text:
Time signature
"Common time" redirects here. For the short story, see Common Time. For the album, see Commontime (album). For the time period, see Common Era.
"Time (music)" redirects here. For other uses, see Half-time (music).
An example of a 3
4 time signature. The time signature indicates that there are three quarter notes (crotchets) per measure (bar).
The time signature (also known as meter signature,[1] metre signature,[2] or measure signature)[3] is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat.
In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or 3
4 (read common time and three-four time, respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter.
There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., 3
4), and compound (e.g., 9
8 and 12
8); or involves shifting beat patterns, including complex (e.g., 5
8), mixed (e.g., 5
4), additive (e.g., 3+2+3
8), fractional (e.g., 2 1⁄2
4), and irrational meters (e.g., 3
10 or 5
1 Frequently used time signatures
1.1 Simple vs. compound
1.1.1 Simple
1.1.2 Compound
1.1.3 Examples
1.2 Duple, triple, etc.
1.3 Beating time signatures
1.4 Characteristics
2 Complex time signatures
3 Mixed meters
4 Additive meters
5 Irrational meters
7 Early music usage
7.1 Mensural time signatures
7.2 Proportions
Frequently used time signatures [ edit ]
Basic time signatures: 4
4, also known as common time ( ); 2
2, alla breve, also known as cut time or cut-common time ( ); 2
4; 3
4; and 6
Simple vs. compound [ edit ]
Simple [ edit ]
Simple time signatures consist of two numerals, one stacked above the other:
The lower numeral indicates the note value that represents one beat (the beat unit). This number is typically a power of 2.
The upper numeral indicates how many such beats constitute a bar.
For instance, 2
4 means two quarter-note (crotchet) beats per bar, while 3
8 means three eighth-note (quaver) beats per bar. The most common simple time signatures are 2
4, and 4
By convention, two special symbols are sometimes used for 4
The symbol is sometimes used for 4
4 time, also called common time or imperfect time. The symbol is derived from a broken circle used in music notation from the 14th through 16th centuries, where a full circle represented what today would be written in 3
4 time, and was called tempus perfectum (perfect time).[4] See Mensural time signatures below.
The symbol is also a carry-over from the notational practice of late-Medieval and Renaissance music, where it signified tempus imperfectum diminutum (diminished imperfect time)—more precisely, a doubling of the speed, or proportio dupla, in duple meter.[5] In modern notation, it is used in place of 2
2 and is called alla breve or, colloquially, cut time or cut common time.
Compound [ edit ]
In compound meter, subdivisions (which are what the upper number represents in these meters) of the beat are in three equal parts, so that a dotted note (half again longer than a regular note) becomes the beat. The upper numeral of compound time signatures is commonly 3, 6, 9, or 12 (multiples of 3 in each beat). The lower number is most commonly an 8 (an eighth-note or quaver): as in 9
8 or 12
Examples [ edit ]
In the examples below, bold denotes a more-stressed beat, and italics denotes a less-stressed beat.
Simple: 3
4 is a simple triple meter time signature that represents three quarter notes (crotchets). It is felt as
4: one and two and three and ...
Compound: In principle, 6
8 comprises not three groups of two eighth notes (quavers) but two groups of three eighth-note (quaver) subdivisions. It is felt as
8: one two three four five six ...
These examples assume, for simplicity, that continuous eighth notes are the prevailing note values. The rhythm of actual music is typically not as regular.
Duple, triple, etc. [ edit ]
Time signatures indicating two beats per bar (whether in simple or compound meter) are called duple meter, while those with three beats to the bar are triple meter. Terms such as quadruple (4), quintuple (5), and so on, are also occasionally used.
Beating time signatures [ edit ]
To the ear, a bar may seem like one singular beat. For example, a fast waltz, notated in 3
4 time, may be described as being one in a bar. Correspondingly, at slow tempos, the beat indicated by the time signature could in actual performance be divided into smaller units.
On a formal mathematical level, the time signatures of, e.g., 3
8 are interchangeable. In a sense, all simple triple time signatures, such as 3
2, etc.—and all compound duple times, such as 6
16 and so on, are equivalent. A piece in 3
4 can be easily rewritten in 3
8, simply by halving the length of the notes.
Other time signature rewritings are possible: most commonly a simple time signature with triplets translates into a compound meter.
Though formally interchangeable, for a composer or performing musician, by convention, different time signatures often have different connotations. First, a smaller note value in the beat unit implies a more complex notation, which can affect ease of performance. Second, beaming affects the choice of actual beat divisions. It is, for example, more natural to use the quarter note/crotchet as a beat unit in 6
2 than the eight/quaver in 6
4.[citation needed] Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in 4
Characteristics [ edit ]
The table below shows the characteristics of the most frequently-used time signatures.
Simple time signatures
Simple drum pattern
Video representation
4 or
(quadruple)
Common time: Widely used in most forms of Western popular music. Most common time signature in rock, blues, country, funk, and pop[6]
(duple)
Alla breve, cut time: Used for marches and fast orchestral music. Frequently occurs in musical theater. The same effect is sometimes obtained by marking a 4
4 meter "in 2"
Used for polkas, galops, and marches
(triple)
Used for waltzes, minuets, scherzi, polonaises, mazurkas, country & western ballads, R&B, sometimes used in pop
Also used for the above but usually suggests higher tempo or shorter hypermeter
Compound time signatures
Double jigs, polkas, sega, salegy, tarantella, marches, barcarolles, loures, and some rock music
Compound triple time: Used in triple ("slip") jigs, otherwise occurring rarely ("The Ride of the Valkyries", Tchaikovsky's Fourth Symphony, and the final movement of J.S. Bach's Violin Concerto in A minor (BWV 1041)[7] are familiar examples. Debussy's "Clair de lune" and the opening bars of Prélude à l'après-midi d'un faune are also in 9
Also common in slower blues (where it is called a shuffle) and doo-wop; also used more recently in rock music. Can also be heard in some jigs like "The Irish Washerwoman". This is also the time signature of the second movement of Beethoven's Pastoral Symphony.
Complex time signatures [ edit ]
See also: List of musical works in unusual time signatures, Quintuple meter, and Septuple meter
"13/8" redirects here. For the date, see August 13.
16 Time Drum Beat
Signatures that do not fit the usual duple or triple categories are called complex, asymmetric, irregular, unusual, or odd—though these are broad terms, and usually a more specific description is appropriate.[citation needed] The term odd meter, however, sometimes describes time signatures in which the upper number is simply odd rather than even, including 3
8.[8]
The irregular meters (not fitting duple or triple categories) are common in some non-Western music, but rarely appeared in formal written Western music until the 19th century. Early anomalous examples appeared in Spain between 1516 and 1520,[8] but the Delphic Hymns to Apollo (one by Athenaeus is entirely in quintuple meter, the other by Limenius predominantly so), carved on the exterior walls of the Athenian Treasury at Delphi in 128 BC are in the relatively common cretic meter, with five beats to a foot.[9]
The third movement of Frédéric Chopin's Piano Sonata No. 1 (1828) is an early, but by no means the earliest, example of 5
4 time in solo piano music. Anton Reicha's Fugue No. 20 from his Thirty-six Fugues, published in 1803, is also for piano and is in 5
8. The waltz-like second movement of Tchaikovsky's Pathétique Symphony (shown below), often described as a "limping waltz",[10] is a notable example of 5
4 time in orchestral music.
Examples from 20th-century classical music include:
Gustav Holst's "Mars, the Bringer of War" and "Neptune, the Mystic" from The Planets (both in 5
Paul Hindemith's "Fuga secunda" in G from Ludus Tonalis (5
the ending of Stravinsky's The Firebird (7
the fugue from Heitor Villa-Lobos's Bachianas Brasileiras No. 9 (11
the themes for the Mission: Impossible television series by Lalo Schifrin (in 5
4) and for Room 222 by Jerry Goldsmith (in 7
In the Western popular music tradition, unusual time signatures occur as well, with progressive rock in particular making frequent use of them. The use of shifting meters in The Beatles' "Strawberry Fields Forever" and the use of quintuple meter in their "Within You, Without You" are well-known examples,[11] as is Radiohead's "Paranoid Android" (includes 7
8).[12]
Paul Desmond's jazz composition "Take Five", in 5
4 time, was one of a number of irregular-meter compositions that The Dave Brubeck Quartet played. They played other compositions in 11
4 ("Eleven Four"), 7
4 ("Unsquare Dance"), and 9
8 ("Blue Rondo à la Turk"), expressed as 2+2+2+3
8. This last is an example of a work in a signature that, despite appearing merely compound triple, is actually more complex. Brubeck's title refers to the characteristic aksak meter of the Turkish karşılama dance.[13]
However, such time signatures are only unusual in most Western music. Traditional music of the Balkans uses such meters extensively. Bulgarian dances, for example, include forms with 5, 7, 9, 11, 13, 15, 22, 25 and other numbers of beats per measure. These rhythms are notated as additive rhythms based on simple units, usually 2, 3 and 4 beats, though the notation fails to describe the metric "time bending" taking place, or compound meters. See Additive meters below.
