Tourette syndrome (TS) belongs to a spectrum of neurodevelopmental conditions referred to as Tic Disorders.
TS and other Tic Disorders are not rare. Tics occur in as many as 1 in 5 school-aged children. Some occurrences may be transient, while others will persist into adolescence and adulthood.
The combined prevalence of TS and other Tic Disorders is estimated to be over 10 cases per 1,000 (1%, 1:100), suggesting that over ½ million children have a Tic Disorder in the US.
The best estimate for the prevalence of TS is 6 cases per 1,000 (0.6%, 1:160) children, which means that approximately 300,000 children have the condition in the US (based on 2010 Census data).
There are currently no reliable prevalence estimates of TS and other Tic Disorders in adults, but are expected to be substantially less than in children as tics often decline with aging.
Further research is needed to provide better estimates of the prevalence of TS and other Tic Disorders across all age groups.
Tourette syndrome (TS) is a hereditary neurodevelopmental disorder that affects children, adolescents and adults. The condition is characterized by sudden, uncontrollable movements and/or sounds called tics.
TS is a member of a spectrum of similar conditions collectively called Tic Disorders. This group of conditions also includes Chronic Motor or Vocal Tic Disorders (CMVTD) which share many features of and may be misdiagnosed as TS. They differ, however, on the basis that a diagnosis of TS requires the presence of both motor and phonic tics for at least 1 year, while the presence of either motor or phonic tics (not both) for more than 1 year is required for a diagnosis of CMVTD. Individuals with tics present for less than 1 year are given a diagnosis of Provisional Tic Disorder (PTD). In all of these conditions, the diagnosis is only valid if tic onset occurs before the age 18 years and if the tics are not due to an easily identifiable cause such as a medical problem or drug use. Importantly, the spectrum of Tic Disorders is not necessarily a continuum in terms of severity as each disorders (e.g. TS) can be more or less severe than the other (e.g. CMVTD) in the Tic Disorders group.
Individuals with Tic Disorders often have co-occurring psychiatric disorders, most commonly Obsessive-Compulsive Disorder (OCD) or Attention Deficit-Hyperactivity Disorder (ADHD). TS is known for its association with coprolalia, which is the utterance of obscene and socially unacceptable words and phrases. However, coprolalia is relatively rare in individuals with TS (1-2 in 10), is not required for diagnosis, and does not persist in many cases.
Tics and associated symptoms in these conditions may range from mild/inconsequential to moderate and severe, and are disabling in some cases. Indeed, many individuals with tic disorders do not need or seek treatment, while others require multiple therapeutic interventions to manage tics and symptoms of co-occurring conditions. Treatment is generally considered when tics are painful, distressing, interfere with social, academic or professional life. When needed, treatment strategies for all Tic Disorders are the same, and may include medication and/or behavioral intervention. Surgical treatments (i.e. deep brain stimulation, DBS) continue to be developed and should only be considered for the most severe, drug-refractory, cases of Tic Disorders.
The causes of TS and other Tic Disorders remain unclear, but genetic and environmental factors appear to play a role in the development of the conditions. These conditions normally appear during early childhood (as early as 4 years old), occur in both sexes (rates are 3-4 times higher in boys compared to girls), affect all races, and are found in all geographic regions where they have been studied. Prevalence estimates of tics, TS and other Tic Disorders vary widely due to differences in study methods. It is clear, however, that these conditions are not "rare" as they occur with rates significantly higher than the 200,000 person threshold under which the prevalence of a condition must remain to be considered a rare disorder according to the US Rare Diseases Act 2002.
Studies have shown that up to 1 in 5 of children (6-17 years old) exhibit tics at some time during their childhood. Population-based and community-based studies have a wide range of prevalence estimates for TS, from 2.6 to 38 cases per 1,000 children. However, most studies completed in the past decade found rates between 3 and 8 per 1,000. The Centers for Disease Control and Prevention (CDC) reported in 2009 their prevalence estimates of TS from a national, telephone-based, survey in which they asked parents if their children had received a diagnosis of of the disorder. The study found that 3 of every 1,000 children have TS, but it is thought that this underestimates the true occurrence of the disorder. Overall, the best average estimate for TS is approximately 6 per 1,000 children. Prevalence estimates of CMVTD also vary, with rates in the range of 3 to 8 (average 6) per 1,000 children. Therefore, the combined average prevalence of TS and CMVTD is estimated to be approximately 12 per 1,000 children. More studies are needed to determine the prevalence of Tic Disorders in adults, but this is expected to be significantly less than in children due to the fact that tic symptoms abate in later adolescence or early adulthood.
The spectrum of TS and Tic Disorders ranges from transient tics to chronic disorders meeting diagnostic criteria of TS or CMVTD. These conditions are not rare, as each occurs with frequencies well over the rare disease threshold. When the occurrence of TS and other chronic Tic Disorders are combined, the aggregated prevalence is over 10 per 1000 (1%, 1:100). The best estimate of the prevalence of TS only is approximately 6 per 1,000 (0.6%, 1:160) children. Therefore, based on 2010 US Census Data, over 500,000 children have a chronic Tic Disorder (TS and CMVTD combined), or over 300,000 children have TS alone, in the US. Further research is needed to provide better estimates of the prevalence of TS and other Tic Disorders across all age groups.
