Ciaccona, intermezzo e adagio (1945); Ernst Krenek's Suite op.84 (1939). Most of the composers mentioned above, and many others including Poulenc, Janáček and Alexander Goehr, have written works for cello and piano. Villa-Lobos wrote for at least eight cellos in Bachianas Brasileiras nos.1 and 5 (1930–45), no.5 (with soprano soloist) being the most popular. Composers for the cello have experimented in ways hitherto unknown. James Dillon's Parjanya-Vata (1981) employs streams of double stops covering all the registers of the instrument (the score has the appearance of piano writing). Jonathan Harvey, in his Curve with Plateaux (1982), uses the sixth and seventh octaves of the cello, multiphonics with mute, clashing quarter-tones, glissandos over four strings with sul ponticello and sul tasto bow strokes. Karlheinz Stockhausen's Spiral (1969), for amplified cello and short-wave radio, requires the performer to improvise within specifications marked on impulses from the radio. Tavener's The Protecting Veil for cello and orchestra (1987) captured the public imagination as a spiritual minimalist composition on a religious theme, and exploits to the full the composer's exuberant lyricism. Other composers whose works employ quarter-tone and multi-stave writing, amplified cello and graphic effects, include Roger Redgate, Michael Finnissy, Mauricio Kagel, Brian Ferneyhough, Morton Feldman, James MacMillan, Colin Matthews and Arvo Pärt.
The cello was used in a jazz-related context as early as 1916–17 when Walter Kildare, cellist from the Clef Club, recorded in London with his brother Dan's string band, Ciro's Club Coon Orchestra. In 1926 it appeared in recordings by singer Ethel Waters with Will Marion Cook. However, the cello was not used with any frequency in jazz until the bop era of the late 1940s and the 50s, when it was taken up by a number of double bass players, some of whom gained significant reputations on the smaller instrument. Harry Babasin recorded pizzicato cello solos with Dodo Marmarosa (Bopmatism, 1947, Dial). Oscar Pettiford recorded on the instrument in a quintet with Duke Ellington and in a quartet with Charles Mingus (Cello Again, 1952, Roost). The following year Pettiford and Brabison recorded on cello together. George Koutzen also recorded on cello with Mingus in 1952. Chico Hamilton's band featured cello between 1955 and 1962, played at first by Fred Katz and then by Nat Gershman. Another important jazz cellist was Calo Scott (Vinnie Burke's String Jazz Quartet, 1957, ABC-Paramount). Other bass players who adopted the cello included Ray Brown, Ron Carter and Sam Jones, but with Carter's introduction of the piccolo bass (tuned an octave higher than the double bass) this practice lost impetus.
From the late 1960s the cello once again found use as a solo instrument in styles derived from bop, in fusions of jazz with ethnic and classical music and in free jazz. Exponents include Irène Aebi, David Baker, Diedre Murray and, in the 1990s, Matt Turner, Michelle Kinney and saxophonist Ivo Perelman. Three pre-eminent cellists since the late 1970s are Ernst Reijseger, Tristan Honsinger, who performs ferocious free improvisations, and Abdul Wadud who combines a virtuoso classical technique with heartfelt, incisive improvisations (e.g. By Myself, 1977, Bisharra).
"Cello" Teachers:
Angela Hounanian
Avetis Gyoychan
Bendeguz Kovacs
Magdalena Maria Sokola
Nastasia Yertsava
Noemi Boroka Tetezi
Ribal Kallab
Roman Storojenco
Sergiu Zare


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Sonotroden sind Werkzeuge, die durch das Einleiten von hochfrequenten mechanischen Schwingungen (Ultraschall) in Resonanzschwingungen versetzt werden. Sie stellen die Verbindung vom Ultraschallgenerator zum Werkstück her und passen die Ultraschallschwingung an die Bearbeitungsaufgabe an (Impedanzanpassung). Sonotroden werden beim Ultraschallschweißen eingesetzt, um in den Füge- oder Kontaktzonen auf Grund verschiedener Prozesse eine dauerhafte Verbindung der Bauteile herzustellen. Weiterhin werden sie beim Ultraschallschwingläppen zur Übertragung der Schwingung auf das eigentliche, abbildende Werkzeug verwendet. Sonotroden werden gewöhnlich aus Aluminium, Titan oder Stahl gefertigt, ihre Geometrie ist abhängig von der durch den eingesetzten Generator bereitgestellten Frequenz und von der Bearbeitungsaufgabe.

Geometrische Form der Arbeitsfläche

Die Sonotrode hat als einziges Bauteil einer Ultraschall-Schweißmaschine direkten Kontakt zum Schweißteil. Ihre Arbeitsfläche muss deshalb so gestaltet sein, dass die Ultraschallschwingungen optimal in die Fügezone eingeleitet werden und Abdrücke auf den Bauteilen vermieden werden. Die mechanischen Schwingungen können senkrecht oder horizontal in die Fügezonen des Schweißteils eingeleitet werden.

Unterschiedliche Anwendungen erfordern unterschiedliche Bauformen von Sonotroden:

Frequenz

Eine Sonotrode ist in der Regel so konstruiert, dass ihre Resonanzfrequenz mit der vom eingesetzten Generator zur Verfügung gestellten Frequenz übereinstimmt. Je nach Anwendung arbeiten Sonotroden in einem bestimmten Frequenzbereich, i. d. R. liegt dieser zwischen 20 und 90 kHz.

Schwingungsform

Die Ultraschallschwingung muss eine bestimmte Richtung aufweisen. Ein Körper kann viele Resonanzfrequenzen mit den unterschiedlichsten Schwingungsformen haben. Beim Ultraschallschweißen von thermoplastischen Kunststoffen muss die Schwingungsrichtung meist longitudinal sein, also senkrecht auf das Werkstück wirken. Nur so kommt die mechanische Energie tatsächlich in der Wirkzone an.

Beim Schweißen von Metallen ist die Schwingungsrichtung quer zur Fügefläche gerichtet, damit die Fügepartner aneinanderreiben.