Some video samples are shown below.
4 at 60 bpm
Mixed meters [ edit ]
While time signatures usually express a regular pattern of beat stresses continuing through a piece (or at least a section), sometimes composers place a different time signature at the beginning of each bar, resulting in music with an extremely irregular rhythmic feel. In this case, the time signatures are an aid to the performers and not necessarily an indication of meter. The Promenade from Modest Mussorgsky's Pictures at an Exhibition (1874) is a good example. The opening measures are shown below:
Igor Stravinsky's The Rite of Spring (1913) is famous for its "savage" rhythms. Five measures from "Sacrificial Dance" are shown below:
In such cases, a convention that some composers follow (e.g., Olivier Messiaen, in his La Nativité du Seigneur and Quatuor pour la fin du temps) is to simply omit the time signature. Charles Ives's Concord Sonata has measure bars for select passages, but the majority of the work is unbarred.
Some pieces have no time signature, as there is no discernible meter. This is sometimes known as free time. Sometimes one is provided (usually 4
4) so that the performer finds the piece easier to read, and simply has "free time" written as a direction. Sometimes the word FREE is written downwards on the staff to indicate the piece is in free time. Erik Satie wrote many compositions that are ostensibly in free time but actually follow an unstated and unchanging simple time signature. Later composers used this device more effectively, writing music almost devoid of a discernibly regular pulse.
If two time signatures alternate repeatedly, sometimes the two signatures are placed together at the beginning of the piece or section, as shown below:
Detail of score of Tchaikovsky's String Quartet No. 2 in F major, showing a multiple time signature
Additive meters [ edit ]
To indicate more complex patterns of stresses, such as additive rhythms, more complex time signatures can be used. Additive meters have a pattern of beats that subdivide into smaller, irregular groups. Such meters are sometimes called imperfect, in contrast to perfect meters, in which the bar is first divided into equal units.[14]
For example, the time signature 3+2+3
8 means that there are 8 quaver beats in the bar, divided as the first of a group of three eighth notes (quavers) that are stressed, then the first of a group of two, then first of a group of three again. The stress pattern is usually counted as
8: one two three one two one two three ...
This kind of time signature is commonly used to notate folk and non-Western types of music. In classical music, Béla Bartók and Olivier Messiaen have used such time signatures in their works. The first movement of Maurice Ravel's Piano Trio in A Minor is written in 8
8, in which the beats are likewise subdivided into 3+2+3 to reflect Basque dance rhythms.
Romanian musicologist Constantin Brăiloiu had a special interest in compound time signatures, developed while studying the traditional music of certain regions in his country. While investigating the origins of such unusual meters, he learned that they were even more characteristic of the traditional music of neighboring peoples (e.g., the Bulgarians). He suggested that such timings can be regarded as compounds of simple two-beat and three-beat meters, where an accent falls on every first beat, even though, for example in Bulgarian music, beat lengths of 1, 2, 3, 4 are used in the metric description. In addition, when focused only on stressed beats, simple time signatures can count as beats in a slower, compound time. However, there are two different-length beats in this resulting compound time, a one half-again longer than the short beat (or conversely, the short beat is 2⁄3 the value of the long). This type of meter is called aksak (the Turkish word for "limping"), impeded, jolting, or shaking, and is described as an irregular bichronic rhythm. A certain amount of confusion for Western musicians is inevitable, since a measure they would likely regard as 7
16, for example, is a three-beat measure in aksak, with one long and two short beats (with subdivisions of 2+2+3, 2+3+2, or 3+2+2).[15]
Folk music may make use of metric time bends, so that the proportions of the performed metric beat time lengths differ from the exact proportions indicated by the metric. Depending on playing style of the same meter, the time bend can vary from non-existent to considerable; in the latter case, some musicologists may want to assign a different meter. For example, the Bulgarian tune "Eleno Mome" is written in one of three forms: (1) 7 = 2+2+1+2, (2) 13 = 4+4+2+3, or (3) 12 = 3+4+2+3, but an actual performance (e.g., Smithsonian Eleno Mome) may be closer to 4+4+2+3. The Macedonian 3+2+2+3+2 meter is even more complicated, with heavier time bends, and use of quadruples on the threes. The metric beat time proportions may vary with the speed that the tune is played. The Swedish Boda Polska (Polska from the parish Boda) has a typical elongated second beat.
In Western classical music, metric time bend is used in the performance of the Viennese Waltz. Most Western music uses metric ratios of 2:1, 3:1, or 4:1 (two-, three- or four-beat time signatures)—in other words, integer ratios that make all beats equal in time length. So, relative to that, 3:2 and 4:3 ratios correspond to very distinctive metric rhythm profiles. Complex accentuation occurs in Western music, but as syncopation rather than as part of the metric accentuation.[citation needed]
Brăiloiu borrowed a term from Turkish medieval music theory: aksak. Such compound time signatures fall under the "aksak rhythm" category that he introduced along with a couple more that should describe the rhythm figures in traditional music.[16] The term Brăiloiu revived had moderate success worldwide, but in Eastern Europe it is still frequently used. However, aksak rhythm figures occur not only in a few European countries, but on all continents, featuring various combinations of the two and three sequences. The longest are in Bulgaria. The shortest aksak rhythm figures follow the five-beat timing, comprising a two and a three (or three and two).
8 at 120 bpm
The rhythm of Dave Brubeck's "Blue Rondo à la Turk": It consists of three measures of 2+2+2+3 followed by one measure of 3+3+3 and the cycle then repeats. Taking the smallest time unit as eighth notes, the arrows on the tempo dial show the tempi for ♪, ♩, ♩. and the measure beat. Starts slow, speeds up to usual tempo
Irrational meters [ edit ]
Example of an irrational 4
3 time signature: here there are four (4) third notes (3) per measure. A "third note" would be one third of a whole note, and thus is a half-note triplet. The second measure of 4
2 presents the same notes, so the 4
3 time signature serves to indicate the precise speed relationship between the notes in the two measures.
Irrational time signatures (rarely, "non-dyadic time signatures") are used for so-called irrational bar lengths,[17] that have a denominator that is not a power of two (1, 2, 4, 8, 16, 32, etc.). These are based on beats expressed in terms of fractions of full beats in the prevailing tempo—for example 3
24.[17] For example, where 4
4 implies a bar construction of four quarter-parts of a whole note (i.e., four quarter notes), 4
3 implies a bar construction of four third-parts of it. These signatures are of utility only when juxtaposed with other signatures with varying denominators; a piece written entirely in 4
3, say, could be more legibly written out in 4
The same example written using metric modulation instead of irrational time signatures. Three half notes in the first measure (making up a dotted whole note) are equal in duration to two half notes in the second (making up a whole note).
The same example written using a change in time signature.
According to Brian Ferneyhough, metric modulation is "a somewhat distant analogy" to his own use of "irrational time signatures" as a sort of rhythmic dissonance.[17] It is arguable whether the use of these signatures makes metric relationships clearer or more obscure to the musician; it is always possible to write a passage using non-irrational signatures by specifying a relationship between some note length in the previous bar and some other in the succeeding one. Sometimes, successive metric relationships between bars are so convoluted that the pure use of irrational signatures would quickly render the notation extremely hard to penetrate. Good examples, written entirely in conventional signatures with the aid of between-bar specified metric relationships, occur a number of times in John Adams' opera Nixon in China (1987), where the sole use of irrational signatures would quickly produce massive numerators and denominators.[citation needed]
Historically, this device has been prefigured wherever composers wrote tuplets. For example, a 2
4 bar of 3 triplet crotchets could arguably be written as a bar of 3
6. Henry Cowell's piano piece Fabric (1920) employs separate divisions of the bar (anything from 1 to 9) for the three contrapuntal parts, using a scheme of shaped noteheads to visually clarify the differences, but the pioneering of these signatures is largely due to Brian Ferneyhough, who says that he finds that "such 'irrational' measures serve as a useful buffer between local changes of event density and actual changes of base tempo".[17] Thomas Adès has also used them extensively—for example in Traced Overhead (1996), the second movement of which contains, among more conventional meters, bars in such signatures as 2
A gradual process of diffusion into less rarefied musical circles seems underway.[citation needed] For example, John Pickard's Eden, commissioned for the 2005 finals of the National Brass Band Championships of Great Britain contains bars of 3
