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Das Meisterwerk in der Musik, Band II (1926)
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The Masterwork in Music, volume II (1926)
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The second volume of Schenker's yearbook Das Meisterwerk in der Musik (1925–30), the full title of which is:
Das Meisterwerk in der Musik: ein Jahrbuch von Heinrich Schenker
The Masterwork in Music: a Yearbook by Heinrich Schenker
Volume II is like its predecessor in having 220 printed pages (16 gatherings: 224pp) but differs from it in comprising only nine articles, of which four are theoretical studies and four analytical, plus a new "Miscellanea."
The contents of this second volume forge links back to the first (and further back to Der Tonwille ) and also forward to the third. Besides the continuity established by the reprinting of "Elucidations" and the extension of the "Miscellanea" series (which concludes in vol. III, thus spanning 1921 to 1930), the analysis of the Bach cello movement rounds off a self-contained group of three studies of Bach solo string works; and "Further Considerations of the Urlinie" forms a sequel to that in volume I. Most importantly, the 50-page study of Mozart's G-minor Symphony links back to the 71-page study of Beethoven's Fifth Symphony serialized in Der Tonwille and forward to the latter's reissue as a monograph in 1927 and to the 72-page study of Beethoven's Third Symphony in Meisterwerk III .
The analysis of Reger's Variations and Fugue, Op. 81 turns Schenker's analytical motivation on its head: rather than demonstrating compositional mastery and the secret workings of genius it exposes poor technique and formal confusion. In its polemical purpose it allies itself with the "Miscellanea," and also with the final part of "Further Considerations," which presents a diatribe against Schoenberg and an analytical critique of Stravinsky's Piano Concerto as "bad, inartistic and unmusical." The second and third articles form a pair: "On Organicism in Sonata Form" and "The Organic Nature of Fugue." Both demolish a conventional view ‒ the 19th-century reading of sonata form as organic, and the 18th/19th-century view of fugue as a succession of phases and technical devices ‒ and replace them with a single concept of coherence that stems from the prolongation of the primary tone (Kopfton) and the inter-related unfoldings of linear progressions (Züge); and each does this not by abstraction but by analysis, especially that of the C-minor Fugue from the Well-tempered Clavier Book I in the latter article.
Production Chronology
Several of the articles in this volume have their beginnings in the latter part of 1924 (even before the contents of volume I were started). Schenker worked on Haydn's Creation in mid-August 1924, returning to it between July 31 and August 15, 1925, and finishing the work in May 1926. Likewise, he had got far enough with Schubert waltzes ‒ analyzed in "Further Considerations of the Urlinie" ‒ in October 1924 to write out a fair copy, then after a 17-month break consolidated the first part of the article in late March 1926, worked up each section separately in April, and completed it on May 23.
Analytical work on Beethoven's Piano Sonata, Op. 10, No. 2 ‒ destined for "On Organicism in Sonata Form" ‒ was underway in mid-December 1924, then after a year's hiatus the article (provisionally titled "The Sonata and the Act of Improvisation") was restarted on January 15‒17, 1926 and concluded between May 3 and 25. Analytical work on the C-minor Fugue for "The Organic Nature of Fugue" began in late December 1924, resumed in late August 1925 and was picked up again in October, the secondary literature study conducted in November 1925 and January 1926, and the work completed in late May. The Reger counter-analysis was written concentratedly between March 19 and April 26, 1925, then lay fallow for a year until finishing touches were put in May 1926.
The remaining three articles, on the other hand, were all confined to 1926. The study of the Bach cello movement and "Miscellanea" were written in March, April, and May. Schenker worked on the Urlinie of the Sarabande from the Bach C-major Cello Suite on March 5, 1926 knowing that he and Hans Weisse would be hearing Pablo Casals perform that suite at the Konzerthaus on March 12 ("I was afraid that Casals could [...] misinterpret Bach; I was all the more agreeably surprised to see that he had arrived at a synthesis by his own routes!"), and had produced a full draft by the 24th. The Mozart Symphony study occupied five-and-a-half months of intensive work, from January 2 to June 10, 1926, the first movement finished on March 28, the Andante on June 3, the Minuet on June 7, and the Finale on June 9.
The complete contents were packed up for delivery to Drei Masken Verlag on June 11, 1926 ‒ the day that Schenker received his first published copy of Meisterwerk I . In July the publisher put off the decision to go into production until the early Fall (OC 54/95), and again deferred the decision in December, at which point legal proceedings were mooted (OC 54/109). By mid-January 1927 Schenker spoke of seeking compensation for breach of contract (OC 54/116), and only the intervention of Otto Erich Deutsch and an undertaking from "a circle of pupils ... to facilitate matters financially" made the publisher relent and agree to proceed to publication (OC 54/117). First galley-proofs started circulating about February 3, 1927 and correction of these was completed on April 19, though some correcting, perhaps of the engraving, was already occurring by around January 27 (OC 54/126); second galleys circulated between May 2 and 24. First page-proofs were received between June 13 and July 18, Schenker correcting them while on vacation in Galtür; final page-proofs arrived around August 20 and were mailed back on August 22 (OC 54/186) with Schenker's imprimatur. Bound complimentary copies were dispatched to Schenker on September 27, and the volume was released in the first or second week of October.
English translation: Drabkin, William, ed., The Masterwork in Music: A Yearbook [team-translated] (Cambridge: Cambridge University Press, 1994–97): vol. II (1996)
"Fortsetzung der Urlinie-Betrachtungen" [Further Considerations of the Urlinie], 9‒42 [1‒22]
"Vom Organischen der Sonatenform" [On Organicism in Sonata Form], 43‒54 [23‒30]
"Das Organische der Fuge aufgezeigt an der I. C-Moll-Fuge aus dem Wohltemperierten Klavier von Joh. Seb. Bach" [The Organic Nature of Fugue as demonstrated in the C-minor Fugue from Bach's Well-Tempered Clavier, Book I], 55‒95 [31‒54]
"Joh. Seb. Bach: Suite III C-Dur für Violoncello-Solo, Sarabande" [J. S. Bach: Suite III in C major for Solo Cello: Sarabande], 97‒104 [55‒58]
"Mozart: Sinfonie G-Moll" [Mozart: Symphony in G minor], 105‒57 [59‒96]
"Haydn: Die Schöpfung: Die Vorstellung des Chaos" [The Representation of Chaos from Haydn's Creation], 159‒69 [97‒105]
"Ein Gegenbeispiel: Max Reger, op. 81: Variationen und Fuge über ein Thema von Joh. Seb. Bach für Klavier" [A Counter-example: Max Reger's Variations and Fugue on a Theme by J. S. Bach, Op. 81, for piano], 171‒92 [106‒17]
"Erläuterungen" [Elucidations], 193‒97 [118‒20]
"Vermischtes: Gedanken über die Kunst und ihre Zusammenhänge im Allgemeinen" [Miscellanea: Thoughts on Art and its Relationships to the General Scheme of Things], 199‒216 [121‒31]
Advertisement for Der Tonwille, issues 1‒10
"Urlinientafeln und Figuren im Anhang" [Voice-leading Graphs and Music Examples in the Appendix]
Ian Bent and William Drabkin
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OJ 6/7, [23] Handwritten letter from Schenker to Moriz Violin, dated July 26, 1925
Two weeks after arriving in Galtür for the summer holidays, Schenker reports that he has caught up on his sleep and has already dictated an essay on Reger's Variations and Fugue on a Theme of J. S. Bach, Op. 81. He will not allow the legal wrangle with Universal Edition to interfere with his holiday, but he is annoyed about not having been paid by Drei Masken Verlag for the manuscript of Meisterwerk 1. He has responded to a critique of his Erläuterungsausgabe of Op. 110, in an essay in Meisterwerk 1, but will not pursue other attacks upon his work and those of his pupils. The Schenker medallion designed by Alfred Rothberger is going to a second impression; but the mezzotint portrait by Viktor Hammer, which Jeanette finds a superior work, has not yet been printed. Throughout the letter, Schenker urges Violin to bring his family to Galtür sometime during the summer.
OJ 6/7, [24] Handwritten letter from Schenker to Moriz Violin, dated August 15, 1925
After expressing his sympathy for Violin, in response to his friend's depressing postcard, Schenker gives an account of some of the summer events, including a visit from Vrieslander and Hoboken and work on two essays for Meisterwerk 2. While continuing to rail against Hertzka and Universal Edition, he repeats the story of Drei Masken Verlag failing to send him 250 Marks upon receipt of the manuscript of Meisterwerk 1. His brother Moses is, however, acquainted with the principal owner of Drei Masken, Felix Sobotka, and through this connection the payment has been made.
OC 54/33 Typewritten letter from C. Alberti (DMV) to Schenker, dated September 1, 1925
In response to Schenker's request for proofs for the first Meisterwerk Yearbook, Drei Masken Verlag explain that they have not yet decided on a printing house. They advise Schenker to submit his next manuscript earlier in the year, on account of the complexity of the work.
OC 54/37 Copy of letter from Schenker to Drei Masken Verlag, dated October 16, 1925
Expressing his distress at the delays, Schenker expresses his hope that the first Meisterwerk Yearbook might nonetheless be published by December and, if not, that it should still bear the date of 1925.
OC 54/39 Typewritten letter from August Demblin (DMV) to Schenker, dated October 19, 1925
Drei Masken Verlag are near agreement with a printer; Yearbook I will be backdated to 1925.
OJ 6/7, [25] Handwritten letter from Schenker to Moriz Violin, dated October 25, 1925
In this wide-ranging letter, Schenker commiserates with Violin about the high cost of living, and his inability to raise his fees to keep up with it (in particular, he feels unable to ask the wealthy Hoboken to pay more than his other pupils). He reports on sales of a medallion bearing his image, and the imminent arrival of a mezzotint of his portrait, made by Viktor Hammer, of which his brother Moses Schenker has bought the original drawing. Vrieslander will write an essay about his work in Die Musik, accompanied by the portrait, and things are now going well with the corrections to Meisterwerk 1 and the writing of Meisterwerk 2.
OC 54/58 Typewritten letter from August Demblin and Alfred Einstein (DMV) to Schenker, dated January 16, 1926
The facsimile edition of Mozart's Don Giovanni will not be ready for some time; a facsimile of Beethoven's Op. 57 is planned, not by DMV but by a Paris printing-house.
OJ 8/4, [42] Handwritten postcard from Schenker to Moriz Violin, dated February 11, 1926
Schenker enquires about Violin's trio concerts with Buxbaum and van den Berg went and ask if Hammer's portrait has arrived. He reports on the possible difficulties in putting together the first Meisterwerk Yearbook, on account of the numerous music examples and separate Urlinie graphs, and summarizes the contents of the second Yearbook.
OC 54/65-66 Draft of a publicity note for Das Meisterwerk in der Musik, dated February 15, 1926
A draft statement of the principles lying behind Schenker's Meisterwerk series of Yearbooks, together with a provisional table of contents for the second Yearbook.
OJ 6/7, [28] Handwritten letter from Schenker to Moriz Violin, dated March 1, 1926
In a wide-ranging letter responding to Moriz Violin's previous letter, Schenker asks his friend to confide in him his personal troubles. He offers his support in the wake of the recent display of vanity of the cellist Friedrich Buxbaum. He is trying to find a way of getting the Hammer portrait to him safely, possibly by having it sent directly from Artaria's art shop. Finally he confirms the lack of musical giftedness of his new pupil Agnes Becker, recently arrived from Hamburg where Violin had been teaching her.
OJ 15/15, [20] Handwritten postcard from Weisse to Schenker, dated April 16, 1926
Schenker has, mistakenly, sent Weisse a copy of Reger's "Telemann" Variations (Op. 134) instead of the "Bach" Variations (Op. 81) which he had lent him. Weisse asks what is holding up the publication of the first Meisterwerk Yearbook, and suggests that Schenker might write about Bruckner in the next one. A Brahms analysis would help strengthen his position against his opponents. He also recommends that Schenker discuss a work that is less than perfect, and cites Eduard Mörike's "Um Mitternacht" as an example of a poem whose opening verses are beautiful but which deteriorates in meaning and poetic quality.
OC B/192 Two typewritten letters from Wilhelm Altmann to Schenker, dated June 9, 1926
Letter 1: Altmann replies to Schenker's inquiry about manuscripts of two Mozart symphonies. Letter 2: Altmann gives his summer travel plans; delay in publishing article about Schenker in Die Musik; advice for Weisse over choice of publisher.
OC 54/80 Typed letter from Alfred Böhme (DMV) to Schenker, dated June 11, 1926
Drei Masken Verlag acknowledge receipt of the manuscript of Das Meisterwerk in der Musik, vol. 2.
OC 54/81 Envelope for item 54/80, dated June 11, 1926
Envelope for a letter confirming receipt of the manuscript for Das Meisterwerk in der Musik, volume 2.
OC 54/82 Typed postcard from Alfred Einstein and August Demblin (DMV) to Schenker, dated June 14, 1926
The Munich office of Drei Masken Verlag acknowledges receipt of the manuscript for Das Meisterwerk in der Musik, volume 2.
OC 54/88 Typed letter from August Demblin (DMV) to Schenker, dated June 21, 1926
Drei Masken Verlag will arrange to have the remainder of the advance for the first Meisterwerk Yearbook paid in shillings, but they are reducing the royalties because the corrections he made exceed 10% of the printing costs. They are also reserving judgment on the publication of the second Yearbook until they see some sales figures for the first. (Pencil annotations to the letter indicate Schenker's displeasure at this news.)