Nulllinie

Aufgrund des Ausbreitungsverhaltens von Schallwellen in Körpern müssen Sonotroden eine Zone geringster Ausdehnung haben. Diese Zone ist die sog. Nulllinie. In ihr dürfen kaum Schwingungen nachweisbar sein.

Amplitude

Die Amplitude ist die Schwingweite einer Sonotrode an ihrer Arbeitsfläche, sie wird in µm (Mikrometer) angegeben. Die Größe der Amplitude wird beeinflusst von der Ausgangsamplitude, die der Konverter bereitstellt, und von der jeweiligen Verstärkung durch den Booster (Transformationsstück) und die Sonotrode selbst.

Die benötigte Amplitude wird unter anderem durch das Schmelzverhalten der eingesetzten Kunststoffe bestimmt und kann erheblich schwanken. Bei der Konstruktion der Sonotrode ist die benötigte Amplitude unter Berücksichtigung der zur Verfügung stehenden Booster zu berücksichtigen.

Die wichtigsten üblicherweise einstellbaren Parameter beim Ultraschallschweißen sind die Schweißzeit, die einzubringende Energie und der Anpressdruck der Sonotrode auf das Schweißteil. Stellt jedoch die Sonotrode beispielsweise eine zu geringe Amplitude zur Verfügung, wird der Schweißprozess nicht oder nur unzureichend gelingen.

Amplitudenverteilung

Ist eine Sonotrode falsch konstruiert, kann die Amplitude an der Arbeitsfläche an unterschiedlichen Stellen unterschiedlich groß sein. Das führt zu einem schlechten Schweißbild oder gar zu Fehlschweißungen.

Leerlaufleistung

Mit Leerlaufleistung ist die Leistungsaufnahme gemeint, die erforderlich ist, um eine Sonotrode in Resonanzfrequenz frei zum Schwingen zu bringen. Ist zum Beispiel der Anteil an unerwünschten Querschwingungen zu hoch, ist eine hohe Leerlaufleistung erforderlich.

Hohe Leerlaufleistungen sind zu vermeiden; sie sind ein Hinweis auf schlechte Sonotrodenqualität, die Schweißung wird nicht optimal und die Lebensdauer der Sonotrode wird eingeschränkt sein.

Es gibt bei der Entwicklung von Sonotroden eine ganze Reihe von Anforderungen, die erfüllt werden müssen. Hinweise auf eine fehlerhafte Konstruktion, auf falsche Schwingungsformen oder auf einen zu hohen Anteil an unerwünschten Querschwingungen können unter anderem sein:

 hohe Leerlaufleistung
 die Sonotrode wird warm
 großer Verschleiß an der Arbeitsfläche
 geringe Lebensdauer.

In der betrieblichen Praxis ist ohne entsprechende Messmittel die Qualität von eingesetzten Sonotroden praktisch nicht bestimmbar. Darüber hinaus gibt es, im Gegensatz zu den meisten anderen Werkzeugen, bislang keine verbindlichen Qualitätsmerkmale oder gar Normen für diese Schweißwerkzeuge.

Weblinks

 Qualitätssicherung beim Ultraschallschweißen – einfache und schnelle Messung
 Grundlagen des Ultraschallschweißens

Einzelnachweise

Schweißwerkzeug
Zerspanungswerkzeug

redpajama_set_name: RedPajamaWikipedia


Cooper Craddick placed first in the District 8 4-H competition with her presentation "Kids have strokes too." She presented this to the FISD school board last week.
In recognition of Pediatric Stroke month and in honor of Fairfield resident Alex Ward, Cooper Craddick gave a presentation on the disease at last week's school board meeting. Craddick, an intermediate school student, discussed how strokes occur, what it can do to your body, and symptoms of a stroke.
She placed first in this competition and was eager to do the presentation again during the month of May.
Strokes can happen at any age – young, old, and even to unborn babies. Strokes are one of the top 10 causes of childhood death and can have lasting effects. There are two main types of strokes, Ischemic and Hemorrhagic. Craddick also talked about TIA – or mini-strokes – which do not cause lasting damage, but should be a warning that a full blown stroke can occur.
The Angelic Hosts came for Ms. Alberta L. Harvey, of Tehuacana, sister of Howard Harvey, Thursday, May 5 in the Parkview Regional Hospital Emergency Room among loving family and devoted friends. Services are pending at Moore's Angelic Funeral Home, 406 Monroe Street in Teague. Visit our website at mooresangelicfuneralhome.com to sign the guestbook and light a candle.
Linda Lou Nichols Huffman, 76, of Teague, passed away May 4. Funeral services were at 3 p.m., Sunday, May 8, at the First Baptist Church in Teague with Rev. Scott Matthews officiating. Interment followed in the Greenwood Cemetery. Visitation with the family was from 5 to 7 p.m., Saturday, at Blair-Stubbs Funeral Home. Linda was born in Teague on February 10, 1940, to John Fred and Mary Ellen Bass Nichols. She grew up in Teague and was a graduate of Teague High School Class of 1957. She returned to Teague, after 40 plus years of working in Houston for Champion Paper, Tenneco, and as an executive assistant for El Paso Energy, where she retired. Linda was a loving, unselfish, and caring person who loved doing for people; she always put others first. She also loved animals and adopted every stray kitten that came around their home. Her hobbies consisted of playing bridge and working in the yard. Linda was an active member of the First Baptist Church in Teague.
Funeral services for Mrs. Janice Sartor Turner were held at 11 a.m. Saturday, May 7, at Eighth Avenue Baptist Church in Teague with Bro. Johnny Veretto and Rev. Jerry Fulton officiating. Interment followed the services at Union Cemetery near Freestone. Visitation was held Friday, May 6, with the family present from 6 to 8 p.m. at the funeral home. Mrs. Turner passed away suddenly on Wednesday, May 4, in an automobile accident near Teague. She was born in Teague on November 14, 1937, and was a lifelong resident of Teague. She graduated from Teague High School with the class of 1956, and attended Navarro College. Janice worked in various banking jobs beginning with First National Bank in Teague. She later went to work for Bi-Stone Savings and Loan in Mexia and opened a branch in Teague as the manager. After the Teague branch closed, she returned to Bi-Stone in Mexia before moving to First National Bank of Mexia where she remained until her retirement.
Teague residents are in mourning this week after a tragic car accident between Teague and Fairfield took four from the community. The three-car accident happened around 5:17 p.m. Wednesday, May 4, on U.S. 84, about one mile east of Teague.
Pronounced dead on the scene was Martha Turner, Janice Turner, and Linda Huffman, all of whom were traveling home together in a 2003 Chevrolet Tahoe driven by Huffman. Also pronounced dead was Michael James Jackson, driver of a 2001 Mercury Sable. Joshua Bradley Thompson, driving a 2011 Chevrolet Silverado, was transported to ETMC Fairfield where he was treated and released.
According to DPS reports, Jackson was heading west on U.S. 84 at an unsafe speed, when he rounded a curve and lost control of the vehicle. Jackson is reported to have hit the Tahoe head on, causing both vehicles to spin.