12.[18]
Notationally, rather than using Cowell's elaborate series of notehead shapes, the same convention has been invoked as when normal tuplets are written; for example, one beat in 4
5 is written as a normal quarter note, four quarter notes complete the bar, but the whole bar lasts only 4⁄5 of a reference whole note, and a beat 1⁄5 of one (or 4⁄5 of a normal quarter note). This is notated in exactly the same way that one would write if one were writing the first four quarter notes of five quintuplet quarter notes.
These video samples show two time signatures combined to make a polymeter, since 4
3, say, in isolation, is identical to 4
Polymeter 4
3 played together has three beats of 4
3 to four beats of 4
4 played together has six beats of 2
3 played together has five beats of 2
5 to three beats of 2
3. The displayed numbers count the underlying polyrhythm, which is 5:3
Variants [ edit ]
Some composers have used fractional beats: for example, the time signature 2 1⁄2
4 appears in Carlos Chávez's Piano Sonata No. 3 (1928) IV, m. 1.
Example of Orff's time signatures
Music educator Carl Orff proposed replacing the lower number of the time signature with an actual note image, as shown at right. This system eliminates the need for compound time signatures, which are confusing to beginners. While this notation has not been adopted by music publishers generally (except in Orff's own compositions), it is used extensively in music education textbooks. Similarly, American composers George Crumb and Joseph Schwantner, among others, have used this system in many of their works.
Another possibility is to extend the barline where a time change is to take place above the top instrument's line in a score and to write the time signature there, and there only, saving the ink and effort that would have been spent writing it in each instrument's staff. Henryk Górecki's Beatus Vir is an example of this. Alternatively, music in a large score sometimes has time signatures written as very long, thin numbers covering the whole height of the score rather than replicating it on each staff; this is an aid to the conductor, who can see signature changes more easily.
Early music usage [ edit ]
Mensural time signatures [ edit ]
In the 14th, 15th and 16th centuries, a period in which mensural notation was used, four basic mensuration signs determined the proportion between the two main units of rhythm. There were no measure or bar lines in music of this period; these signs, the ancestors of modern time signatures, indicate the ratio of duration between different note values. The relation between the breve and the semibreve was called tempus, and the relation between the semibreve and the minim was called prolatio. The breve and the semibreve use roughly the same symbols as our modern double whole note (breve) and whole note (semibreve), but they were not limited to the same proportional values as are in use today. There are complicated rules concerning how a breve is sometimes three and sometimes two semibreves. Unlike modern notation, the duration ratios between these different values was not always 2:1; it could be either 2:1 or 3:1, and that is what, amongst other things, these mensuration signs indicated. A ratio of 3:1 was called complete, perhaps a reference to the Trinity, and a ratio of 2:1 was called incomplete.
A circle used as a mensuration sign indicated tempus perfectum (a circle being a symbol of completeness), while an incomplete circle, resembling a letter C, indicated tempus imperfectum. Assuming the breve is a beat, this corresponds to the modern concepts of triple meter and duple meter, respectively. In either case, a dot in the center indicated prolatio perfecta (compound meter) while the absence of such a dot indicated prolatio imperfecta (simple meter).
A rough equivalence of these signs to modern meters would be:
corresponds to 9
8 meter;
4 meter.
N.B.: in modern compound meters the beat is a dotted note value, such as a dotted quarter, because the ratios of the modern note value hierarchy are always 2:1. Dotted notes were never used in this way in the mensural period; the main beat unit was always a simple (undotted) note value.
Proportions [ edit ]
Another set of signs in mensural notation specified the metric proportions of one section to another, similar to a metric modulation. A few common signs are shown:[19]
tempus imperfectum diminutum, 1:2 proportion (twice as fast);
tempus perfectum diminutum, 1:2 proportion (twice as fast);
or just proportio tripla, 1:3 proportion (three times as fast, similar to triplets).
Often the ratio was expressed as two numbers, one above the other,[20] looking similar to a modern time signature, though it could have values such as 4
3, which a conventional time signature could not.
Some proportional signs were not used consistently from one place or century to another. In addition, certain composers delighted in creating "puzzle" compositions that were intentionally difficult to decipher.[21]
In particular, when the sign was encountered, the tactus (beat) changed from the usual whole note (semibreve) to the double whole note (breve), a circumstance called alla breve. This term has been sustained to the present day, and though now it means the beat is a half note (minim), in contradiction to the literal meaning of the phrase, it still indicates that the beat has changed to a longer note value.
Schaffel
^ Alexander R. Brinkman, Pascal Programming for Music Research (Chicago: University of Chicago Press, 1990): 443, 450–63, 757, 759, 767. ISBN 0226075079; Mary Elizabeth Clark and David Carr Glover, Piano Theory: Primer Level (Miami: Belwin Mills, 1967): 12; Steven M. Demorest, Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal (Oxford and New York: Oxford University Press, 2003): 66. ISBN 0195165500; William Duckworth, A Creative Approach to Music Fundamentals, eleventh edition (Boston, MA: Schirmer Cengage Learning, 2013): 54, 59, 379. ISBN 0840029993; Edwin Gordon, Tonal and Rhythm Patterns: An Objective Analysis: A Taxonomy of Tonal Patterns and Rhythm Patterns and Seminal Experimental Evidence of Their Difficulty and Growth Rate (Albany: SUNY Press, 1976): 36–37, 54–55, 57. ISBN 0873953541; Demar Irvine, Reinhard G. Pauly, Mark A. Radice, Irvine's Writing about Music, third edition (Portland, Oregon: Amadeus Press, 1999): 209–10. ISBN 1574670492.
^ Henry Cowell and David Nicholls, New Musical Resources, third edition (Cambridge and New York: Cambridge University Press, 1996): 63. ISBN 0521496519 (cloth); ISBN 0521499747 (pbk); Cynthia M. Gessele, "Thiéme, Frédéric [Thieme, Friedrich]", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001); James L. Zychowicz, Mahler's Fourth Symphony (Oxford and New York: Oxford University Press, 2005): 82–83, 107. ISBN 0195181654.
^ Edwin Gordon, Rhythm: Contrasting the Implications of Audiation and Notation (Chicago: GIA Publications, 2000): 111. ISBN 1579990983.
^ G. Augustus Holmes (1949). The Academic Manual of the Rudiments of Music. London: A. Weekes; Stainer & Bell. p. 17. ISBN 9780852492765.
^ Willi Apel, The Notation of Polyphonic Music 900–1600, fifth edition, revised and with commentary; The Medieval Academy of America Publication no. 38 (Cambridge, Massachusetts: The Medieval Academy of America, 1953): 147–48.
^ Scott Schroedl, Play Drums Today! A Complete Guide to the Basics: Level One (Milwaukee: Hal Leonard Corporation, 2001), p. 42. ISBN 0-634-02185-0.
^ SeeFile:Bach BVW 1041 Allegro Assai.png for an excerpt from the violin part of the final movement.
^ a b Tim Emmons, Odd Meter Bass: Playing Odd Time Signatures Made Easy (Van Nuys: Alfred Publishing, 2008): 4. ISBN 978-0-7390-4081-2. "What is an 'odd meter'?...A complete definition would begin with the idea of music organized in repeating rhythmic groups of three, five, seven, nine, eleven, thirteen, fifteen, etc."
^ Egert Pöhlmann and Martin L. West, Documents of Ancient Greek Music: The Extant Melodies and Fragments, edited and transcribed with commentary by Egert Pöhlmann and Martin L. West (Oxford: Clarendon Press, 2001): 70–71, 85. ISBN 0-19-815223-X.
^ "Tchaikovsky's Symphony # 6 (Pathetique), Classical Classics, Peter Gutmann". Classical Notes. Retrieved 2012-04-20.
^ Edward Macan, Rocking the Classics: English Progressive Rock and the Counterculture (New York: Oxford University Press, 1997): 48. ISBN 978-0-19-509888-4.
^ Radiohead (musical group). OK Computer, vocal score with guitar accompaniment and tablature (Essex, England: IMP International Music Publications; Miami, FL: Warner Bros. Publications; Van Nuys, Calif.: Alfred Music Co., Inc., 1997):[page needed]. ISBN 0-7579-9166-1.
^ Manuel, Peter (1988). Popular Musics of the Non-Western World: An Introductory Survey (rev. ed.). Oxford University Press. p. 131. ISBN 9780195063349.
^ Gardner Read, Music Notation: A Manual of Modern Practice (Boston: Allyn and Bacon, Inc., 1964):[page needed]
^ Constantin Brăiloiu, Le rythme Aksak, Revue de Musicologie 33, nos. 99 and 100 (December 1951): 71–108. Citation on pp. 75–76.
^ Gheorghe Oprea, Folclorul muzical românesc (Bucharest: Ed. Muzicala, 2002),[page needed] ISBN 973-42-0304-5
^ a b c d "Brian Ferneyhough", The Ensemble Sospeso
^ John Pickard: Eden, full score, Kirklees Music, 2005.
^ Willi Apel, The Notation of Polyphonic Music 900–1600, fifth edition, revised with commentary; The Medieval Academy of America Publication no. 38 (Cambridge, Massachusetts: The Mediaeval Academy of America, 1953), p. 148.
^ Ernst Friedrich Richter, A Treatise on Canon and Fugue: Including the Study of Imitation, translated from third German edition by Arthur W. Foote (Boston: Oliver Ditson, 1888): 38. [ISBN unspecified].
Rhythm and meter
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Category:Musical notation