In response to Schenker's query regarding advance payments for Das Meisterwerk in der Musik, the Vienna office of Drei Masken Verlag explain that they have instructions only to offer the remainder of the advance on the first Yearbook, and that no decision has yet been made with regard to the second.
OC 54/91-92 Draft of a letter from Schenker to DMV in Schenker's hand, dated June 24, 1926
In response to Drei Masken Verlag's delay in initiating production of the second Meisterwerk Yearbook, Schenker points out that the publishers are in breach of paragraph 8 of the contract between them for not informing him the previous summer. He threatens them with legal action if he has not had a reply within a week, or if they insist on delaying production.
OJ 10/1, [95] Handwritten letter from Dahms to Schenker, undated, presumably late June or early July, 1926
Dahms's almanach plans have failed. — Germany has shown its gratitude for his work by denying him a divorce [from Agnes] for 15 years.
OC 54/95 Typed letter from August Demblin (DMV) to Schenker, dated July 9, 1926
Drei Masken Verlag ask Schenker to agree to a delay until October 1926 before a decision is reached about proceeding with production of the second Meisterwerk Yearbook.
OC 54/96-99 Draft of a letter from Schenker to Drei Masken Verlag in Jeanette Schenker's hand with corrections in Heinrich Schenker's hand, dated July 14, 1926
Schenker agrees to a delay to the start of production of the second Meisterwerk volume, but insists that it continue to be understood as a "Yearbook," i.e. as part of a series of publications and not as an individual book, and that it bear the year 1926.
OJ 11/54, [8] Handwritten letter from Hoboken to Schenker, dated August 22, 1926
Hoboken will probably not now visit Schenker in Galtür; explains his and his wife's departure from Munich and their subsequent travels to Bern, Naples, and Capri, and reports that his house in Vienna should be ready for occupancy on October 1. — Vrieslander and he are considering founding a music journal, and wish to discuss the idea with Schenker.
OC 54/109 Typed letter from Alfred Einstein (DMV) to Schenker, dated December 11, 1926
Although he is confident that Drei Masken Verlag is not bound to publishing Schenker's second Meisterwerk Yearbook, Einstein suggests that the two of them come to a new financial agreement so that production can take place.
OC 54/113-115 Handwritten notes by Schenker for material sent to Otto Erich Deutsch in January 1927.
These notes form the basis of a letter from Schenker to Otto Erich Deutsch that gives details of his difficulties with his present publisher (Drei Masken Verlag), and provides a list of the extracts from the correspondence with DMV, which Jeanette Schenker has copied out to assist Deutsch in renegotiating a contract to publish Schenker's second Meisterwerk Yearbook.
OC 54/116 Typewritten draft of two letters to Drei Masken Verlag, dated January 8 and 10, 1927
This document contains drafts of two alternative letters to Drei Masken Verlag, one asking them to return the manuscript of the second Meisterwerk Yearbook and threatening legal action for financial damage, the other authorizing Otto Erich Deutsch as representative of a group of students who will offer financial support to make it financially easier for the publishers to bring out the Yearbook.
OC 54/119 Typed letter from August Demblin (DMV) to Schenker, dated January 17, 1927
Drei Masken Verlag agree to publish the second Meisterwerk Yearbook, under terms suggested by Otto Erich Deutsch, and will send Schenker an advance of 250 marks.
Drei Masken Verlag inform Schenker that they have sent the manuscript of his second Meisterwerk Yearbook to the typesetter, Mandruck (Munich), from whom he will receive the galley-proofs.
OC 54/121 Typed letter from Waldheim Eberle A. G. to Schenker, dated January 18, 1927
Waldheim-Eberle report – with regret – that they did not get the contract to engrave the second volume of Das Meisterwerk in der Musik.
OC 54/122 Handwritten postcard from Alfred Einstein (DMV) to Schenker, dated January 19, 1927
Einstein thanks Schenker for the information provided (via Otto Erich Deutsch) about the manuscripts of Beethoven's Ninth Symphony, and uses the opportunity to express his happiness that production of the second Meisterwerk Yearbook is now underway.
DLA 69.930/14 Handwritten postcard from Schenker to Halm, dated January 22, 1927
Schenker thanks Halm for sending his book, and hopes to read it soon.
OC 54/129 Typed letter from Otto Vrieslander to Schenker, dated February 10, 1927
Vrieslander assures Schenker that he has prepared the graphs for Mozart's Symphony in G minor with the utmost care, with due regard to his instructions.
OC 54/131 Typed postcard from Otto Vrieslander to Schenker, postmarked February 14, 1927
Vrieslander explains the way he has dealt with Schenker's detailed comments on the graph of Mozart's Symphony in G minor.
Vrieslander informs Schenker that Alfred Einstein (DMV) has decided to engrave the music examples for the second Meisterwerk volume in order to ensure a flawless reproduction. He also reports that the width of the pages in the supplement will be expanded, and notifies Schenker of the changes that he will make to the music examples following this decision. Vrieslander states he has officially enquired with Einstein about potential problems in the printing process, making clear that Schenker will not be able to bear any additional costs for printing errors.
OC 54/133 Copy of a letter from Otto Vrieslander to Alfred Einstein (DMV), dated February 15, 1927
Following Einstein's determination to have the Urlinie graphs engraved, not hand-drawn, Vrieslander asks that the engraver pays particular attention to the shape of the large slurs, and suggests a meeting with the engraver to go over further problems. If the graphs were relegated to an appendix, they could be as wide as necessary, for sake of clarity.
OJ 5/7a, [9] (formerly vC 9) Handwritten letter from Schenker to Cube, dated February 15, 1927
Schenker acknowledges and returns Cube's review; reports on the progress of his own publications.
Vrieslander, at pains to ensure that the music illustrations in the second Meisterwerk Yearbook are accurately and elegantly printed, reports that the engravers are having difficulty interpreting Schenker's music examples. He is putting his own work to one side in order to work exclusively on creating clear and elegant graphs; he proposes to come to Vienna in mid-March to go through all his work with Schenker.
OC 54/141 Typed postcard from August Demblin (DMV) to Schenker, dated March 24, 1927
Drei Masken Verlag confirm that the facsimile sketch for Haydn's "Chaos" will be stereotyped.
OC 54/142 Postal receipt for a package to Drei Masken Verlag (München), dated March 28, 1927
Postal receipt for a package containing materials for Meisterwerk 2 (corrected engravings, new copies of music examples and the "Chaos" sketch).
OC 54/148 Typed letter from Mandruck to Schenker, dated May 3, 1927
Mandruck return the original sketches of Haydn's "Representation of Chaos" to Schenker and inform him that they have prepared the stereotype in accordance with his wishes.
OC 54/150 Typed postcard from Mandruck to Schenker, dated May 4, 1927
Mandruck notify Schenker that a set of galley proofs for the second Meisterwerk volume will soon arrive.
OC 54/156 Postal receipt for a letter to Drei Masken Verlag (München), dated May 12, 1927
Postal receipt for a package containing an imprimatur graph of Mozart's G minor Symphony for the second Meisterwerk volume.
OC 54/157 Typed postcard from August Demblin (DMV) to Schenker, dated May 13, 1927
Drei Masken Verlag inform Schenker that they have forwarded his requested corrections to the printing house, and will be in touch soon regarding the completion of the graphs for the second Meisterwerk volume.
Postal receipt for page proofs for the second Meisterwerk volume.
OC 54/164 Typed letter from August Demblin (DMV) to Schenker, dated May 23, 1927
Drei Masken Verlag confirm receipt of Schenker's imprimatur graphs and amended proofs for the second Meisterwerk yearbook, assuring him that the requested correction in the Mozart Symphony has been made.
OJ 6/7, [33] Handwritten letter from Schenker to Violin, dated May 27, 1927
Schenker has tried to find out more about the plans for the conservatory in Frankfurt to be upgraded to a music Hochschule (and, presumably, for Violin to be posted there), but he is reluctant to press his contacts too far, as this may prove counterproductive.
Drei Masken Verlag have enclosed the sample proofs of the first two gatherings for Meisterwerk 2, and request that he responds to their query about the size and placement of music examples as soon as possible.
OC 54/169 Typed postcard from August Demblin (DMV) to Schenker, dated June 7, 1927
Drei Masken Verlag inform Schenker that the page proofs for the second Meisterwerk volume will be completed in around two weeks time.
OC 54/170 Typed postcard from Mandruck to Schenker, dated June 10, 1927
Mandruck have enclosed the first two gatherings of the second Meisterwerk volume, amended in accordance with Schenker's wishes. They anticipate that he will receive the remaining page proofs before the end of the month.
OC 54/171 Typed letter from Mandruck to Schenker, dated June 11, 1927
Mandruck enclose two sets of gatherings for the second Meisterwerk yearbook, along with the galley proofs. They request an explanation regarding Figure 75a.
Mandruck have enclosed the page proofs for the second Meisterwerk volume, along with a printout of the galley proofs and gatherings 5–6.
OC 54/175 Typed postcard from August Demblin (DMV) to Schenker, dated June 15, 1927
Drei Masken Verlag enclose a paper sample intended for the second Meisterwerk Yearbook, and request Schenker's approval.
Mandruck enclose further page proofs for the second Meisterwerk volume, along with the corresponding galley proofs.
Mandruck have enclosed further page proofs for the second Meisterwerk volume, and request that he return the previous set as soon as possible.
OC 54/181 Typed letter from Mandruck to Schenker, dated July 8, 1927
Mandruck enclose the remaining page proofs for the second Meisterwerk volume, along with copies of the relevant music examples. They request guidance on the positioning of the music examples.
DLA 69.930/15 Handwritten letter from Schenker to Halm, dated July 11, 1927
Thanking Halm for his Beethoven book, he believes that their misunderstandings could be removed and hopes Der freie Satz will help bring that about; gives order of publication for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work of others on Bach. — Schenker took no part in the Vienna Beethoven festival. — Describes his correspondence with Hindemith.
OC 54/183 Typed postcard from C. Alberti (DMV) to Schenker, dated August 5, 1927
Drei Masken Verlag inform Schenker that they expect to receive a complete, corrected copy of the second Meisterwerk volume in around a week, and anticipate that it will be released in September.
OJ 6/7, [35] Handwritten letter from Schenker to Violin, dated August 5, 1927
In a wide-ranging letter, Schenker underscores the importance of his friend's taking a holiday, and tries to persuade him to visit him in Galtür. There he was visited by Reinhard Oppel, who has been appointed to a theory post at the Leipzig Conservatory, where he will teach from Schenker's texts. He comments at length on the decline of society, as exemplified by the July Revolt. The second Meisterwerk volume has gone to the bookbinders; until it is published, he will be working on Der freier Satz.
OJ 11/54, [14] Handwritten letter from van Hoboken to Schenker, dated August 7, 1927
Hoboken reports on recent travels, including the July 15, 1927 Vienna riots. – He has made progress on his index of Haydn's works, and has purchased some Beethoven first editions. – He hopes to meet Furtwängler soon, and has recently heard from Vrieslander. – He asks Schenker to inscribe a copy of Meisterwerk 2 to John Petrie Dunn.
OJ 89/1, [2] Handwritten letter from Schenker to van Hoboken, dated August 12, 1927
Schenker acknowledges van Hoboken's letter, OJ 11/54, 14, dated August 7, 1927; encloses seven articles; responds regarding Haydn, Furtwängler, the "Appeal" for the Photogrammarchiv, an exhibition in Frankfurt, John Petrie Dunn, Reinhard Oppel, Das Meisterwerk in der Musik, vol. II, Otto Erich Deutsch, and an honorarium; and sends best wishes for the Hobokens' trip to Switzerland, reporting on von Cube.
OC 54/184 Typed letter from Mandruck to Schenker, dated August 17, 1927
Mandruck enclose a complete proof-copy of the second Meisterwerk volume, along with the corresponding graphs, which will be placed in an appendix. They request that Schenker return an imprimatur copy so they can begin printing.
Schenker has a reply from Furtwängler, saying that he is about to see Hoboken. — Final proofs of Meisterwerk II have arrived; where should he have a copy sent to Hoboken? — Discusses possible meeting with Furtwängler (refers to Furtwängler's attitude toward the "moderns"). — Reports visit by von Cube.
OJ 11/54, [15] Handwritten letter from van Hoboken to Schenker, dated August 28, 1927
Hoboken reports on meeting with Furtwängler regarding the Photogrammarchiv, and expresses the hope that it will be possible to interest Furtwängler in performance according to the sources in the Archive; he encloses the final version of the "Aufruf" for the Archive, and discusses negotiations with the Austrian National Library and Ministry of Education. — Comments on Oppel's plan to teach in Leipzig. — Agrees to Schenker's lesson plan and fee for 1927/28. — Describes his travel plans, which include meetings with Louis Koch in Frankurt, Ludwig Schiedermair in Bonn, contact with John Petrie Dunn in England, C. S. Terry in Scotland, and Maurice Cauchie in Paris, and photographing [of sources] at the [Paris] Conservatory.
OJ 89/1, [5] Handwritten letter from Schenker to van Hoboken, dated September 13, 1927