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MOCA Director Philippe Vergne on Art in Los Angeles
MOCA Director Philippe Vergne on Art in Los Angeles | KCET
Artbound Season 4
S4 E4: Moca TV
Artbound presents an hour-long special featuring short, vibrant videos from MOCAtv.
Artbound Episode 'MOCA: The Art of Our Time'
Artbound special "MOCA: The Art of Our Time" explores the vast permanent collections of the Museum of Contemporary Art, Los Angeles.
Chief Curator Helen Molesworth on the Legacy of MOCA
MOCA Chief Curator Helen Molesworth discusses the history of the museum; assemblage and its connection to the civil rights movement; and the future of the institution.
All SeasonsArtbound Season 1Artbound Season 2Artbound Season 3Artbound Season 4Artbound Season 5Artbound Season 6Artbound Season 7Artbound Season 8Artbound Season 9
S9 E1: That Far Corner - Frank Lloyd Wright In Los Angeles
Frank Lloyd Wright accelerated the search for L.A.'s authentic architecture. This episode explores the provocative theory that his early homes in L.A. were also a means of artistic catharsis for Wright.
S9 E2: Desert X
The vast, strange, sometimes contradictory world of the urban desert and its people are explored in 11 public art exhibits and their respective locations scattered throughout Coachella Valley.
S9 E3: Electric Earth - The Art of Doug Aitken
For more than 20 years, Doug Aitken has shifted the perception and location of images and narratives. His diverse works demonstrate the nature and structure of our ever-mobile, ever-changing, image-based contemporary condition.
S9 E4: Variedades - Olvera Street
This look at Los Angeles' Olvera Street is part-history lesson and part-immersion in stereotype of the birthplace of Los Angeles.
S9 E5: La Raza
In East L.A. during the 1960s and 1970s, a group of young activists used creative tools like writing and photography as a means for community organizing, providing a platform for the Chicano Movement.
All Categories (Filter)Architecture and Designcommunity artsCultural Politicsfilm and media artsliteratureMulti-disciplinaryMusicPerformanceVisual Arts
Current:LA
What is Current:LA Food?
Current:LA is a citywide public art triennial. This year, international and local artists look at food and parses its complex meanings to culture and to civilization. Learn what to expect.
Artist Plans a Picnic to Feed a Hungry City
As part of Current:LA Food, artist Emily Marchand has organized a large-scale lunch packing session for the homeless, as well as an open picnic in an effort to bring together disparate communities in the city.
Raul Ruiz on the Perils of Being A Chicano Photographer
Hear Raul Ruiz talk about the experience of covering the East L.A. walkouts and the dangers students and those at the forefront faced at the time.
Heath Ceramics
A Glazer's Mark
Owner and Creative Director Catherine Bailey and Master Glazer Winnie Crittendon explain how every ceramic piece that comes off the Heath line is unique. Sometimes, it's all in the glaze.
Día de Los Muertos / Day of the Dead
Día de los Muertos has been adapted for centuries from its pre-colonial roots to the popular depictions in mass media today. Inspired by rich Oaxacan traditions, it was brought to East Los Angeles in the 1970s as a way to enrich and reclaim Chicano identity through a small celebration at Self Help Graphics and Art. Since then, the celebration has grown in proportions with renditions enacted in communities all around the world.
Heath Ceramics: The Making of a California Classic
"Artbound" looks at the dinnerware of Heath Ceramics and a design that has stood the test of time since the company began in the late 1940's. Through the writings of Edith Heath, the founder and designer of Heath Ceramics and voiced by renowned chef Nancy Silverton, this episode explores the groundbreaking work of a woman who created a classic of American design.
How Sweet The Sound: Gospel In Los Angeles
Gospel music would not be what it is today if not for the impact left by Los Angeles in the late '60s and early '70s, a time defined by political movements across the country. Artists like James Cleveland and Aretha Franklin captured live recordings of the church experience of South Central and the voices and sentiment of the people coming together to give birth to a new gospel sound and the election of L.A.' s first black mayor, Tom Bradley.
Masters of Modern Design: The Art of the Japanese American Experience
From the iconic typeface of "The Godfather" book cover to Herman Miller's Noguchi table, the influence of Japanese American artists and designers in postwar American art and design is unparalleled. While this second generation of Japanese American artists have been celebrated in various publications and exhibitions with their iconic work, less-discussed is how the World War II incarceration — a period of intense discrimination and hardship — has also had a powerful effect on the lives of artists such as Ruth Asawa, George Nakashima, Isamu Noguchi, S. Neil Fujita and Gyo Obata.
Jeffrey Deitch's Los Angeles
The charming, unusual and at times polarizing Jeffrey Deitch left Los Angeles in 2013 after a tumultuous run as the director of MOCA ending in his resignation. He makes his return with a new gallery opening with the first LA exhibit of renowned Chinese artist and activist, Ai Weiwei. A behind-the-scenes look at the contemporary art world through the eyes of a legendary art dealer and curator.
Desert X
The vast, strange, sometimes contradictory world of the urban desert and its people are explored in 11 public art exhibits and their respective locations scattered throughout Coachella Valley. Art includes Will Boone's "Monument," an underground bunker off Ramon Road in Rancho Mirage and Phillip K. Smith III's "Circle of Land and Sky" in Palm Desert. Desert X is a site-specific biennial exhibition that first took place in the spring of 2017 where artists from different parts of the world were invited to create work in response to the unique conditions of the Coachella Valley
Electric Earth: The Art of Doug Aitken
This episode profiles prominent artist Doug Aitken who for more than 20 years has shifted the perception and location of images and narratives. His multichannel video installations, sculptures, photographs, publications, happenings and architectural works demonstrate the nature and structure of our ever-mobile, ever-changing, image-based contemporary condition. In his newest piece, "Underwater Pavilions," he creates a conversation with the viewer to become fully present and immersed in the sea.
Interactive: The Chicano Photographer Who Captured 40+ Years of Hollywood and Civil Rights Movements
The average American would not know George Rodriguez's name, though his images have been featured in magazines, newspapers, books, and even record covers seen by millions. The Vincent Price Art Museum is honoring him with his first retrospective.
El Nopal Press: 30 Years of Expanding Borders with Female Artists
For the last 30 years, El Nopal Press has intentionally been a studio where artists can experiment with printmaking. Some of the most provocative artistic pieces and innovations have come from the studio's collaborations with women.
Audio Slideshow: Artists on the U.S. Border They Never Knew About
All around the United States is a 100-mile border zone where one can be searched and one's things seized. Policies way beyond what the constitution allows is regularly implemented. Artists drew on select sites. Here's what they realized.
Border Fiction Made Real: How Search and Seizure Laws Degrade on the 100-Mile Border Zone
Created by policymakers in the 1940s, the border zone extends 100 miles inland from the nation's land and sea boundaries and houses nearly two-thirds of the U.S. population. It's also where the 4th amendment rights of the people have been subverted.
Inside the World of Recreational Miners
On a smaller scale, recreational prospecting is thriving throughout the West — especially in its desert regions.
Iraq's Treasures Reconstructed and Recaptured at the Park
Michael Rakowitz, the internationally-acclaimed Iraqi American artist reconstructs Room F in Iraq's Northwest Palace of Nimrud, and tackles a history of migration and displacement that has been going on for hundreds of years.
Preview: The Victim
Recent Earthquakes Bring Awareness to Walker Lane
Here in California, we know one of the most famous fault lines is the San Andreas. But there is another zone of instability, known as the Walker Lane, which may present future earthquake worries.
Parents are willing to spend thousands to get the competitive edge in the college admissions process, but at what cost? Socal Connected takes a revealing look at the high stakes world of the for-profit education consultant business.
S4 E2: Three Views of Manzanar - Ansel Adams, Dorothea Lange and Toyo Miyatake
During World War II, three renowned photographers captured scenes from the Japanese incarceration: outsiders Dorothea Lange and Ansel Adams and incarceree Tōyō Miyatake who boldly smuggled in a camera lens to document life from within the camp.
Three Views of Manzanar: Ansel Adams, Dorothea Lange and Toyo Miyatake
visiting with huell howser
Huell Howser: Musso & Frank
Huell visits the oldest restaurant in Hollywood and talks with longtime employees and patrons about what makes this landmark such a special place.