text:
Dogs Left Chained In Yard After Owners Fled In Louisiana Flood
Rescuers found them just in time.
By Christian Cotroneo
Published on 9/12/2016 at 11:27 AM
As rescuers make their way from home to home in the wake of the Louisiana floods, the scenes start to repeat themselves.
Lifeless yards. Dark houses. No one home.
Guardians of Rescue
But they keep making house calls during this post-apocalypse - the aftermath of the worst disaster the country's seen since Hurricane Sandy in 2012.
When 30,0000 people fled the southern parts of the state two weeks ago, many left their pets behind. And now, rescuers are racing to find them.
Like a German shepherd, who, at just 38 pounds, was initially mistaken for dead.
"She was covered in mud, lying motionless in a ditch when passersby first noticed her," Patricia Blackwood, operations officer for Guardians of Rescue, tells The Dodo. "It was as though she had given up hope and was waiting to die."
But not that day. Instead, the dog will recover at an emergency shelter.
"Now what you have is animals come out of hiding," Robert Misseri, founder of Guardians of Rescue, tells The Dodo. "Animals wandering lost, hurt, starving. This is what you're dealing with on an everyday basis."
"You come up to a house, there's no one there. No one around," he says. "You can see dogs haven't eaten. No water, no food, nothing. Just chained up."
But alive.
Last week, rescuers were tipped off to three dogs trapped in a yard. Their owner had fled, leaving them with empty bowls and no means of escape.
They had been chained to their posts for good measure.
But thanks to a neighbor who gave them food and water, they managed to survive until help got there.
"After assessing the situation, the owner was located and ownership was signed over and we quickly moved in to remove them from where they had endured rising waters, hunger and thirst," Blackwood says.
But then rescuers were faced with the same problem that has plagued the animal rescue effort since the torrent began in mid-August.
Where do they take these tired, hungry dogs?
"It's been really difficult because there's no assistance," Misseri says. "The shelters are full. They can't take in animals."
Where rescuers once faced a flood, they now find themselves bogged down by a severe shortage of resources.
"Until [the animals are] medically cleared, you can't move them out of the state," Misseri notes. "It's really complicated. It's one of those rescues that, if you don't have resources, you're really stuck."
These three dogs were among the fortunate few to find spots in emergency shelters. They were loaded into crates, then kennels.
Then given much-needed baths.
"They are all happy, friendly dogs who love people," Blackwood says.
Two are heartworm positive. All now have hope.
When Misseri explains what rescuers need, you can tell it isn't the first time he's recited this list.
"We need rescues to take animals. We need transport. We need vets," he says.
Even horses were left behind, their owners unable to return to them when the waters rose. Some ended up standing in sewage-filled water for so long, their infected skin had peeled off.
"The waters may be receding, but that has brought a flood of animals who are in dire need," Blackwood explains. "Abandoned, starving, injured and ill. The reality is, time is running out and Guardians of Rescue is working to beat that clock."
But the flood of four-legged refugees continues to rage, even as more rescue groups pull out of the area. And not every cry for help can be heard. Sometimes, you have to peer over the fences.
Humane Society of Louisiana
Consider making a donation to Guardian of Rescue's mission to leave no animal behind in Louisiana.