Schenker acknowledges OJ 11/54, [17], and discusses the nature of a "prospectus" and the suitability of Vrieslander's text for that purpose. — He expresses an interest in Hoboken's latest discoveries, and asks whether the latter could inquire in London as to the whereabouts of the autograph manuscript of Beethoven's Op. 106.
OC 54/185 Invoice from Drei Masken Verlag to Schenker, dated September 27, 1927
Invoice for the author's copies of the second Meisterwerk volume.
OJ 11/54, [19] Handwritten letter from van Hoboken to Schenker, dated September 29, 1927
Van Hoboken reports receipt of Meisterwerk II and reports progress in photographing manuscripts in London and Paris.
OJ 89/1, [6] Handwritten letter from Schenker to van Hoboken, dated October 4, 1927
Schenker thanks van Hoboken [for subventing Yearbook 2], while complaining at Drei Masken Verlag's failure to send him his author's copies and its lack of honesty; he praises Hoboken for his collection and service to mankind.
OJ 8/4, [51] Handwritten postcard from Schenker to Moriz Violin, dated October 5, 1927
Schenker has asked a former pupil (Felix-Eberhard von Cube), who knows Dr. Simon in Frankfurt, about the likely opening date of a music Hochschule there, but has received little information in return. the second volume of Meisterwerk will be published very soon.
OJ 15/16, [58] Handwritten letter from Weisse to Schenker, dated October 27, 1927
Weisse congratulates Schenker on the publication of the second Meisterwerk Yearbook, of which has expresses mainly admiration. But he is unhappy with Schenker's dismissal of the fugue from Reger's Variations and Fugue on a theme of Bach, and with his reading of the Urlinie in Schubert's Waltz Op. 9 (D. 365), No. 5, and Beethoven's Sonata Op. 10, No. 2.
OJ 9/8, [4] Handwritten picture postcard from Wilhelm Altmann to Schenker, dated November 8, 1927
Altmann thanks Schenker for Masterwork 2; — Has retired but is temporarily continuing in his position; — Reports publication of his handbook for string quartet players.
OJ 5/7a, [12] (formerly vC 12) Handwritten letter from Schenker to Cube, dated November 9, 1927
Schenker thanks Cube for the pictures enclosed with OJ 9/34, [9] and expresses pleasure at Cube's reports of his teaching, composition, listening to the radio, Urlinie studies, and advocacy of good editions; refers to Vrieslander's planned monograph on Schenker, the prospectus for Meisterwerk I and II, and the call [for the Photogrammarchiv].
OJ 14/45, [68] Handwritten letter from Violin to Schenker, dated November 13, 1927
Violin thanks Schenker for sending him the second volume of Meisterwerk, which he regards as a milestone in offering the strongest statement of his theories. He is accompanying a cellist in early January and will not be able to get to Vienna at Christmas after all. His wife and son – who is now able to get up and around – are hoping to go to Vienna at Easter.
DLA 69.930/16 Handwritten postcard from Schenker to Halm, dated November 21, 1927
Schenker asks for confirmation of receipt of Meisterwerk II, and thanks Halm for the parcel of sheet music.
OJ 10/1, [102] Handwritten postcard from Dahms to Schenker, dated November 30, 1927
Meisterwerk 2 has arrived, and Dahms rejoices at its content and form of expression.
OJ 14/45, [69] Handwritten letter from Violin to Schenker, dated December 27, 1927
Violin reports that his concert (cello recital) has been put back a week because of a tendon problem in his left hand. He owes Otto Vrieslander a response to his recent written work, but he feels that Vrieslander does not truly understand Schenker's cause, does not have the same "orientation" towards it as he, and expresses himself poorly. (Weisse, he says, could have done things better.) However, all this pettiness is nothing compared with the achievement of Meisterwerk 2, and of the "crowning" work that will soon follow.
OJ 5/7a, [13] (formerly vC 13) Handwritten letter from Schenker to Cube, dated February 12, 1928
Schenker expresses joy at Cube's report of his class and private teaching; refers to Hoboken's "Aufruf" and Vrieslander's prospectus; reports Weisse's plan for a monthly periodical; thanks Cube for his efforts with book dealers in Duisburg and Essen.
OJ 10/18, [3] Handwritten letter from Elias to Schenker, dated July 11, 1928
Miss Elias is glad that Schenker is "not dissatisfied" with her graphings of his piano piece Op. 4, No. 1 and looks forward to her October lessons for a detailed discussion. — She inquires about Vrieslander's "monograph." — She was interested to see the autograph and first edition of "Erlkönig" juxtaposed in a Schubert exhibition.
OJ 5/7a, [19] (formerly vC 19) Handwritten postcard from Schenker to Cube, dated September 29, 1928
Schenker has received large-format Urlinie charts from Harry Hahn and recommends format to Cube.
OJ 9/34, [16] Handwritten letter from Cube to Schenker, dated March 26, 1929
Cube is listening by radio to music being performed in Vienna. The two caricatures are his fellow composition teachers at Duisburg. Reports on his work at Cologne Conservatory: success with previous lectures, and forthcoming lecture series.
OJ 5/44, [1] Handwritten letter from Schenker to Arthur Waldeck, dated September 23, 1929
Schenker encourages Waldeck to spread his (Schenker's) ideas in America, and apprises him of Dunn's translation of Kontrapunkt and his own recent and forthcoming publications.
OJ 13/25, [12] Typewritten letter from Rinn to Schenker, dated November 17, 1930
Rinn recommends an discussion in the Münchener Zeitung involving one of his assistants, Alexander Berrsche. He looks forward to seeing the third Masterwork yearbook and speaks of publishing a selection of "aphorisms" from the second and third yearbooks.
OJ 5/32, [3] Postal receipt from Schenker to Rinn, dated November 20, 1930
Schenker sends Rinn Meisterwerk II and the page-proofs of Meisterwerk III.
OJ 6/7, [52] Letter from Schenker to Moriz Violin, in Jeanette Schenker's hand, dated November 26, 1930
Schenker summarizes the achievements and ambitions of several of his pupils and followers (Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse), noting that Weisse is the most ambitious of all of these though he is not completely at home in the new theory. He fears that something might go wrong at Weisse's forthcoming lecture at the Central Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse will give a trial run of the lecture at the Schenkers' apartment.
OJ 5/11, [1a] First draft of a handwritten letter from Schenker to Furtwängler, in Jeanette Schenker's hand, dated November 11‒16, 1931
OJ 5/18, 23 Handwritten letter from Schenker to Jonas, dated February 7, 1933
Schenker returns four essays with praise. Salzer is informed that the price for Jonas's Einführung has been set too high; Schenker advises caution with Hoboken.
OJ 89/6, [3] Handwritten letter from Schenker to Hoboken, dated February 17, 1933
Congratulating Hoboken on his forthcoming marriage to Frl. Boy, Schenker reports that Kalmus is playing a devious financial game over Oktaven u. Quinten (which is in press) and Der freie Satz (which he thinks will take two years to publish) that may yet see the latter revert to Cotta. — He speaks of Marx's naiveté over the proposed school version of Harmonielehre. — He reports on the remaining stocks of Das Meisterwerk in der Musik.
OJ 15/16, [90] Handwritten letter from Hans Weisse to Schenker, dated March 17, 1933
Weisse reports the success of his lecture on the C minor prelude from the Well-Tempered Clavier, Book 1. — He is currently giving two lectures on a Haydn's sonata. — He inquires about the possibility of having Schenker's foreground graphs for the "Eroica" Symphony printed separately and sold to his pupils, for a series of lectures planned for the following year; the profits entirely to Schenker. — He sees little prospect visiting Europe in the summer, as his financial situation has worsened: the Mannes School has been forced to reduce his teaching for the next season. — He expresses his doubts about Vrieslander's ability to reshape Schenker's Harmonielehre as a school textbook, and about the value of Harmonielehre itself in the light of his teacher's most advanced theoretical ideas.
OJ 11/32, [16] Handwritten letter from Robert Haas to Schenker, dated September 10, 1933
Haas expresses pleasure at Schenker's comments on his performance practice book, and asks if Schenker can donate a copy of Meisterwerk I to the Archive.
OJ 12/6, [26] Handwritten letter from Jonas to Schenker, dated December 10, 1933
Jonas asks how the music examples in Das Meisterwerk were printed, with respect to his Das Wesen des musikalischen Kunstwerks. — In Riemann's Musiklexikon, ed. A. Einstein, Einstein's reference to Schenker appears under "Bach."
OJ 5/18, 32 Handwritten letter from Schenker to Jonas, dated December 13, 1933
The music examples in Das Meisterwerk were engraved; Schenker draws attention to and commends an article [by Israel Citkowitz].
Diary entry by Schenker for 16 December 1906
Diary entry by Schenker for 22 August 1925
Diary entry by Schenker for 9 March 1926
Diary entry by Schenker for 17 March 1926
Diary entry by Schenker for 10 June 1926
Diary entry by Schenker for 12 November 1926
Diary entry by Schenker for 14 January 1927
Diary entry by Schenker for 2 April 1927
Diary entry by Schenker for 10 May 1927
Diary entry by Schenker for 14 July 1927
Diary entry by Schenker for 2 August 1927
Diary entry by Schenker for 22 September 1927
Diary entry by Schenker for 3 October 1927
Diary entry by Schenker for 20 October 1927
Diary entry by Schenker for 1 November 1927
Diary entry by Schenker for 5 December 1927
Diary entry by Schenker for 2 January 1928
Diary entry by Schenker for 24 April 1928
Diary entry by Schenker for 2 May 1928
Diary entry by Schenker for 5 July 1928
Diary entry by Schenker for 4 February 1930
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In collaboration with the Department of Digital Humanities, King's College London.
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Park Shooting Leaves Age 1 Boy Dead as NYC Violence Continues
By Jack Davis
Published July 13, 2020 at 11:30am
A 1-year-old boy was killed Sunday night as gun violence surged across New York City.
The child, 22-month-old Davell Gardner, was struck in the abdomen while sitting in his stroller near Raymond Bush Playground in Brooklyn's Bedford-Stuyvesant neighborhood, according to The New York Times.
Three men were also wounded in the incident, which took place at about 11:30 p.m., when two gunmen approached a group having a cookout, fired at the group and then ran off, police said.
The shooting came on a weekend in which at least 35 people were shot in 28 incidents, according to the Daily News. The victims included two boys, one 12 and one 15, who were wounded in separate incidents — one in Brooklyn and one in Harlem.
Through July 5, 585 shootings have taken place in New York City. At a comparable point last year, there had been 381 shootings.
Police took to social media in the aftermath of Davell's death.
A one year old child is dead. The baby was with his family enjoying a Sunday night in the Summer when someone started shooting . Three people were injured and the baby was killed. This. Must.STOP! We as a community, we as a police department denounce this disgusting violence. pic.twitter.com/R66DVO6cTA
— Chief Jeffrey Maddrey (@NYPDCommAffairs) July 13, 2020
Last night, 4 people were shot at a Brooklyn cookout, including a 1-year-old child who died from his injuries.
These are the very real people affected by senseless gun violence.
Anyone with information about this incident, or any crime in NYC call @NYPDTips pic.twitter.com/d2Zly42Zb4
— Commissioner Shea (@NYPDShea) July 13, 2020
Residents in the area were also angry, according to WCBS-TV.
"Please put these guns down. We don't need no more of this," Tommy Holiday, who lives near the park where Davell was killed, said. "When does this stop? Friday, my nephew was killed in East New York. Today, a 1-year-old baby. When does this stop? This is a shame, this is a 1-year-old baby seen no life yet."
"It's 'O.K. Corral' in the streets," he said to KABC-TV. "We talk about what police doing to us, look at what we are doing to ourselves. What does 'black lives matter' if you're killing yourselves."
Some said elected officials bear a share of the blame.
To De Blasio, YOU along with the criminals you support are who did this. You are destroying families with your garbage policies. This is the 1-year-old boy who was senselessly killed in NYC. Davell Gardner, say his name. https://t.co/qBx0fL7Fj1 via @nypmetro
— Peggy Maysonet (@PeggyMaysonet) July 13, 2020
RELATED: 'Do You Need Help?': Waitress Helps Rescue Age 11 Boy from Abusive Home, Police Say
Last night a baby sitting in his stroller died from a hail of gunfire that wounded three men at a cookout at a Brooklyn park. May innocent little Davell Gardner rest in peace. pic.twitter.com/5WJxrGm0u5
— Joe Caldarera (@JoeCalNYC) July 13, 2020
Community advocate Tony Herbert called for a return of the Anti-Crime Unit of the NYPD, which was dissolved amid Black Lives Matter protests against the police.
"The guns keep going off, and now we have a 1-year-old, and the blood is on the hands of this mayor and the state legislature," he said to WABC-TV.
Have the politicians given NYC over to the criminals?
"They need to raise the mandatory minimum of anybody carrying an illegal firearm to 10 years, and I can guarantee it will reduce this amount of gun violence."
Herbert said politicians are putting their money in the wrong places.
"Right now, it's about saving lives. Throwing money to have basketball tournaments or painting damn murals on the street, that's not going to help us," he said to KABC-TV.
Contributor, News
Jack Davis is a freelance writer who joined The Western Journal in July 2015 and chronicled the campaign that saw President Donald Trump elected. Since then, he has written extensively for The Western Journal on the Trump administration as well as foreign policy and military issues.
Jack can be reached at jackwritings1@gmail.com.
Politics, Foreign Policy, Military & Defense Issues
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NFL Superstar Slams Politicians' COVID Hypocrisy, Makes Massive Donation to Small Businesses
Tags: Brooklyn, children, crime, death, New York City NYC, shooting, US news