redpajama_set_name: RedPajamaCommonCrawl


What's for dinner? How about one of these recipes?!
We've all been there – it's Wednesday night, you just got home from a long day of class, work, and studying on campus, and you're exhausted. Then it hits you – you're really, really hungry. Now you're faced with a decision – should I go out to eat? Or should I make something at home?
Now, I'll be honest. More often than not, the LAST thing I want to do after a long day is cook something for dinner. I can't decide what to make, I don't have the ingredients I need, and I just don't have the time or energy to pull it all together.
Preheat oven to 450 degrees. Snap or cut the ends off asparagus spears. Spray the center of a piece of aluminum foil with non-stick cooking spray. Place your piece of salmon in the center of the piece of foil. Put the asparagus spears on top of the piece of salmon, and drizzle the lemon juice on top of that. Sprinkle some salt and pepper on top of that to taste. Then fold up the sides of the foil to seal everything inside, making a nice foil packet (be sure to leave a little room for air to get inside the packet). Place your foil packet on a cookie sheet and cook it in the oven for 15-18 minutes.
*If you don't like salmon, you could totally try this recipe with a chicken breast instead!
**To make this a complete, balanced meal, you can add a grain like rice or quinoa!
*You can get some of these ingredients from the Carrboro Farmers' Market!
Boil 2 1/4 cups water. Add the brown rice and 1 teaspoon of salt to the boiling water. Bring the water and rice back to a boil, then cover and simmer (be sure to turn the heat down to low) for 30 minutes, until the rice is tender and all the water is absorbed. Once the rice is ready, put it in a big bowl. While the rice is cooking, whisk together the vinegar, sugar, olive oil, remaining teaspoon of salt, and a pinch of pepper. Pour this mixture over the rice. Then add the diced tomatoes and chopped up basil to the bowl. Let the mixture cool a bit, and then enjoy!
Consider your financial wellness! Going out to eat and/or ordering take-out can get expensive. If you spend around $8 on a dinner for yourself at Qdoba, Noodles, etc., five times in one week, that would be $40! In contrast, cooking for yourself can cost as low as $20 per week! When living expenses are tight, cooking for yourself is a good way to cut down on your food costs.
And how about your physical wellness?! When you go out to eat, you don't always know exactly what you're eating, so you're less able to make sure what you're eating is balanced and healthy for you! When you cook for yourself you know all of the ingredients, and so you can make sure what you're eating is balanced, and will give you the nutrients and energy you need to go about your daily business.
Plan ahead! On Sunday, plan out your dinners for the week. Pick out the recipes that you want to try and then go grab the ingredients you need at the store. That way, when it's 8pm on Wednesday and you're exhausted and hungry, you'll have EVERYTHING you need to make yourself a yummy meal!
Keep it simple! Pick recipes that you think sound good, and that you're comfortable with!
Use your resources! See something in a recipe that you don't understand (for example: what on earth does "minced" mean??)? Don't be afraid to ask a friend or consult the internet! You can find all sorts of recipes and tips on Pinterest, and there are COUNTLESS cooking-related tutorials and videos on YouTube that will take you step by step through a particular cooking technique.
Have fun! Cook with your friends, cook with your roommates, or surprise a special someone with a delicious home-cooked meal. Cooking is a learning process, so there will be bumps in the road – don't be afraid to make mistakes! If you mess up a recipe, keep trying it until you've mastered it!
Previous Article The Best Vegetarian Restaurants in Town!