redpajama_set_name: RedPajamaCommonCrawl


Barcode scanners are becoming more and more vital in health care and clinical environments. They ensure that data is captured accurately the first time and eliminate risks associated with misreading patient charts and providing too much medication or the wrong medication. POSGuys.com carries a full line of PoC barcode scanners ideal for health care environments, featuring easily sanitized housings, aggressive scan engines, and great ergonomics.
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The Datalogic Gryphon I GBT4400 barcode scanner is a great choice for healthcare providers needing an easy to clean, unobtrusive cordless scanning solution. Built with a special antimicrobial housing, the Gryphon can be wiped down with various chemical cleaners without the body becoming brittle or pitting. Datalogic's green spot technology provides a visual cue of successful scan, fantastic for scanning patient barcodes without an annoying beep disturbing them.
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Designed to stand up to rough environments, the Symbol LS3008 is a great fit for clinics or mobile hospital terminals. The IP54 seal allows the LS3008 to be easily sanitized, preventing the spread of contaminants. The aggressive scan engine features full light immunity, and rasterizes to read damaged and dirty barcodes with ease.
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Rebecca began her real estate career in 1995 in the Bay Area for Shea Homes, a new home builder, where she learned the different facets of new home construction. Rebecca then applied her experience to selling single-family homes and building her real estate business. She quickly became known for her hard work, persistence, and knowledge of the market; which then created opportunities in Commercial Real Estate. Rebecca's tenacious work ethic, determination for excellence, and attentiveness to her clients' needs have served her well and won her many repeat clients.
Rebecca transitioned fully into Commercial Real Estate three years ago working under Brian Velthoen where she coordinated several land development projects and can navigate through the challenges that are required for a successful close. Her dedication and passion, which was exhibited in her residential activity, can be expected in her commercial business as well. She has built relationships with the city/ county planning, engineers, and architects and has proven to be a good resource for clients requiring land development projects.
She is currently pursuing her CCIM (Certified Commercial Investment Member) designation having completed the first course.