redpajama_set_name: RedPajamaCommonCrawl


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Lois "Sue" Fallecker Green
Lois "Sue" Fallecker Green, 82, of Chicora, was risen to new life and went to be with the Lord late Wednesday evening, May 13, 2020 at Good Samaritan Hospice in Cabot.
Lois was born in Chicora on February 15, 1938. She was the daughter of late Daniel and Lillian Collier Burns.
She attended Fairview Twp. Karns City High School and was a lifetime member of St. Joseph Roman Catholic Church in North Oakland and belonged to the church's Christian Mothers.
Sue enjoyed playing cards and square dancing. She was a consummate homemaker and enjoyed baking and cooking for family and friends. For Sue, "Donut Day" was an annual family tradition and looked forward to gathering with her family to make donuts, a tradition her family continues.
Sue was married on December 27, 1955 to Joseph D. Fallecker Jr. Mr. Fallecker preceded her in death on September 25, 1998. She later married James F. Green. Mr. Green passed away in 2007.
Surviving are five children, Lori Karenbauer and her husband, Dennis "Doc" of Fenelton, Diane Hamilton and her husband, John, of Pittsfield, IL, Joseph Fallecker and his wife, Donna, of Chicora, Jeff Fallecker and his wife, Dianne, of Prospect, Lisa Beale and her husband, Mike, of Fenelton; 17 grandchildren, 23 great grandchildren, and another on the way; her brother, Daniel Burns and his wife, Joyce, of Chicora, her sister, Patty Pflugh and her husband, Bill, of Butler, as well as a number of nieces, nephews, cousins, brothers-in-law, sisters-in-law, step children and step grandchildren.
In addition to her parents and husbands, Sue was preceded in death by a grandson.
Friends will be received at the Hile Funeral Home of Chicora, 339 Chicora Fenelton Rd., Chicora, from 4 – 7 p.m. Sunday. A Blessing Service will be held at 11:00 a.m. Monday from the funeral home with the Rev. Matt McClain, pastor at St. Joseph Roman Catholic Church, officiating. Interment will be in St. Joseph Cemetery, in the Village of North Oakland.
The Fallecker family is planning a Memorial Mass at St. Joseph Roman Catholic Church to be announced at a later date.
Condolences may be sent by visiting www.hilefh.com.
Margaret "Peg" Umstead
Karen Lee Fowler
John P. "Jack" Milford, Jr.