It's not substantive or satisfying to the person who asked, but it's true. And after months of living here, it's clear what makes Portland a perfect place to call home.
There are perks, like seeing the fog roll into the city on the drive to work, but the best parts of Portland make you feel as though you've lived here forever––or at least you should have.
Moving to Portland in the hottest months of the year, when it's arguably too hot to think thoughts, much less say them out loud, won't make you appreciate the climate until the leaves change. Settling into the crisp, gorgeous fall months, you're reminded of why so many people call this home. This city evokes a sense of comfort that's somehow familiar and refreshingly new at the same time.
Fall in the Northwest is a dream come true, and if you love cloud cover and rain, cool temperatures and so many pretty trees, it's hard to do better. The vibrant colors of the leaves against the overcast skies, the misty mornings and fog rolling down the hills and into the city––it all culminates in an atmosphere not easily replicated.
Settled on the Willamette River with a view of rolling hills and valleys covered in trees, probably the most striking difference in Portland vs. Kansas and Missouri is the stunning nature near and throughout the city––including, as you know, the Pacific ocean. A drive in literally any direction offers some breathtaking sights, and a short drive west brings you to the coast. Drive east, and you're at the base of Mount Hood. The beauty of the surrounding woods, mountains, rivers and lakes, and the convenience of being within a drive of it all can't be overstated. It's awe inspiring on a daily basis.
As tempting as it is though, you can't just go live in the woods.
Fortunately Portland is a diverse and good-sized city that invites both exploration and recreation. There's a general buzz and excitement around the city; people have an overwhelming spirit of community and civic pride. It's rich in culture and encourages creativity. People are excited to live here and even more excited to tell you why. There's an overwhelming sense of belonging and inclusion, as well as an abundance of opportunities.
Portland and its surroundings create a beautiful melding of lush nature and a bustling city. It's not only an ideal place for a home; it's a uniquely serene and growing city steeped in culture and art. You may move to Portland because you fall in love after visiting, but before too long you'll wonder why you weren't here sooner.
Josh Dreiling is new in town, and to the team.
I read this article and found it very interesting, thought it might be something for you. The article is called Portland – A Fresh Perspective and is located at https://www.drewcoleman.com/a-new-home-in-portland/.


text:
Q: Should a variable be volatile between 2 running threads? Should int a in this case be volatile to guarantee visibilty between threads?
private volatile static int a = 0;

public static void main(String[] args) {

    Thread t1 = new Thread(new Runnable() {

        @Override
        public void run() {
            a = 10;
        }
    });

    Thread t2 = new Thread(new Runnable() {

        @Override
        public void run() {
            System.out.println(a);
        }
    });

    t1.start();
    t2.start();

}

Output
10

A: happens-before is clearly defined in the language specification, start by reading that; to begin with.
Then to fully understand what is going on you need to know what Program order is, as well as synchronization order.
To put it very simplified, look at the below:
private volatile static int a = 0;
private static int b = 0;

public static void main(String[] args) {

    Thread t1 = new Thread(new Runnable() {

        @Override
        public void run() {
            b = 100;
            a = 10;
        }
    });

    Thread t2 = new Thread(new Runnable() {

        @Override
        public void run() {
            if(a == 10){
                System.out.println(b);
            }

        }
    });

    t1.start();
    t2.start();

}

The only guarantee you have is that if, and only if, t2 prints something, it will always be 100. This is because t2 has seen a volatile write to a. That happens because a "happens-before" has been established, from the writing thread to the reading one, and every action done before a = 10 is guaranteed to be visible to the thread that has seen that a being 10.

A:
Could you explain yourself a bit further on "happens-before"?

The most important thing to remember about "happens before" is that it's a transitive relation. That means, if the Java Language Spec (JLS) promises that A "happens before" B, and it promises that B "happens before" C, then you can infer a promise that A "happens before" C.
The JLS says that a write to some volatile variable "happens before" a subsequent read of the same variable.
Well Duh! Sounds obvious, doesn't it?
But it's not obvious because the JLS does not give the same guarantee for a non-volatile variable.  If processor A writes the value 7 to a non-volatile int, and then some time later processor B writes 5, the JLS does not guarantee that some long time later, the final value of the variable will be 5.  Processor B will see 5 (that's a different "happens before" promise, see below). Processor A could see 5 or 7, and any other processor could see 5 or 7 or whatever value the variable had initially (e.g., 0).
How the volatile promise helps
Suppose we have
 volatile boolean flag = false;
 /*non-volatile*/ int i = 0;

Suppose thread A does this:
i = 7;
flag = true;

And suppose thread B does this:
if (flag) {
    System.out.println(i);
}
else {
    System.out.println("Bleah!");
}

Thread B could print "7", or it could print "Bleah!" but because of the "happens before" guarantee, we absolutely know that thread B will never print "0".  Why not?
Thread A set i = 7 before it set flag = true. The JLS guarantees that if a single thread executes one statement before it executes a second statement, then the first statment "happens before" the second statement. (That sounds stupendously obvious, but again, it shouldn't. A lot of things having to do with threads are not obvious.)
Thread B tests flag before it prints i. So *IF* thread A previously set flag=true then we know that i must equal 7: Transitivity: i=7 "happens before" flag=true, and the write to volatile flag, IF IT HAPPENED AT ALL, "happens before" a read of the same flag.
IF IT HAPPENED AT ALL
Data Races and Race Conditions
The biggest thing to remember is that when the JLS promises that A "happens before" B, they are not saying that A always actually does happen before B: They are saying that you can depend on that transitive relationship. They are saying that if A actually did happen before B, then all of the things that "happens before" A must also have actually happened before B.
The program can print "Bleah!" because nothing prevents thread B from testing the flag before thread A sets it.  Some people call that a "data race." The two threads are "racing" to see which one gets to the flag first, and the outcome of the program depends on which thread wins that race.
When the correctness of a program depends on the outcome of a data race, some of us call that a "race condition," and that's a real headache. There's no guarantee that a program with a race condition won't do the right thing a thousand times during your testing, and then do the wrong thing when it matters most for your customer.