The odd-man or box lacrosse's version of the hockey power-play (where one team enjoys a one-man advantage as the result of an opposition penalty) has proven to be a more devasting weapon than any ever exhibited on Spectrum ice by the Rangers, Bruins, or Flyers.
Only an extraordinary defensive performance or a conversely inept offensive attack prevents odd-man from culminating in a goal. Such is the edge afforded the offense … particularly when coach Bnb Ailen sends pointman John Grant, comermsLarry Lloyd and Brian Robinson, and Yeasemen Terry Lloyd and Zeny Lipinski out on the floor against the box-zone set up by the four defenders in front of the enemy net.
But look again. Do the Wings really have a five against-four advantage?Not if you've observed closely during the season, for Allan has literally been attacking three not five against four! Why would he kiss away a manpower advantage? Sounds silly! But not when you analyze the talents of his terrific Trio – Robinson, Larry Lloyd, and "Tree" Grant. .
Each is rangy, Grant and Lloyd well over six feet, and each has an explosive shot which, one-on-one against any goaler from within 25 feet is an overmatch.
While Lipinski and Terry Lloyd do contain the back pair on the zone defense keeping them "honest", they'll rarely be directly involved in the play. They don't attempt too much screening (blocking the goaler's view) since the movement at the top of the zone gives the Wings' exceptionally high percentage shots not needing the screen. And seldom do Zeny and Terry get rebounds since wide-shots have such velocity that the ricochet speed is too great for reaction control, and shots right on the net either go in the goal or in the goaler.


Had enough of the Winter Olympics?
They come to an end Sunday. Figure skating commentators Tara Lipinski, Johnny Weir and Terry Gannon will host the Closing Ceremony at 8 p.m. on NBC. The trio will be in PyeongChang Olympic Stadium to comment on the Parade of Nations, musical performances, fashions and pageantry. Those commentators should keep things interesting. Gold medalist Jessie Diggins will be the U.S. flag bearer, NBC's "Today" revealed Friday.


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Leaving a property unoccupied for extended periods of time might come with its own set of risks, which is why holiday villa insurance is so unique. Most standard home or villa insurance policies don't cover the special risks and unique factors associated with owning a holiday home, which is why Turkish holiday villa insurance could be so important for UK based individuals who choose to own holiday properties abroad.
A comprehensive holiday villa insurance policy generally provides protection against buildings damage and the damage, loss or theft of home contents. However it is usually possible to secure holiday villa building insurance or holiday villa contents insurance separately, depending on the needs of the property owner.
Obtaining an insurance quote for Turkish holiday villa insurance might be made easier by choosing to utilise a comparison website. Any additional policy features, such as protection from accidental damage or alternative accommodation provision should the property become inhabitable, could be discussed within each policy.
If a property owner plans on letting their Turkish holiday villa out, either in the short or the long term, then it might also be important to ensure that this is covered within the villa insurance policy and perhaps that public liability insurance is also included as a part of the policy.


text:
Irish Elk
By: Gabe Buckley
The extinct Irish Elk
Class Mammalia
Order Artiodactyla
Family Cervidae
Genus Megaloceros
Species Megaloceros giganteus
Niche Herding Herbivore
Height Up to 7 feet (2.1 m)
Weight 1,200-1,500 lbs (540-700 kg)
Lifespan Unknown
Social Structure Unknown, though likely similar to deer
Conservation Status Extinct (7,000 years ago)
Preferred Habitat Grasslands
Average Number of Offspring Unknown
Main Prey Species Likely grasses, vegetation
Predators Humans, likely extinct predators like the saber-toothed tiger
The Irish Elk is an extinct species within the Cervidae family – closely related to living deer species. Also known as the 'giant deer' and most closely related to the fallow deer, the Irish Elk is named mostly for its massive size. It is not as closely related to the European elk (moose) or the North American elk (wapiti). The species is known for its massive size, massive antlers, and slight hump on its front shoulders.
Though Irish Elk remains have been found all throughout Europe, the peat bogs of Ireland preserved many specimens that were well-intact. The scientific name – Megalocerus giganteus – refers both to the massive antlers ('megalos'=great + 'cerus'=antler) and the creature's massive size (giganteus). Antlers from this species have been found that are nearly 12 feet (3.6 m) wide!
The giant Irish elk next to a human skeleton
Like other deer species, the Irish elk was likely a herding species that centered around reproduction, with males competing directly for access to females. Their large antlers, some of the largest in the animal kingdom, were likely a sexually selected trait. Females prefer males with larger antlers – both because they can fight better and because larger antlers imply a greater fitness.
Why Did the Irish Elk go Extinct?
The youngest fossil Irish elk is only around 7,700 years old, uncovered in parts of Siberia. Though populations likely when extinct at different times in different parts of the globe, this seems to be the last time the Irish Elk was seen on Earth. Exactly why the Irish elk went extinct is still up for debate, though several theories abound.
Several drastic changes occurred over the face of the globe during the last few thousand years that Irish elk were widespread across Europe. The first was the Last Glacial Period – a time of generally lower temperatures and fully-developed glaciers that extended from around 115,000 years ago to around 11,700 years ago. After that time, glaciers melted away and global temperatures slowly began to rise. Not only did this change the types of vegetation available, but it also helped humans expand their population throughout Europe.
Several theories suggest that human hunting was the ultimate cause of Irish elk extinction, whether this was due to maladaptations of the elk – such as its massive antlers that could have prohibited running – or simply widespread hunting that constantly reduced the population until it went extinct. Humans have wiped out many of the largest animals across many continents, so this theory is highly likely.
Irish elk are commonly seen in art from early humans
Interesting Insights from the Irish Elk!
Just because the Irish elk is extinct does not mean it has nothing to teach us about biology. In fact, extinct animals often give us some of the greatest insights into evolution, the process of extinction, and several other biological concepts. Let's look at a few of the most important concepts displayed by the Irish elk.
Extinction Detectives
Part of the job of a paleontologist is to piece together the lives of animals that no longer exist. To do so, they rely on every clue they can pull from the fossils that they find. In the case of the Irish elk, many fossils were well preserved in the Irish peat bogs and other places around the globe. Thus, paleontologists are able to make educated guesses as to how this species eventually went extinct.
For instance, by measuring the size of antlers over time, scientists have shown that the average size of antlers was actually decreasing at the time the massive deer went extinct. This suggests that the antlers were too large, and animals with smaller antlers were actually more successful at surviving and reproducing. Coupled with the fact that antlers and bones from the species have been found in ancient human settlements suggests that humans were very familiar with the species and likely used it as a source of food.
The Loss of Large Species
As humanity expanded over the globe at the end of the last Ice Age, they brought with them a heavy appetite for the large game animals present in these new regions. As such, many of these creatures were hunted to extinction long before modern civilization. The Irish elk is joined by many animals that were likely wiped out by early human settlements.
Also included in this group are the woolly mammoth, the mastodon, the American lion, ground sloths, the dire wolf, giant armadillos, saber-toothed tigers, and many more large species that thrived during the cold periods before the expansion of humanity. Many of these species were hunted to extinction for their meat, while some of the larger predators likely went extinct due to a lack of prey and persecution by early farmers and human settlements.
Fossil Irish elk help scientists estimate its actual size
With extinctions continuing at a high rate to the modern-day, many scientists have suggested that humans are actually responsible for the Sixth Mass Extinction, an event that is ongoing and could end up wiping out a majority of the species on Earth. While the loss of one species is not necessarily a cause for concern, the loss of hundreds, thousands, or millions of species should be concerning.
These species make ecosystems function. Without them, entire ecosystems could collapse. While you can't blame early humans for doing their best to survive, we now live in a world where eating meat is unnecessary for most people and we recognize that there are ways to develop human settlements sustainably in ways that do not impact the environment. There is no reason that we should still be driving many species to extinction.
Biologydictionary.net Editors. "Irish Elk." Biology Dictionary, Biologydictionary.net, 19 Jul. 2020, https://biologydictionary.net/irish-elk/.
Biologydictionary.net Editors. (2020, July 19). Irish Elk. Retrieved from https://biologydictionary.net/irish-elk/
Biologydictionary.net Editors. "Irish Elk." Biology Dictionary. Biologydictionary.net, July 19, 2020. https://biologydictionary.net/irish-elk/.