The Tattoo Fiesta is a great, safe way for people to get tattoos. Tattoos have gained increasing popularity in the past decade. Life Magazine estimated in 1936 that 6% of the population had at least one tattoo.
The Harris Pole done in 2003, nearly tripled those numbers estimating that 15% of Americans had one or more tattoos. The Pew Research center conducted in 2012 showed that more than 40% of the population has at least one tattoo. Tattoos have gained popularity over the years and has become a unique way of self expression for people today.
Many people do not know the tattoo world and will rush to get a tattoo not knowing any history on the artists. The Tattoo Fiesta selects the best artists across the country and brings them to this three day event. You can't go wrong with any of these artists!


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West Nile not a problem, is a concern
Paul Westermeyer
Pontiac residents were likely, at first, to be skeptical of the city's plan to spray for mosquitos less this season than in years' past and, instead, rely more on the use of larvicide and reminding the public to drain standing water where possible. However, along with weather unfavorable to the pest, Streets Superintendent Chris Brock said this tactic was partially responsible for decreased mosquito populations.
This was represented across the state as well: the Illinois Department of Public Health reported the first human case of West Nile virus in Illinois this year on July 20, 2017 and IDPH is currently reporting 37 human cases. Last year there were 155 human cases, including six deaths. Earlier this week, the IDPH confirmed the first human West Nile virus-related death in Illinois for 2017: a Kankakee County resident who tested positive for West Nile virus died earlier this month.
"Although we will soon start seeing cooler weather, West Nile virus is still a concern," IDPH Director Nirav Shah said. "It's important for everyone to continue taking precautions like using insect repellent, wearing long sleeve shirts and pants, and staying indoors between dusk and dawn."
At the first Pontiac City Council meeting of June, Brock said that the his department would be moving in a new direction in terms of combating mosquitos.
"We're going to put our main focus on public awareness," he had said. "We need to make more of a concentrated effort to get the word out to people that they need to take a look around their yard and make sure their gutters are clean and that they keep their grass mowed."
Brock also noted at that time that he and his crews would hit the larvicide "very hard — more so than we did last year."
"With larvicide, if you have a heavy rain, you pretty much have to make an application of it again," he had said. "The product we use is designed to give about a 28-day control, but if you have a large rain, it pretty much flushes that out and you have to start all over again."
When contacted about this season's fortunate dearth of mosquitos, Brock said that the larvicide treatments made an impact, giving credit, too, to the drier weather. He could recall only a couple of times that city crews were needed to go out and spray for mosquitos.
Echoing Brock on the weather being conducive to fewer mosquitos was Livingston County Public Health Administrator MaLinda Hillman. Hillman said that of two mosquito traps at three sites in the county, each tested once or twice a week, there had been only one positive test for a West Nile virus-carrying mosquito, occurring earlier in the summer season.
However, Hillman nevertheless agreed with Shah, and said that area residents should remain vigilant as the weather would remain warm enough in the coming weeks for mosquitos to survive in, and that all appropriate precautions should be taken under advisement to avoid potential exposure to West Nile virus.


Battlefield Hardline's upcoming expansion Getaway, is going to add some tweaks to the main game.
Yep, you can now ride on top of the train in Train Dodge.
?If you use the sawed off barrel and sawed off stock on the 1887, the gun will have an alternate reload animation,? says Mumbach. You may recognize the animation from a popular 90?s action movie,especially if you?re into time travel.
You?ll find new places to hide out on the Double Cross map. Search around and see if you can find the new smuggling tunnels.
You?ll notice some dead trees on the Pacific Coast Highway. If you knock them over, you?ll create new navigation paths.
Players can Capture Bags in Capture the Bag mode even when the bag they are defending has been taken by the other team.
The RF Jammer now works both in and out of vehicles. ?This is huge for stopping Breaching Charges in Hotwire mode,? says Mumbach.
Drivers of the Import Tuner will now appear on the right hand side of the car, just like they do in countries where you drive on the left side of the road.
In Getaway, the Limousine is now an armored vehicle, perfect for making a getaway in style.
You can now open and close the Large Flood Doors in Diversion, changing the primary flow of the map.
Players can access the Center Control Room on Diversion from above. Try sneaking through the vents.
Battlefield Hardline's Getaway expansion is coming on January 12.
It's that time of the month when Sony gives us an update on what games are coming to PlayStation Now, and boy is it a lot.


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redpajama_set_name: RedPajamaGithub


Most people are reluctant to think about their own death and what happens to their estate, but in terms of their digital legacy, it's essential to do so if they want to spare their family problems.
Without the right data, it'll be difficult or even impossible for them to gain access to a deceased relative's Internet accounts.
Here are some tips from Germany's Federal Association of Consumer Organizations on how best to take care of your digital legacy.
Write it down: It's important to write down all login data for your Internet accounts and place the information somewhere relatives can find it. The easiest way is to write your usernames and passwords down on a piece of paper and keep them in an envelope in a safe place. It's important to remember to update them as required.
Get a password manager: This is a programme that saves all your access data in one place and in encrypted form. Then all you have to remember is one password, the master password. You'll have to let relatives know what this is so that they can have access if needed.
Choose a confidante: Users need to name a trusted person who'll take care of any rights and obligations arising from contracts with online service providers if they die. The decision to give someone power of attorney needs to written down, dated and signed in a document.
Leave instructions: Users need to set down in writing what exactly they want done with their digital estate post-mortem. The consumer association advises giving a confidante detailed instructions for each service – for example, should the Facebook profile be deleted or left as a memorial? Instructions should also include directions on what to do with data on your computer, smartphone, tablet and so on.


NOFI develops products made from flexible and semi-flexible materials, mainly technical fabric, PEHD construction plastic and rope in various specifications. Our solutions often represent cutting-edge design, especially when these materials are combined. Our products are in everyday use on all continents, and a number of them are patented.
Our PEHD plastic products have been noted in the market for their unique characteristics such as high chemical resistance, longevity, flexibility in low temperatures, and ability to withstand harsh maritime environments.
Technical fabric is well suited for use in areas subject to harsh environmental exposure. We supply tarpaulins, lifting sails, tents, headsails, insulated freezer hatches and inflatable water tanks.
NOFI develops products made from rope, net, wire and chain. If required, we use a fiber which is stronger than steel and floates in water. Typical products are safety nets, lifting devices and mooring systems.
NOFI has high expertise within creative product development and material technology. We carry out analysis, project planning and problem-solving, as well as mooring and current analysis.


text:
How is Spain's strategy to treat Covid like a flu
The film Natsu e no Tunnel, Sayonara no Deguchi reveals a new visual — Kudasai
Chevrolet's new coupé SUV: will it be compact or medium?
Those summoned by Barros Schelotto for the double date of the Qualifiers
He is 88 years old and recovered his vision thanks to a bionic chip
Dying Light 2 Stay Human will be updated for free on PS5 and Xbox Series, and presents new features in its mechanics
How is the energy revolution in the world in which Argentina does not participate
what did they explain from the club?
The painful message of Santi Maratea for the death of Ezra, the boy he helped in his treatment
Home/Business/In what to invest the extra pesos of AGUINALDO, according to experts
In what to invest the extra pesos of AGUINALDO, according to experts
HELEN HERNANDEZNovember 26, 2021
In December, employees in a dependency relationship receive the half bonus. For those who have pesos to spare, what can they invest in?
The middle charge bonus that arrives in December causes many savers to start looking for a destination for those "extra" weights, so as not to lose purchasing power in the face of inflation that is at very high levels.
Beyond those who need to pay debts, make purchases for the holidays or save money for the holidays, there are also Argentines who have the capacity to save and seek to invest this additional income.
About, Invertironline IOL just published a report detailing different recommended trading alternatives, according to each investor profile, to pour the bonus into different instruments available on the local financial market.
Short terms
In the case of savers Looking for a short investment horizon, to have their money available for the coming months, it is recommended to take into account the perspectives of economists on the main macroeconomic variables for the beginning of 2022, such as the dollar and inflation.
In fact, the last Market Expectations Survey (REM) carried out by the Central Bank in the first days of November, indicates projections of monthly inflation for the next 6 months by an average of 3.5%, with a peak of 4.1% by March 2022.
That is, a price level in the economy that is well above what a traditional fixed term pays (3% per month) and what the official exchange rate has advanced, until now, on a monthly basis (1% ).
"Taking into account that inflation will be one of the main threats to our pocket, it is essential to position ourselves in instruments that offer coverage against it, such as CER bonds ", recommend from IOL invertironline.
Therefore, they suggest that an investor can turn to this alternative through CER bonus to 2022 (TX22), It adjusts its capital based on the variation of inflation plus profitability.
They also suggest opting for variable rate instruments, such as the bond Bocan 2022 (AA22) that, "although it does not offer coverage against inflation, it has a yield that exceeds inflation expectations for the coming months," they maintain from this investment firm.
CER-denominated bonds follow the behavior of inflation, therefore they serve as a hedging instrument.
Medium and long term
In the case of savers who seek to make longer-term placements, from IOL invertironline They suggest turning to local assets such as the Argentine Certificates of Deposit (Cedears).
These assets can be invest in pesos and they represent "portions" of foreign stocks listed on Wall Street, which is why they also provide the advantage of being pegged to the dollar with settlement, by offering coverage against increases in the financial exchange rate.
"Holding companies are attractive, investing in different companies, giving exposure to different sectors with the simplicity of investing in a single asset. Therefore, a good alternative is Berkshire Hathaway (BRKB), the society of the iconic investor Warren Buffet, which invests in companies in sectors such as insurance, utilities, energy, transportation, manufacturing, retail and services, "they detail from IOL.
In turn, another sector that they consider "interesting" to position themselves strategically are companies that invest in new technologies.
In this segment stand out Facebook (FB), which in recent days announced its name change to "Meta" and the reconfiguration of its business to the development of the "metaverse", a concept that refers to virtual reality or augmented reality.
Cedears allow the purchase of assets listed in dollars on Wall Street in pesos.
Actions, for risky
Meanwhile, it is recommended for those investors who have a more aggressive risk profile, who can opt for the Common Investment Fund "Premier Equities", which aims to invest mainly in listed shares of the Byma, which make up the S&P Merval index.
"This may be a good alternative after the adjustment that the local market showed after the general elections," they indicate from IOL.
According to its clarification, this fund seeks "long-term benefits, investing in companies with good economic and financial fundamentals ", always having as a reference the main Argentine stock index.
In this sense, It has 35% of its portfolio invested in energy sector stocks, 26.5% in banks, 14.3% in metallurgical companies and only 2% in cedears.
"It is important to take into account the high volatility of the Argentine market, so it is suggested to assign a small position within the portfolio," they recommend from IOL.
Therefore, they conclude that in a context of high inflation, capital protection is essential.
Know the value of the dollar in Dollar Today and followed the price and behavior minute by minute. CLICK HERE
Data Suggests Traders See $ 46,000 As Bitcoin's Bottom Line
Volkswagen confirms: the Gol will no longer be sold in Argentina
They launched a cryptocurrency inspired by The Squid Game and its price soared 40,000% in less than a week
The fixed term rate rises to 39%, but banks say it will not be enough to tempt savers
Shopee arrives in Argentina to compete with Mercado Libre: offers free shipping


Shipping time: 3 - 4 days (Info)Shipping to Deutschland. For more information please click here.
The evolution of the previous Skike V07 Plus.
Through a new design of the frame, the security and the stability was improved.
The heel strap is adjustable and allows precise adjustment of the length of the foot.
Padded straps provide good support as well as convenience.