redpajama_set_name: RedPajamaStackExchange


Many people think a nutritious diet means restricting what you eat to a simple, boring menu. In fact, adventurous eaters —yes, those kale-loving, eel-munching foodies — tend to have lower BMIs and an overall healthier lifestyle, new research shows.
Adding a new food to your plate once every couple of weeks can bring you some unexpected benefits, says Brian Wansink, director of the Food and Brand Lab at Cornell University, author of "Slim by Design: Mindless Eating Solutions for Everyday Life."
The simple act of being more thoughtful about one thing on your plate — you don't have to plan an elaborate meal — can make you less likely to overindulge. Being adventurous primes people to think of eating as a conscious practice.
The Cornell researchers characterized a foodie as a person who will try and eat at least nine of 16 different foods more than once, including: kale, seitan, quinoa, seaweed, bean sprouts, beef tongue, eel, quail eggs, rabbit, kimchi, tempeh, venison, polenta, liver, raw oysters, and pork belly.
If you're not interested in an exotic culinary adventure, there's another small change that can positively affect your eating habits, and it doesn't cost a cent: sit down.
Are all "processed foods" really bad for you?
People who eat while sitting — without watching TV, checking their phones, or working on their computers or tablets — take longer to eat and enjoy what they are eating. The longer people take to eat, the less they eat. Like foodies, people who sit to eat pay more attention to what they consume.


text:
Novohrîhorivka (în ) este localitatea de reședință a comunei Novohrîhorivka din raionul Nîjnohirskîi, Republica Autonomă Crimeea, Ucraina.

Demografie

Conform recensământului din 2001, majoritatea populației localității Novohrîhorivka era vorbitoare de rusă (%), existând în minoritate și vorbitori de tătară crimeeană (%) și ucraineană (%).

Note

Novohriîhorivka, Novohriîhorivka
Novohriîhorivka, Novohriîhorivka, Niîjnohirskiîi
Novohriîhorivka, Novohriîhorivka, Niîjnohirskiîi, Crimeea


Yuichi Honda, the CEO of Blockfanz, a community which provides marketing support and consulting services for those who aiming to spread blockchain projects in Japan and Korea. Last year Japan's virtual currency trading, including marginal trading, amounted to 57.71% of the global market, making Japan the country with the world's most virtual currency transactions. Also, starting from this years, South Korea has increased its trading numbers, becoming the third country with most virtual currency transactions.
Honda will answer 5 questions about the Japanese and Korean cryptocurrency situation.
How is the market environment of virtual currency in Japan and Korea?
First, Japan is the first country that has designed a system of virtual currency and is aiming to become the world's biggest virtual currency country. Even after the revised fund settlement law enabled in 2017, the virtual currency has continued to develop, reaching around 4 million accounts. Even in Korea, the designation of Jeju Island as the blockchain land is still in consideration, and the interest in virtual currency by Japan and Korea is continuously growing.
At the beginning of this year, one of the biggest Japanese virtual exchange, Coin Check, and some virtual exchanges in Korea have suffered hacking damage. However, the review of governance system of the virtual currency exchange is proceeding both in Japan and Korea, as they moving towards secure industry. In addition, in October 28, in Japan, the "Japan Virtual Currency Exchange Industry Association" was officially established as a self-regulating organization.
What do you think about the prospects of virtual currency in Japan and South Korea from next year?
In Japan, the Japan Virtual Currency Exchange Industry Association has announced a self-regulation proposal and is working on improving the governance function of the virtual currency exchange. Also, new policies regarding ICO will be announced within this year. According the preliminary announcement, ICO itself will not be prohibited, but it will have to meet specific requirements. Thus, in Japan they are aiming to a secure development.
From next year, voluntary regulatory proposals will penetrate the industry and it is expected that IT major companies will formally announce their entry into the blockchain business. On the same way, Korea will probably take the same policies as Japan. Therefore, it possible to consider the next year as a new beginning with secure and transparent virtual currencies.
What is important for overseas blockchain projects in order to do marketing in Japan and Korea?
Japan and Korea are different countries, with different language, culture and community channels. In considering AIDMA in the marketing field, it is necessary to understand what kind of channel, in which period, and what kind of approach should be done in Japan and Korea respectively. If this main concept it is not understood, even the best marketing plan would not be formulated. In other words, it can be said that the most important thing in marketing is to know Japan and Korea.
Blockfanz is based in Japan and Korea and offers marketing support services and consulting services those who aiming to spread blockchain projects in Japan and Korea. Furthermore, it hosts the World Blockchain Tour (WBT), a blockchain conference, most recently held in Taipei, Taiwan, in September. We are planning the next WBT conference in Tokyo in spring 2019.
What is the most important thing that Blockfanz takes care?
In marketing support service of other company's, I think there are many counterintuitive countermeasures against clients. At Blockfanz, we aim to have a good communication with our clients, trying to fulfill their request, and suggesting the best marketing plan for each client. If you are aiming to spread blockchain projects in Japan and Korea, please contact us. We are here to support you.
Come and meet the Blockfanz team at FinTech Connect, December 5-6 at the ExCeL London!