Clean-energy subsidies are vanishing. What should replace them?
Clean tech has enjoyed quite the party these past few years. Solar, wind, plug-in vehicles — they've all benefited from billions of dollars in subsidies from Congress, through various energy and stimulus bills. As a result, many industries, like solar, have taken lengthy strides.
The new report, co-authored by researchers from the Brookings Institution, the Breakthrough Institute, and the World Resources Institute, is the first to examine in detail which policies are actually expiring and when. All told, Congress has created more than 92 different programs dealing with clean tech — everything from production tax credits for wind power to advanced manufacturing credits to loan guarantees for nuclear power. And, by 2014, 70 percent of these programs will have vanished.
The authors argue that letting all of these programs expire could cause the clean tech sector to "go bust," as budding energy technologies like solar, wind, and even next-generation nuclear plants are currently facing pressure from ultra-cheap natural gas and from subsidized competitors in China.
But, Jenkins notes, that doesn't mean all 92 of these programs should simply be extended as is. For one, that likely won't fly politically — the report argues that "public tolerance" for endless clean-energy subsidies "is limited," citing earlier research. But also, Jenkins argues, it's not good policy on the merits to keep forking money over to solar and wind and geothermal producers without a real sense of larger aims. "The goal shouldn't be to simply subsidize industries endlessly, it should be to improve innovation so that the subsidies can phase out over time," he explains.
To that end, the report suggests that Congress should rejigger its clean-energy subsidies in several ways. First, it should focus heavily on research and development. And second, the subsidies that are geared toward deploying new technologies — the credits and policies that help wind turbines sprout up and nuclear reactors get built — should be structured so that they reward improvements in performance. Solar power shouldn't just get proppd up no matter what. It should get money in such a way that manufacturers have incentives to keep putting out more efficient panels that get steadily cheaper.
The ultimate goal of these policies, the authors note, is to push clean tech so that it can eventually stand on its own and compete with older, more established fossil fuels.


Artist of the Week: Cevdet Erek.
February 27, 2014 in bristol arts.
Is it Istanbul or Constantinople, or Spike Island?
← Is it Istanbul or Constantinople, or Spike Island?
Thank you very much for the kind comment!


Vito Fiorenza (1927—March 23, 2015) was a photographer born in New York.
Fiorenza first visited Sicily in the late 1940s, then in the mid-1950s, Fiorenza and his wife traveled back to Italy; some of these photographs were reproduced in his self-published volume Sicilian Town.
In 1954 he won a Village Camera Club prize and in 1955 three of his Sicilian scenes were included in Edward Steichen's blockbuster The Family of Man exhibition, one of them, a group portrait of a Sicilian family, was grouped with others in the central display, at the Museum of Modern Art (MoMA) which subsequently toured the world.
His Sicilian photographs were shown again in 1967 at the Lincoln Center as part of the Virtuosi di Roma-Vivaldi Festival.
Fiorenza died after a short illness on March 23, 2015.
This page was last edited on 18 February 2019, at 19:40 (UTC).