In the table below you will find the records of stratospheric balloons launched from different countries and places during 1949, which are currently available in StratoCat's database. Each row shows basic data about the launch base from which departed, date and time of the launch, and if available the duration of the mission and the site of termination or landing place of the payload.
New Brighton (MN) 10/18 --- COSMIC RAY RESEARCH Payload recovered in Medford, Winsconsin. The balloon continued flying three more days and landed in Spring Grove, Pennsylvania.


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Tom Steyer will plow $30 million into midterms, but won't run for office in 2018
By David Weigel
David Weigel
National reporter covering politics
Democratic donor Tom Steyer, who has spent more than $100 million since 2016 on political campaigns, will forgo any run for office this year and focus instead on ending Republican control of the House of Representatives.
"People have been asking me for 12 months and five days what I'm going to run for," Steyer said in an interview before a news conference in downtown D.C. "I'm not going to run for anything. I've said all along, the question I always ask is: Where can I make the most differential impact? And when I look at the jobs I can run for in California, they all have reputable Democrats running for them already."
Steyer's decision removes some of the drama from California's races for governor and U.S. Senate, which had attracted ambitious Democrats who had been wanting to move up for years. The billionaire, who plunged into politics in 2013 when he founded NextGen Climate to advocate for Democrats, had been discussed as a 2016 candidate for Senate and seen by some 2018 gubernatorial candidates as a dark horse who could jump in late.
"He's running. He's been running," Lt. Gov. Gavin Newsom (D-Calif.) told Politico in late 2016 during a conversation about Steyer's spending on voter registration efforts. "It's going to be a very crowded field."
Having ruled that out, and while raising his national presence with a $20 million campaign to impeach President Trump, Steyer now plans to spend $30 million to build NextGen Rising, his 2018 campaign to increase millennial voter turnout. The targets are 24 Republican-controlled congressional districts and a handful of swing seats currently held by Democrats, in 10 states: Arizona, California, Florida, Iowa, Michigan, Nevada, New Hampshire, Pennsylvania, Virginia, and Wisconsin. That money will supplement ongoing Steyer-funded NextGen efforts; it could also be increased as the campaign goes on.
Among the targets are all seven Republican-controlled California districts where Donald Trump ran behind Hillary Clinton; six districts in Pennsylvania, where Clinton made some gains in the suburbs of Philadelphia among moderate Republicans; three districts in South Florida; and Wisconsin's first district, where House Speaker Paul D. Ryan (R) has been safely reelected, but ironworker Randy Bryce has raised millions of dollars for an insurgent Democratic challenge.
[The 2018 midterms are fast approaching. First up: Primary fights for both parties' future.]
"I'm going to continue to work on the grass-roots efforts we had in place, and amplify them, and make them bigger," Steyer said. "We're going to register voters, then encourage them to participate. That means we want to talk about issues people care most about. We need to — just go back and look at millennial turnout in 2014, the last midterms. It's shocking how low it was."
Billionaire Tom Steyer speaks during a rally and news conference at San Francisco City Hall on Oct. 24 in San Francisco. (Justin Sullivan/Getty Images)
In the interview, Steyer did not set out conditions for Democrats in these races, or suggest that he would intervene in primaries. As in Virginia, where NextGen spent $2 million to register and turn out young voters, Steyer wanted to put his money behind voter mobilization to get Republicans out of office, and it would take 24 Republican defeats to flip the House.
Steyer would not, in other words, intervene in races only if the Democrats promised to pursue the impeachment of the president. That was the sort of action that worried Democrats last year, when Steyer launched a "Need to Impeach" campaign that has put him on cable news commercial breaks — identified as "Tom Steyer, citizen" — many times a day.
"I don't see those two efforts as being separate," said Steyer of the midterm campaign and the impeachment campaign. "There's just a differential positive impact. There's no question that what we're doing with Need to Impeach addresses the biggest threat to the United States, which is a lawless administration at the head of a radical right-wing party. But by definition, a campaign called 'Need to Impeach' is not a permanent thing, whereas a grassroots organization of millennials should be."
On Monday morning, Steyer made his decision official in a room jam-packed with reporters. The very first question dealt with whether Steyer would back any potential 2020 Democratic presidential candidates, and whether he'd seen Oprah Winfrey's speech at the Golden Globes.
"It was a fantastic speech, but we're all in for November 6, 2018," said Steyer. "I view this as a sprint to that election, with every single day being important."
In his extended remarks, Steyer said that he'd be "turning Need to Impeach into a vehicle for an unprecedented engagement effort," and described a new campaign that began over the weekend — a drive to deliver a copy of "Fire and Fury," the scalding White House profile by Michael Wolff, to every member of Congress.
But the impeachment issue, the focus of Steyer's ongoing and personal campaign, would not determine whether Steyer stayed in the field. NextGen Rising, he said, would register and turnout voters whether or not a candidate in the targeted district had pledged to impeach the president.
"What we are going to try to do," said Steyer, "is enable the voice of the American people to demand action from their representatives, as opposed to making it some kind of litmus test."
David Weigel David Weigel is a national political correspondent covering Congress and grass-roots political movements. He is the author of "The Show That Never Ends," a history of progressive rock music. Follow


The aim is to provide you with the opportunity to develop your knowledge of digital business and to apply this knowledge into business problem-solving from the perspective of IT. It is not a technical course about digital technology. It is designed to help you understand the key features of digital business and how it can be applied.
During the last decades, we have seen the great development of digital technologies, which are fundamentally transforming business strategies, business processes, firm capabilities, products and services, and key interfirm relationships in extended business networks. The transformation is as powerful as the industrial Resolution. We are heading towards the era of industry 4.0.
The aim of the course Digital Business in IT (DIBU) is to provide you as a student with the opportunity to develop your knowledge of digital business and to apply this knowledge into business problem-solving from the perspective of IT. After completed the course, you will develop an innovative thinking and mindset of digital technology and digital business.
The structural migration from traditional business to digital business; Digital business and value creation; Digital business and digital strategy; Social collaboration and social business; Digital business innovations; Digital applications for business; Digital security model etc.
We will invite guest lecturers from industry to share their knowledge of digital business.


text:
Steve Irwin welcomes bushfire animals into heaven in heartbreaking cartoon
Posted: Jan 11, 2020 / 10:51 AM EST / Updated: Jan 11, 2020 / 04:25 PM EST
Steve Irwin Australia cartoon by therealsketchykoala on Instagram
AUSTRALIA (WFLA) — An Australian artist shared a cartoon she created that's breaking hearts on Instagram. The drawing depicts Steve Irwin welcoming animals into heaven who have lost their lives in Australia's devastating fires.
@TheRealSketchyKoala
The sketch took @TheRealSketchyKoala three weeks to finish, she said in her post.
"It's sad to say that I've spent about 3 weeks or so on this and the subject is still relevant."
More than 120 fires have scorched at least 20 million acres of Australia and have killed at least 27 people. An estimated one billion animals have also been killed.
"I hope all the animals who couldn't make it are now in heaven with Steve Irwin, being taken care of, and not having a care in the world or memory of how they got there."
To view the post on Instagram, click here.
Australia's Wildfires: An in-depth look and how you can help
24 arrested for intentionally setting bushfires in Australia
More Animals Stories
(CNN/WQAD) - Nicolina Pappas has always loved animals, but now she's taking her love to the next level. She's on a mission to keep plastic straws out of the ocean. And, she's only 8 years old.
When Pappas saw a video of a sea turtle with a plastic straw stuck in its nose, she knew she had to do something to help. So she created Nicolina's Turtle Co.
by WTVO / Jan 20, 2020
CHONGQING (WTVO) -- A Chinese theme park has sparked outrage after workers pushed a pig off a 223-foot platform and forced it to bungee jump. The incident was part of a publicity stunt to promote a new attraction.
Video, taken at the Meixin Red Wine Town theme park, shows the pig wearing a cape and being pushed off the tower. Its legs are shown to be tied during the event.
Gasparilla / 1 hour ago