Constructing Architectural Ecologies convenes designers, makers, researchers, and thinkers to explore architecture's capacity for expanded ecological agency. The symposium will discuss how architects can engage with extra-disciplinary collaborators like scientists and manufacturers to forge new ways of addressing significant ecological challenges, especially with regard to the material logics by which buildings are produced.
The event, planned as part of the Global Climate Action Summit (September 12-14 in San Francisco), is organized by the Architectural Ecologies Lab at California College of the Arts, and will take place at CCA's campus in San Francisco's Design District. The symposium will open on the evening of Thursday, September 13 with a keynote by Dr. Adrian Parr of the University of Texas at Arlington, followed the next morning by a series of panel presentations exploring the relationship between architectural technology and nature.


"I've had so many people come up to me over my career and say that my coming from a humble beginning and driving to California with my mom with $75 and living out of our car to pursue my dream inspired them to never give up on their dream. It's humbling to have a byproduct of living your dream inspire others. I've also come to realize that one of the most inspiring things to me is when people persevere through adversity. So I wanted to create something that continues this connection.
Find quiet time every day . Recenter . Focus .


It's normal for your weight to go up and down by a couple of pounds throughout the day. This happens to everyone, not just dieters. When you're judging the success of your diet, it's best to look at the trend of results over time, don't give up just because there's a 'blip' one week where you maintain or even gain weight.
To avoid fluctuations from external factors, make sure you always weigh yourself at the same time of day, and wear the same clothes each time. Ideally, weigh yourself in the morning, before eating or getting dressed.
If your period is due, or if you've eaten a salty evening meal, you may put on a pound or two. This is due to water retention, your body is storing more water than usual, and this liquid is making you seem heavier.
The best way to avoid water retention is to avoid salty foods and have the recommended amount of non-alcoholic fluids every day. Experts recommend about two liters.
Sometimes when you're trying to drop a few pounds, your weight might not budge for several weeks in a row. This is known as a 'weight-loss plateau' and while it doesn't mean your weight loss strategies aren't working overall, it can be bad for morale.
So what to do? First, don't give up! I's a plateau, not a failure, so relax and don't take it too seriously. Secondly, try making some changes in your routine: update your meal schedule, for example (like adding a healthy afternoon snack so you're not starving when you get home from work), or start a new exercise class or routine.
It's easy to get complacent when you've been dieting for a while. If you've slipped back into bad habits like plastering butter on your toast, nibbling while you're cooking or having dessert every night, you may be taking in enough extra calories to prevent yourself from losing weight.
One thing that might work is to keep a food diary for a few days to become more aware of your food intake. Research has shown that dieters who record what they eat are much more likely to succeed.
Did you step on the scales first thing Monday morning? If you normally weigh in on a Friday or Saturday, weighing yourself after the weekend can be a nasty shock. Many of us eat more on the weekend than during the week, researchers at the Washington University School of Medicine in St. Louis found that dieters lost weight on weekdays but not on Saturday and Sunday.
Planning ahead for regular, healthy meals at the weekend helps, as does paying attention to portion sizes (especially when eating out).
This entry was posted by OWC in Anaheim Weight Loss Center, Anaheim Weight Loss Program, Buena Park Lose Weight, Buena Park Weight Loss Blog, Buena Park Weight Loss Center, Buena Park Weight Management Center, Diet Tips, Exercise Tips, Healthy Lifestyle Tips, Healthy Recipes for Weight Loss, Obesity Update, Orange County Weight Loss Center and tagged santa ana weight loss center, santa ana weight loss clinic, santa ana weight loss guides, santa ana weight loss program, weight loss articles, weight loss blog, weight loss center, weight loss guides, weight loss management program, weight loss tips.


Tumbled waves in a blunt bob are stylised yet casual too. A flattering cut for many face shapes. It also has a mono-filament front and part which creates a natural off the face look.
Available in two sizes, petite/average and average/large.
This wig style is made with high quality lightweight synthetic fiber called FlexLite which eliminates weight without sacrificing coverage.
It comes in Gabor Luminous Colours. This collection of multi-dimensional shades is created by hand blending tone-on-tone hues to create 26 brilliant colours that are a perfect balance of subtle depth and natural-looking highlights. Model is wearing GL14-16 Rusty Auburn.


When asked about life after the seminary, Pastor Tim Norton, serving in Navajo, New Mexico, explains with a smile, "It's pretty much the same as before, except I don't have to worry about getting my school work in each week."
Tim has been serving in the Navajo Nation since 2013 when he was installed to serve as a missionary at Shepherd of the Valley Lutheran Church in Navajo, New Mexico.
For the past four years, he has been leading church service, Bible studies, and confirmation classes. He has been performing baptisms and leading retreats. In essence, he has been doing everything a pastor and missionary would do, but now he has the degree and the title.
"I am so grateful for the supporters who helped see me through my class work in the last four years," Tim says. "What I have learned has changed who I am, but it hasn't changed my calling to the people of Navajo. I will continue the work God set out for me to do here."
And Tim is doing a lot.
Between preparing for worship each week and ministering to the people of Navajo, he is also teaching confirmation classes (another four students this year!) and meeting one-on-one with individuals who are ready to take the next step in their walk with Jesus.
Proclamation, discipleship, and healing are happening in Navajo!
What Does the Life of a Missionary Pastor Look Like?