Visit the Boggy Creek Farm location page.
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April 14, 2013. 26 photos.
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Food editor Virginia B. Wood surveys Austin's farmer's markets.
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The Green Corn Project Benefit 2008 at Boggy Creek Farm was a rousing success.
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Will Austin shoppers support a Downtown farmers' market?
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text:
Matthew Stogdon 22nd April 2013
Based On The Outrageously True Story
Michael Winterbottom
Anna Friel
There are three clear prongs to 'successful' British cinema: the period drama, the urban gangster flick and the sweary/racy comedy. This established fact is very frustrating for British filmmakers as it almost dictates the conditions under which your film is expected to fall. Curiously enough, The Look Of Love could be classed as all three and yet fails to actually achieve much of anything. A completely acceptable film that held my attention to the end but I simply didn't care about or invest in any of it.
The plot is told through flashbacks, following the death of Paul Raymond's [Coogan] daughter, Debbie [Poots] and heir to his vast empire. If you happen to be wondering who Paul Raymond is, so was I. Thankfully, the film dutifully explains that Paul Raymond was a stage entertainer in the 1950's who went on to own the majority of the nude clubs and theatres in London by the mid-seventies, publish the most successful men's only magazine and was later pronounced the richest man in Britain. Taking precedence over his financial and entrepreneurial accomplishments are the various relationships and general debauchery that Paul Raymond involved himself in and how these interactions impacted on his family. Additionally, with his daughter growing up with her father as a role-model you'd assume she would be a massively unhinged nightmare but in all honesty, Debbie is portrayed as any neglected daughter, lashing out and finding drugs and bad company. All of which goes unnoticed by the self preoccupied porn mogul.
Directorially speaking, Michael Winterbottom's varied curriculum vitae is a true testament to the man's ability and range. Having said that, it makes it very difficult to gauge what kind of experience you're in for when watching one of his films.. unless he's cast Steve Coogan, in which case you've probably seen it before. As much as I love 24 Hour Party People and enjoyed A Cock And Bull Story, there's something thematically similar about their structure and leading performance. The same can be said of this release. Granted, the tonality is on the serious side and the acting itself demands a little more (which Coogan adequately delivers) but it feels like a bit of a rehash of something we've seen before. Happily, one thing that remains constant in each of Winterbottom's film is the attention to detail and the extremely impressive production design. All the sets, costumes, hair and makeup are perfectly fitting for the relevant time periods and genuinely sell the era. Even the quirky transition from black and white to colour for the 50's/60's narrative progression was a nice touch and keenly edited.
The script really tries to sell on the idea that the central character is a fairly interesting one and to a degree he is. Raymond is made more interesting by the layers piled on by Coogan's performance and the film really shines when Raymond is interacting with his daughter – the one person he forms any real connection with, one of his most loyal supporters and ultimately, the one who suffered the most from Raymond's lifestyle. But despite his crippled relationships with family members, baffling charisma and shallow successes with women, I failed to connect with this individual as a whole, unlike say Woody Harrelson's gripping performance in The People Vs. Larry Flynt. And whereas The People Vs. Larry Flynt called into question the nature and politics of the pornographic industry, this film simply illustrates the existence of Britain's most successful and wealthy pornographer. But by avoiding any political statements and failing to actually take a side as to the rights and wrongs of said industry, the entire movie feels like something is absent. One could argue that illustrating a rise and fall tale from a state of complete neutrality can work incredibly well (a good recent example would be The Social Network) but regarding a subject that is so controversial, i.e. the subjugation of women and the sheer popularity of female debasement/idolisation, neutrality will not be well met by audiences.
The Look Of Love is a commendable enough release and in parts, very well acted but as I left the screening, I could hear mutterings of "That was alright", "Well, I wouldn't pay to see it" and "No, I didn't really know who he was either" all of which hung over a din of general indifference. Which is unfortunate. There's nothing very wrong with the film, all the pieces (or ingredients, if you will) are of a decent calibre but the final product is simply lacking. An entertaining but wholly forgettable experience. It feels as though there's a message here somewhere or something is being said but it gets lost in a rather long plodding story about a man who was pretty poor at connecting with anyone in form other than a sexual one.
After Raymond spends a small fortune putting on the most expensive play in the UK (starring his daughter in the only clothed role), he quickly discovers that the lead performance and grandiose plot simply aren't up to scratch and he's haemorrhaging cash. With no other alternative, the ruthless business side of him trumps the fatherly side and he cancels the production. When informing his daughter of his decision, his utter inadequacy as a father comes to the foreground. Incapable of dealing with Debbie's devastation, all he can do is keep repeating "The show is haemorrhaging cash! What do you want me to do?" followed by "Well don't cry about it!" It's a perfect representation of a man who had no knowledge of how to interact with his daughter and was later surprised when she overdosed.
Chris Addison's portrayal of the highly coked- up Tony Power (editor of magazine Men Only) was perfectly fitting of the nature of the character he was playing but also the time in which he existed. A decent personification of the prevalent kind of sleazy professional with their ridiculous attitudes yet somehow winning people over with their disarming charm.
"When I first started in the entertainment industry, I did this mind reading act. And I very quickly realised that people liked to look at beautiful women and liked them more so with their clothes off. So, in that way, I could read minds"
"Well executed and well performed but unlike Winterbottom's previous collaborations with Coogan, the subject matter is simply not as appealing"
CRAZY, STUPID, LOVE TO ROME WITH LOVE ROSE: A LOVE STORY
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text:
2. československá hokejová liga 1963/1964 byla 11. ročníkem československé druhé nejvyšší hokejové soutěže.

Systém soutěže
Soutěže se účastnilo 32 týmů rozdělených do čtyř skupin po 8 týmech. Ve skupině se utkaly týmy čtyřkolově každý s každým (celkem 28 kol). Vítězové skupin postoupili do kvalifikace o nejvyšší soutěž. Do nejvyšší soutěže postoupily první dva týmy z kvalifikace.

Týmy na posledních místech jednotlivých skupin sestoupily do příslušného krajského přeboru.

Základní část

Skupina A

Skupina B

Skupina C

Skupina D

Týmy TJ Slavoj České Budějovice, TJ Spartak Motorlet Praha, TJ Spartak Královopolská strojírna Brno a VTJ Dukla Košice postoupily do kvalifikace o nejvyšší soutěž, ve které uspěly týmy VTJ Dukla Košice a TJ Spartak Motorlet Praha a postoupily tak do nejvyšší soutěže.

Původně měly sestoupit do příslušného krajského přeboru týmy TJ Dynamo Praha, TJ Jiskra Havlíčkův Brod, TJ Baník Důl Dukla Havířov - Suchá a TJ Iskra Liptovský Mikuláš, ale protože došlo ke sloučení týmů TJ Dynamo Praha a TJ Spartak Tatra Smíchov a navíc týmy TJ Tesla Pardubice B a TJ Spartak ZJŠ Brno ukončily činnost, sestoupil pouze tým TJ Baník Důl Dukla Havířov - Suchá.

Externí odkazy
 Historie československého a českého hokeje
 hockeyarchives.info
 Přehled sezón

2. československá hokejová liga
Lední hokej v roce 1963
Lední hokej v roce 1964

redpajama_set_name: RedPajamaWikipedia


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Home / Politics / Stories / US News / Viral / Stockholm: Elderly Residents Kicked Out of Apartments to Make Way For Migrants
Stockholm: Elderly Residents Kicked Out of Apartments to Make Way For Migrants
Aprail December 10, 2019 Politics, Stories, US News, Viral
Dozens of elderly residents were forced to leave their apartments in an area of Stockholm after the block was closed, only to be re-opened again for migrants to replace them.
Residents at Dianagården were told they would have to leave because the toilets in the facility were 5cm too small to comply with regulations.
However, soon after the 48 apartments were emptied, they were filled with newly arrived migrants.
"It was later revealed that politicians planned that immigrants would instead move into the premises," reports Fria Tider.
In 2015, Sweden accepted more refugees per capita than any other country, and despite worsening problems with sexual assaults, grenade attacks and violent crime, the inflow shows no sign of being seriously restricted.
A recent opinion poll found that the anti-mass migration Sweden Democrats are now the most popular party in Sweden. The Sweden Democrats would get 24.2% of the votes if an election was held today, beating the ruling Social Democrats.
Back in October, Leif Östling, former CEO of trucking company Scania, warned that Sweden is heading towards civil war due to uncontrolled mass immigration.
"We've taken in far too many people from outside. And we have. Those who come from the Middle East and Africa live in a society that we left almost a hundred years ago," he said.
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The way she tells it, Bre Lloyd has been an understated part of Portland's coffee culture for nigh on a decade. But her history with the City of Roses goes much further back--she moved here at age 5 and grew up in the Sabin neighborhood of Northeast. Though her family moved to Corvallis, she ran away from home at 15 and drifted back to Portland where, she says, her first job off the streets was in coffee.
Bre, we're going to miss you. Don't be a stranger!