text:
Focus Ukraine
A blog of the Kennan Institute
Ukraine's Whac-A-Mole Culture
By Blair A. Ruble on January 27, 2023
Part of The Arts of War: Ukrainian Artists Confront Russia
Amplifying Opera at a Time of War
Arts and LiteratureUkraine
Linz, Austria--September 8, 2022: Performance of "Lullaby for Mariupol"
Flickr/Ars Electronica (CC BY-NC-ND 2.0)
https://www.flickr.com/photos/arselectronica/52343792089/in/photolist-2nKrBLP-2nKkb4b-2nKq47u-2nKq4gC-2nKrBMF-2nKrBKX-2nKrjwc-2nKrBMv-2nKrBLo-2nKsghS-2nKkb5D-2nKsggu-2nKrBNH-2nKq4b2-2nKrBQb-2nKq4fv-2nKrBQS-2nKrjzZ-2nKq48S-2nKrjp3-2nKrjyS-2nKq4fk-2nKkb6k-2nKrjrn-2nKsgn6-2nKrBEM-2nKsg8o
Ukraine's music scene constantly surprises. Opera Aperta opened at a time when some critics bemoaned the possibility of a contemporary opera catalogue, but the company has found ways to survive during wartime, creating new opportunities to address the current moment. Founded by Roman Hryhoriv and Illia Razumeiko, Opera Aperta has emerged as a noteworthy opera incubator.
Hryhoriv is a multi-instrumentalist, conductor, and composer in his early 30s from Ivano-Frankivsk who started out pursuing a passion for rock music. An encounter with Vasyl Stefanyk, a talented professor, opened the world of classical music. By the mid-2010s, Hryhoriv was performing and managing projects in Ukraine and as far afield as the U.S. and China.
He began collaborating with composer Ilia Razumeyko at this time. Five years younger than Hryhoriv, Razumeiko studied composition in Kyiv and Vienna, wrote film scores, and began writing operas. His partnership with Hryhoriv naturally evolved out of the vibrant contemporary music scene of Ukraine.
The current war prompted an unexpected collaboration in October with Genesis: An Opera of Memory in 13 mise-en-scene at Kyiv's Khanenko Museum. The project was created with a beautiful multidisciplinary team of Ukrainian artists, including choreographer Khystyna Slobodianiuk, theater designer Kateryna Markush, performer and visual artist Evhen Bal, media artist Georgyi Potopalskyi, and a cast of singers, dancers, performers, and instrumentalists.
The story of the Khanenko Museum tracks the traumas of Kyiv over the past century and a half. The merchant Bohdan Khanenko (1849–1917) and his wife Varvara Tereshchenko (1852–1922) founded the museum as a private collection. Their collection of European art from the 14th through the 19th centuries resulted from the couple's four decades of travel to European galleries. In 1918, Madame Khanenko bequeathed the collection and its neo-classical building to the Ukrainian Academy of Sciences. Within a few years, the new Bolshevik regime removed the Khanenko name from the collection and nationalized its works.
Much of the collection was moved east to Ufa in Bashkortistan for safekeeping during the Second World War. Nazi occupiers pillaged the art that remained. The diminished collection remained closed between 1986 and 1998, reopening in 1999 as the Khanenko Art Museum. The new permanent collection included both European and Asian works dating from the 6th through the 20th centuries. Located across Taras Shevchenko Park from Kyiv National University in central Kyiv, the revived museum quickly found a ready audience.
Hryhoriv and Razumeiko had been fascinated with the collection's history and fate. They discovered, for example, that Lucas Cranach the Elder's 1526 painting "Adam and Eve," once owned by the Khanenkos, had been sold and resold, first by the Bolsheviks and then by European art dealers. This painting corresponded chronologically with Giulio Camillo's 1544 treatise "The Idea of Theater," which informed the creative team's notions about the "theater of memory."
Camillo lived in the intellectually turbulent worlds of late 15th century northern Italy, and early 16th century Paris. In 1530, he outlined his ideas concerning the idea of theater for Francis I of France. For Camillo, theater was an intellectual act, a means for engaging in philosophical discourse rather than an instrument of the physical senses. His ideas were recovered in the 20th century by those who promoted theater as an act of memory.
When the Russians invaded Ukraine in February, museum workers whisked the collection into safe storage, leaving its 13 exhibition galleries empty. A few months into the war, Hryhoriv and Razumeiko began to explore how they could bring their interest in Camillo's work together with its connection to the Khanenko Museum through Cranach's painting, and the realities of an art museum now devoid of art. The result has been Genesis.
A multimedia extravaganza staged in the Khanenko Museum's empty galleries, Genesis connects the biblical creation story with the formation of the arts. The first seven galleries—parallel to the first seven days in the Bible—track the formation of the planet, from light and sound to consecration by the muses. The remaining five rooms focus on the "theater of memory," as sound and light illuminate the world, prompting memories of varied histories. Spectators follow the performers—10 opera singers and 10 instrumentalists—from room to room (or virtually on webcasts). The resulting performance animates the emptiness of loss from war.
Hryhoriv and Razumeiko's opera prompts audience members to slow down and consider a history torn asunder by war. This attempt becomes a step towards recovery. Their opera's performance during wartime offers a compelling example of how Ukrainians are wrestling with their past and current realities in order to move into a once unanticipated future.
The opinions expressed in this article are those solely of the author and do not reflect the views of the Kennan Institute.
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Blair A. Ruble
Distinguished Fellow;
Former Wilson Center Vice President for Programs (2014-2017); Director of the Comparative Urban Studies Program/Urban Sustainability Laboratory (1992-2017); Director of the Kennan Institute for Advanced Russian Studies (1989-2012) and Director of the Program on Global Sustainability and Resilience (2012-2014)
The Kennan Institute is the premier U.S. center for advanced research on Russia and Eurasia and the oldest and largest regional program at the Woodrow Wilson International Center for Scholars. The Kennan Institute is committed to improving American understanding of Russia, Ukraine, Central Asia, the Caucasus, and the surrounding region though research and exchange. Read more
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This dish is the reason that we cooked the whole packet of spaghetti earlier in the week. It sounds crazy to make a frittata with pasta, but it's really tasty, and if you have any left after dinner, it's great cold the next day for your lunch. We added peas this time we made it, but that's optional.
Beat the eggs in a large bowl, then add the grated cheese. Season with a little salt and a good twist of pepper. Whisk well, then stir in your pasta and/or peas.
To cook the frittata, heat 3 tablespoons of oil in a small non-stick ovenproof frying pan over a medium heat.
Carefully flip the frittata onto a large plate, then slide it back into the pan and return it to the oven for a further 5 minutes, or until crisp underneath. Serve with a salad.
You can also add peas or similar vegetables to the mixture before you cook if you want to be a bit more healthy.


text:
Ежозерский заказник — гидрологический заказник создан для охраны озера Ежозера, ландшафтный памятник природы регионального значения, расположенный в акватории озера Ежозеро на территории Вытегорского района Вологодской области. Природная ценность памятника заключается в живописности пейзажей и возможности регламентированной рекреационной нагрузки.

История создания
Памятник природы заказник «Ежозерский заказник» общей площадью 3013 га был выделен в соответствии с Решением исполнительного комитета Вологодского областного совета народных депутатов от 31.10.1983 № 602 «Об утверждении в Вытегорском районе государственных заказников и памятников природы областного значения».

На основании Постановления правительства Вологодской области от 14.09.2009 № 1377 было утверждено положение о памятнике природы «Ежозерский заказник» Вытегорского муниципального района Вологодской области.

Расположение, геология, флора и фауна
Государственный заказник, памятник природы, расположен на водораздельной части Мегорской гряды. Он выделяется как своеобразный образец холмисто-озерного Мегорско-Андомского ландшафтного района. Территория образована столообразными возвышенностями — звонцами, моренными холмами и грядами. С востока один из таких массивов ограничивает Ежозеро.

В западной и южной части от озера преобладают равнины, здесь имеются два болота переходного типа. Первое — Большое Сухарево — площадью около 1000 гектар и начинается от западного берега озера, второе расположено южнее реки Ежрека, оно протягивается по дну лощины.

14 % площади природного памятника занимают акватории озер Ежозеро — 230 га, Надречозеро — 96 га, Чекчозеро — 14 га. Ежозеро овально-вытянутой формы имеет значительное лопастное расчленение. В этот водоём впадают пять ручьев, которые в летнее время пересыхают; от этого озера берёт своё начало река Ежрека, которая впадает в реку Кимрека — приток реки Мегры. Три острова с зарослями ольхи и ивы расположились в акватории Ежозера. Ежозеро эвтрофируется, здесь большое содержание фтора и азота. В прибрежной зоне растёт тростник озерный, осока острая, хвощ речной, хвощ топяной, местами — рогоз широколистный. На юге озера имеется сплавина до 200 метров шириной. Из растений с плавающими листьями здесь можно встретить гречиха земноводная, кубышка желтая, стрелолист; из погруженных — ежеголовник и рдест пронзенный. В ихтиофауне модно обнаружить плотву, окуня, ерша, обычную щуку, редки налим, карась, лещ, язь. На одном из островов обитает и гнездится крупная колония чаек.

Хвойные леса находятся лишь по южному побережью Ежозера. В них присутствуют ельники зеленомошные: черничники свежие, кисличники и реже влажные черничники.

По площади в этом заказнике в основном занимают мелколиственные вторичные леса, которые образовались на вырубках. Древостои образованы березой бородавчатой, осиной, березой пушистой, ольхой черной и ольхой серой. Много осинников. До 20 % площади таких лесов приходится на березняки, и столько же на ольшаники, которые возникли при зарастании заброшенных сенокосов и пашен.

320 видами высших растений представлена в заказнике. Встречаются редкие виды цветковых растений, которые занесены в Красную книгу Вологодской области: пальчатокоренник Траунштейнера, надбородник безлистный, гнездовка настоящая, мякотница однолистная, колокольчик рапунцелевидный, валериана волжская, баранец обыкновенный, латук сибирский, пузырчатка средняя и стрелолист плавающий, из лишайников — лобария легочная. 30 представителей флоры относятся к редким.

Сложность рельефа и разнообразие растительных групп позволила определить этот заказник для богатой фауны. 71 вид птиц зарегистрирован в этом природном памятнике. 6 видов птиц, занесены в Красную книгу Российской Федерации: орлан-белохвост, гагара чернозобая, подорлик большой, скопа, белая куропатка, кроншнеп большой; 3 вида птиц, занесены в Красную книгу Вологодской области: коршун черный, гагара краснозобая, лунь полевой; имеются редкие для области: трехпалый дятел, чеглок и каменка обыкновенная.

На побережье Ежозера свою среду обитанию нашли: водяная полевка, ондатра и норка американская. В лесах и на болотах встречаются заяц-беляк и лось, водяся в этих лесах и кабаны, лисицы, горностаи, хорьки черные, полевки рыжие и красные, белки,.

Охрана
Задачей выделения памятника природы является сохранение холмисто-озерных эталонных геосистем Мегорско-Андомского ландшафтного района. Охрана редких представителей флоры и фауны.

Охрану памятника осуществляет департамент природных ресурсов и охраны окружающей среды Вологодской области.

Документы

Примечания

Памятники природы Вологодской области
География Вытегорского района

redpajama_set_name: RedPajamaWikipedia


text:
The Big Story: Socio-economic progress of S'poreans across 4 generations, and Thai royal consort dismissed
Hairianto Diman
Multimedia Correspondent
https://str.sg/JUYX
SINGAPORE - Catch up with the hottest topics on The Straits Times' weekday talk show.
The Big Story, broadcast every weekday at 5.30pm on Facebook and YouTube, has reporters and senior editors discussing the top stories of the day, in the heart of the newsroom.
Helmed by multimedia journalist Hairianto Diman, the episode airs live from ST's digital studio.
On Tuesday's (Oct 22) episode, senior political correspondent Grace Ho will share more on the findings from the Ministry of Finance's study on the socio-economic characteristics of Singaporeans born from 1940 to 1979 and the progress each age group has made compared to the previous generation.
Subsequently, Indochina bureau chief Tan Hui Yee will talk about the dismissal of the Thai royal consort due to her disloyalty, and delve into her background.
Lastly, senior social affairs correspondent Theresa Tan will discuss the plan by the Government to review the possibility of allowing women to freeze their eggs in Singapore for non-medical reasons.
Topics covered in previous episodes include the High Court's judgment that found Workers' Party MPs liable for damages suffered by the town council and what it means to the party moving forward, uncovering the vaping culture that still exists in Singapore, despite a ban, and the new campus of the Raffles Girls' School in Braddell Road.
Ministry of Social and Family Development


text:
Een transcriptie is een overzetting van een muziekstuk naar een andere vorm of bezetting. Het overzetten zelf wordt "transcriberen" genoemd.

Voorbeelden
Franz Liszt maakte transcripties voor solopiano van een aantal Schubertliederen, die oorspronkelijk voor zang en piano geschreven waren.