text:
Write About Some of the Ways Fitzgerald Tells the Story in Chapter 5.
Chapter Five is the pivotal chapter of The Great Gatsby due to the key event on which the novel is based: the meeting of Gatsby and Daisy. Before this chapter, the story of their relationship does not openly exist, however, afterward the novel is based around Gatsby and Daisy's relationship. The story is told in a very visual sense as the setting is described vividly in 'pouring rain'. This is the day of Gatsby's meeting with Daisy. The 'rain' is a negative use of pathetic fallacy, setting a negative tone before they have come together. Fitzgerald uses tiresome vocabulary to describe the scene: the man in the garden 'dragging' the lawn mower and the 'soggy whitewashed alleys', of which Nick drove through. As the scene is remiss and tired looking, I think this reflects Nick's feelings upon the help he is providing Gatsby. Fitzgerald uses a tactful method for which Gatsby engages Nick into helping him meet Daisy. He takes him somewhere alone at an odd time of night, which is interesting because at 'two o'clock', everything will be deserted, with nobody around therefore Gatsby will expect Nick's full attention. Gatsby, after 'walking toward me' (Nick), giving a mysterious sense, a 'walk', interpreted as a stroll could seem peculiar in dark surroundings, forecasting Gatsby wanting something. He orders Nick to 'go to Coney Island' with him. We could interpret this as Gatsby trying to persuade Nick to go to Coney Island in order for something in return; Gatsby may think he is doing Nick a favour by driving him away. We learn that Gatsby gets what he intended when Nick reassures Gatsby that he'll 'call up Daisy tomorrow and invite her over'. Through this, Fitzgerald is beginning the story of Gatsby and Daisy through the use the narrator's vital part in getting them together, which is necessary in the way the story is told because there must always be a way for romance
Bouquet of Blue Eyes
And no streetlights around here. You'd better stay put." It seems as though he knows more about the things happening at night that he mentions. The last character the narrator meets is the attacker. The antagonist changes the perspective of the narrator after he asks for his
How Does Fitzgerald Tell the Story in Chapter 7
Rumours are the main way in which information is passed to the reader in the first part of the chapter. It starts off by saying that "My Finn informed me that" and "the grocery boy reported that." Jordan also says "rumour has it" when she is talking to Nick about the possibility of Toms girl being on the phone. The fact that there is no solid evidence or speech in the first part of the chapter builds up an air of suspense almost a quiet before the storm and a preface of what was to come. Fitzgerald then focuses on the weather as a distraction for all of the characters to use as and when they want. The topic of the weather may not be seen as important in the overall story, however the characters mention it a lot whenever they are trying to release tension or get out of an awkward situation.
Literary Devices That Illuminate the "Great Gatsby''s over Arching Message
Despite the rain, Gatsby waits outside, and when Daisy arrives he invites her in for a meal. At first, the meal scene is awkward, but once Nick leaves Daisy and Gatsby alone they spark conversation and immediately hit it off. When Nick returns Gatsby has arranged for other meetings with Daisy in the future. With out the meal scene, Daisy and Gatsby would have never hit it off and would not have had an affair in the future. The fact that Daisy and Gatsby are intimately spending time together shows a lack of morality on both their parts.
Analysis Of Se7En
He does not have to stay in the city, but he makes the conscious decision to, he sees Doe as the tool of the city, a weapon used to harm the innocent, and inspire the oppression. He has no love for the city, but he will fight till his dying breath to protect it. The rain, in conjunction with the film noir feel of it, creates a very dark and pessimistic feeling. Even when all the lights are turned on in the
A Clear, Well-Lighted Place
The light in the café is man-made or artificial and can be turned off; giving us the sense that it can only be a temporary and incomplete relief from the emptiness of the dark. The light that shone on the brass number that was on the collar of the passing soldier is perhaps an indication of how meaningful this soldiers' life was, which can be further emphasized in that he had a companion next to him. The old man likes to go to the café late at night "because he was deaf and now at night it was quiet and he felt the difference". Daytime, with its busy streets, probably reminded him of his disconnection from the world, while the darkness of the night made him feel as if he was not missing out on much. In essence, being deaf can bring him darkness and a separation from the rest of the world which can be the symbolic reason why he chooses to sit in the shadow of the well-lighted café.
(Dialect Journal) Letter To President Pierce,1855
But perhaps it is because the red man is savage and does not understand. There is no quiet place in the white man's cities. No place to hear the leaves of spring or the rustle of insect's wings. But perhaps because I am savage and do not understand, the clatter only seems to insult the ears. The Indian prefers the soft of the wind darting over the face of the pond, the smell of the wind itself cleaned by a mid-day rain, or scented with pinion pine." First Perce states that the white man only conquers the land then leaving everything else behind.
The Adventures Of Huckleberry Finn: Comprehension
4. The consequences of Huck and Jim going past the mouth of the Ohio river in the fog are that they missed their chance to stop at the city of Cairo, where slavery was abolished, and that they would have to travel further in hope of finding another city where Jim could be free. 5. The reason why Huck and Jim's quest for freedom takes them deeper into the south is that they are traveling by raft the majority of the time and that they choose to only travel at night. The limitation of raft travel is that they are restricted to movement with the current.
Wedding Planner Essay
We position ourselves as a resource for newly engaged couples who are look to take the stress out of planning their wedding day. Our goal is to deliver flawless execution in every event. Our services include engagement parties, bridal showers, bachelorette party, bachelor party, completing wedding planning, budgeting, wedding etiquette, as well as full service referrals to florist, DJ's, entertainment, bakeries, photographers, limousine service, travel agents, ect. Insert graph on expected Profit Margin, Sales, Net Margin. 1.1 Mission/Vision Getting married is one of the most important decisions a couple with make in their lives.
Poetry Analysis on Profrock: the Love Song
Prufrock is asking the reader to join him on a walk through his life. And this is the start of his life. Prufrock describes the nights to be boring and lifeless as a dead body on a doctors table. The narrator states " Let us go, through certain half deserted streets" (4) he is trying to get the picture of what is happening and that the street shops are closing and the work day is over. He also tells the reader that the nights may seem boring, but do not misjudge them cause they can be as dangerous as boring all at the same time.
The Strong Breed Response
Eman makes it clear that he does not know Sunma's reason for being agitated and wanting to leave when he questions, "What does tonight really mean that it makes you so helpless?"(1270.) Since he was unaware of the ritual he does not see a point in leaving, but even if he had known what would take place that night would he leave? Eman is an intelligent character who cares for Ifada, the village 'idiot,' so he could make the connection that without him, Ifada would be the only replacement, therefore he would not leave the community for that reason. Another question I had was, why did Sunma not tell Eman the true reason for her wanting to leave? She must have known that it would make no difference and therefore tried to convince him to leave because "It is the time for making changes in
More about Write About Some of the Ways Fitzgerald Tells the Story in Chapter 5.


When it comes to proximity, the server is located in Dallas, TX, 75270, US.
The last time ranc.co domain registration was updated was on 08/03/2017. ranc.co has been registered since 08/03/2017.
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