Sergej Rachmaninov maakte een transcriptie voor piano van De vlucht van de hommel uit Rimski-Korsakovs Het sprookje van Tsaar Saltan.

Auditieve transcriptie
Een auditieve transcriptie is een overzetting van een audio-opname naar een weergave in notatie.

Béla Bartók nam bijvoorbeeld veel volksmuziek op om deze later om te zetten in muzieknotatie, zoals de melodieën van zijn "6 Roemeense Volksdansen". De "Pulcinella Suite" van Igor Stravinsky is een transcriptie van bestaande melodieën van barokcomponisten zoals Pergolesi, Unico Wilhelm van Wassenaer Obdam, Gallo, Parisotti en Monza.

Ook in de jazzmuziek worden opnamen omgezet in notenschrift, vaak in de vorm van een leadsheet waarvan dan vervolgens wordt gespeeld en geïmproviseerd. Reden hiervoor is dat er nog niet veel bladmuziek beschikbaar voor jazz. Tevens is elke uitvoering van een jazznummer vaak weer totaal uniek, wat uitschrijven van een individuele opname noodzakelijk maakt. Soms wordt een transcriptie van een solo gemaakt, die vervolgens als studiemateriaal kan dienen voor de muzikant.

Zie ook
 Arrangement

Muziektheorie
Muziekterm


text:
The Drawings
Awards for TGK!
Donations from the Comic
Prof Aziz's Blog
The Global Kid
Awards for the 2016 and 2021 Comics!
The Global Kid: A VR/AR Political Comic Book (2021) is the winner of the:
1) Moonbeam Children's Book Awards in the US in the Comic Book category (before it has even launched!)
And finalist in the:
1) 2021 Digital Female Leader Awards in Germany in the Global Hero category
The Global Kid: A Political Comic Book (2016) is the winner of the:
1) 2016 Wonder Woman Award in NYC at the Wonder Women Summit;
2) 2017 INSPAD Peace Award in Pakistan given by the think tank, Institute for Peace and Development;
3) 2017 WEF Excellence Award in Iceland given by the Women Economic Forum, a chapter of the ALL Ladies League – "a global conference to foster empowering conversations and connections among women committed to foster constructive change in ALL walks of life."
4) *2018-2019 Educators Challenge in Sweden – The Global Kid and other finalists were featured at the Nov 2018 Paris Peace Forum (winners will be announced in early March 2019, fingers crossed! Here is my video explaining the project for the judges).
5) *2019 Next Generation Foresight Practitioner Award in UK/Belgium – The Global Kid and other winning projects were presented in Brussels to members of the European Commission and European Parliament, as well as leading figures from the UN, nonprofits and education.
6) *2021 Independent Press Awards in US – Distinguished Favorite in Education Category
It was also nominated for the:
*2019: 2019 British Muslim Awards in the UK - finalist in the Service to Education category.
*2017 Le Prix de la BD alternative du Festival International de la BD d'Angoulême in France (2017 Alternative Comics Award at the second largest comics festival in Europe)
Way to go, Global Kid!
© 2023, The Global Kid


When you reconnect with old friends and one of them happens to be an ex FOH engineer for Melbourne's most iconic music pub don't be too surprised when they send you some old desk tapes. Rob Stead mixed at the Espy for years and was FOH engineer for an era or two of bands performing there.
In 1988 a quartet emerged by the name of Strumpet, featuring tough funk/rock with melodies, often compared to Living Color (American band & spelling).
I've been attempting to repair some of these recordings of the original line-up: Ren Walters (Gtr), Rick Tailby (Bass) & Greg Tailby (Drums); yours truly up front on Vocals, Trumpet & Gtr.
The strangest thing was equating that this was half a life-time ago, literally - mine! Thanx Rob Stead for managing to hang on to these tapes in the first place. It really was a unique ensemble.


Want to connect with Rob?
Thursday after 3:30 pm and available Saturday and Sunday all day my speciality involves fusion cuisine which is different cuisine's I can cook your dinner and make the meals for the following day until I can return to work. I'm a member of the American Culinary Federation went to Indiana University of Pennsylvania for culinary arts and I'm a small self owned business looking to build a clientele.


The show has started -- or rather the process has started. The actors have been chosen and rehearsals are in play and I'm a nervous wreck. This is my first time playing the role of producer and there are one million - count 'em - one million tasks to be done and two million fires to put out.
But there are "moments" that mellow me out and calm me right on down. Today, while passing out promo cards at a Fringe Theatre event, I struck up a conversation with a man who had just left his German conversation club. James told me that now that he's in his forties, he has had a number of "Searching for a Signal" experiences. He said that he often wonders if he had taken a different road -- would he be happier? After some discussion, he and I both agreed his life would have been different - but not necessarily better.
Which is PRECISELY the theme of "High School Reunion", the last scene in Searching for a Signal.
I know what you mean - things NEVER turn out the way you think.
It is so empowering to go through this process of discovery with you. Although things may not turn out like you thought, they always turn up and then show out!


In our January Overnight Lite, we discussed the flexibility, durability and economy of looseleaf binding.
A major organizational advantage of this binding style is that the pages of your publication can be easily removed, changed and inserted back into the binder.
This month we'll talk about the most common method of keeping your looseleaf publications together: ring binders.
Call it looseleaf, three-ring or notebook style, you have probably been keeping loose papers in three-ring notebooks since you were in grade school. Any youngster can tell you about their advantages.
Ring binders are an often overlooked, but excellent method for organizing sales materials, manuals and catalogs or looseleaf pages that require periodic revisions.
Look around your home or office and you will probably find a three-ring binder sitting on a desk or in your bookshelf.
Wide ranging applications include instructions, educational materials, membership directories, training manuals, legal books, workbooks, price books and directories as well as employee handbooks, legal documents and presentations.
And, don't forget that well-used binder in your kitchen packed with those delicious recipes.
Will page 51 of your project need to be revised next month? That is a pesky problem for most bound books, but with a looseleaf binder you simply open the rings and replace the old page with the new version.
Imprinting on the spine will help users locate the piece on a bookshelf.
Except for a corner stapled piece, looseleaf books cost less than just about any other binding style.
Ring binders made of vinyl or polyethylene will cover and protect your materials better than just about any other binding method. Both styles are offered in a selection of colors.
Special options include foil stamping, embossing, silk screening and full color processing.
Polyethylene binders are light-weight, flexible and extremely durable. Poly binders may be silk screened in from one to four colors.
Clearview binders allow you to customize your presentation with your own printed pages that are inserted into the transparent vinyl sleeves on the front, spine and back of the binder.
Turned edge binders are the most durable members of the binder spectrum. They are available in a large selection of covering materials, colors and finishes. Like their vinyl brethren, they can be foil stamped, embossed, silk screened or produced in full color.
Standard binders hold 5-1/2" x 8-1/2" and 8-1/2 x 11" pages. Three-ring binders dominate the field.
O-ring and D-ring sizes may range from 1/2" to 5". D-rings hold more pages and allow the pages to lie flat in the binder.
Indexing is a highly effective tool for organizing documents and making them user-friendly.
Copresco runs hundreds of thousands of index tabs in various sizes and styles…plain or with clear or colored Mylar reinforcing.
We stock index sheets on the floor, but also offer a variety of paper stock colors and weights.
Finished projects can be inserted into your binders and shrinkwrapped for easy handling and shipping in Copresco's upgraded shrinkwrapping department.
Meanwhile, when you need help with your binders as well as books and publications, call the company that can answer your questions and deliver, fast top-notch digital on-demand printing.
The powerful communication impact of paper.
Perfect bound vs. saddle stitched. Make the right binding choice for your book.


There are two problems with this. The first is that when you cheat your audience of the kind of meaningful content you promise, they are unlikely to stay long or to return. That hurts your SEO "bounce rate" – the rate at which readers "bounce" off your page, which is going to ratchet down your SEO score. And beyond that, Google and other search engines have become increasingly deft at identifying "click bait" and "bait-and-switch" techniques, which are sometimes referred to as a kind of "black hat trick" in the SEO world. It's not going to work as well as it once did, and the goal of search engines is to make sure it doesn't work at all.
Search engines don't want their users being constantly duped into clicking on irrelevant or worthless content. They want users to find what they are looking for. That means your law firm content marketing must provide information that is relevant and of value.
At Law Firm Ghost Writer, our content marketers are lawyers and award-winning former news reporters who extensively covered the legal system. We know how to turn a phrase to draw readers in. We value accuracy. We want our words to have meaning and value to you but also to your readers and potential clients.
We help you to identify the best keywords for your location and legal focus area. Then, we help you flesh out topics that people care about. We write honest headlines that will garner clicks and a offer level of in-depth analysis that provides readers with value.
The goal is to get readers to spend some time on your site. Your content marketing should help you stand out as a legal authority and trusted source of information. Your site should be a resource for potential clients and also the community at-large.
Journalists looking for legal expert sources to quote on various topics of the day will often peruse local lawyer websites. If your content marketing is sub-par – that is, poorly-written, failing to deliver on what the headline promises – they will quickly notice and look elsewhere.
Your website content should support your services – but more importantly, provide solid information. And by this we mean: Years ago, advertising was all about telling people how great your services or product was. But in this digital age, content marketing is much more subtle. Your readers are looking for accurate, timely and helpful information that will help to answer their questions. When you give them that – as opposed to only telling them why your firm is the best – they are more likely to stay longer, to read further and to reach out.


text:
Arnold S. Lippa, Ph.D. – Chief Scientific Officer, Executive Chairman of Board of Directors
Dr. Lippa has served as Executive Chairman since March, 2013 and Chief Scientific Officer since August, 2015. From March, 2013 until August, 2015 and from September, 2018 until May, 2020, he also served as President and Chief Executive Officer, respectively. He is a Senior Managing Director and founder of T Morgen Capital LLC through which he administers his family's assets. T Morgen Capital LLC is a significant equity owner and managing member of Aurora Capital LLC ("Aurora"), a firm of which Mr. Margolis is the president and founder and which has served as a placement agent with respect to certain of the Company's prior financings. Aurora was SEC registered and a FINRA member firm until voluntarily withdrawing effective July 2021 and has been inactive in the securities and investment banking industry since April 2021. Dr. Lippa and Mr. Margolis founded and jointly manage, since 2004, Atypical BioCapital Management LLC and Atypical BioVentures Fund LLC, a life sciences fund management company and venture fund, respectively. Both entities are currently inactive. Dr. Lippa is a member of the Board of Directors of ContraVir Pharmaceuticals, Inc. since December 2015, where he is a member of the audit committee and the compensation committee. Dr. Lippa was co-founder of DOV Pharmaceutical, Inc., where he served as Chairman of the Board and Chief Executive Officer from its inception in 1995 through 2005 and which he took public in 2002.