A Family's Guide to Tourette Syndrome. 2012. Walkup J.T., Mink J.W. and McNaught K.St.P. Tourette Syndrome Association, 2013.
Diagnostic and Statistical Manual of Mental Disorders, 5th edition, 2013. American Psychiatric Association, US.
Freeman RD, Zinner SH, Müller-Vahl KR, Fast DK, Burd LJ, Kano Y, Rothenberger A, Roessner V, Kerbeshian J, Stern JS, Jankovic J, Loughin T, Janik P, Shady G, Robertson MM, Lang AE, Budman C, Magor A, Bruun R, Berlin CM Jr. (2009) Coprophenomena in Tourette syndrome. Dev Med Child Neurol. 51: 218-27.
McNaught, KS and Mink JW (2011) Advances in the understanding and treatment of Tourette syndrome. Nature Rev. Neurol. 7: 667-676.
Scahill L, Specht M and Page C. (2014) The prevalence of tic disorders and clinical characteristics in children. Journal of Obsessive Compulsive Disorder. In press.
Kurlan R, McDermott MP, Deeley C, Como PG, Brower C, Eapen S, Andresen EM, Miller B. (2001) Prevalence of tics in schoolchildren and association with placement in special education. Neurology. 57: 1383-8.
Centers for Disease Control and Prevention (CDC). (2009) Prevalence of diagnosed Tourette syndrome in persons aged 6-17 years – United States, 2007. MMWR Morb Mortal Wkly Rep. 58: 81-5.
Kraft JT, Dalsgaard S, Obel C, Thomsen PH, Henriksen TB, Scahill L. (2012) Prevalence and clinical correlates of tic disorders in a community sample of school-age children. Eur Child Adolesc Psychiatry. 21, 5-13.


This authentic Louis Vuitton Bucket Bag in size GM is constructed with timeless Louis Vuitton monogram canvas and features adjustable leather straps. Its shape is ideal to store all of your needs and is a great accessory for a casual sophisticated outfit. This bucket bag is accented with golden hardware, cowhide trimmings and handles, and brass feet. The bag comes with the chain but no small pouch. Authenticity code reads: DU3026. **Note: Shoe photographed is used as a sizing reference and does not come with the bag. These are professional pictures of the actual bag offered by Rebag.
Condition: Great. Signs of wear on the leather trimmings and the feet. Hardware is tarnished.


Quebec City is the heart of French Canada and capital of the province of Quebec. The city has a rich maritime and military history as it was a center of battles between the French and British over control of the area. Tourists visit Quebec City for sightseeing at its numerous historic attractions. It is the second largest city in the province and approximately 160 miles north of Montreal.
The Old City or Vieux-Québec is the center of the city's historic districts. It is comprised of two main areas, the Upper Town and the Lower Town. The Old City is a fortress, surrounded by walls and filled with winding cobblestone streets lined with buildings that have not changed much since the 17th and 18th centuries. Tourists and residents flock to the cafes and bars in the area. The walls that surround the Old City, the Fortifications of Québec (www.pc.gc.ca/fortifications) are a National Historic Site and give the city the distinction of being the only walled city in North America. Tourists gather at the wall's Dufferin Terrace for its sweeping view of the city and the St. Lawrence River. War artifacts such as cannons are on display at the terrace and it is next to the historic grand hotel Château Frontenac (fairmont.com/frontenac) which sits on a cliff. Other historic buildings in the city include the 18th century military installation the Citadel and the Parliament buildings. The main attraction of the Lower Town is Place Royale, considered the heart of French Canada. It includes a bust of Louis XIV and the Eglise Notre-Dame-des-Victoires, the oldest stone church in the city. The region's tourism agency website lists tour companies that offer guided walks of the Old City.
In the heart of Quebec City is the historic 266-acre Battlefields Park (cbn-nbc.gc.ca) also known as the Plains of Abraham. The park was the site of battles between the French and the English and includes historic buildings. Montmorency Falls Park on the border of the city includes a famous waterfall that is taller than Niagara Falls. The falls are illuminated at night during the summer months. A bridge spans over the top of the falls for sightseeing.
Parks in the city offer healthy, fun activities for tourists who want to enjoy some of Quebec City's natural attractions. During winter at Battlefields Park cross-country skiing and snowshoeing trails are open for visitors. Equipment rentals are also available at the park. During the warmer months visitors can talk scenic walks or inline skate on the park's trails. For downhill skiing and snowboarding, visitors and residents can take ski shuttles to recreation areas such as Stoneham Ski resort (ski-stoneham.com), which is less than 20 minutes from the city. The resorts also offer activities during the warmer months including camping, geocaching and kayaking.
Quebec City's museums range from quaint structures focusing on aspects of the city's history to large modern museums. The area's maritime history is preserved in the Naval Museum of Québec (museenavaldequebec.com), which has a permanent exhibition on battles that took place on the St. Lawrence River. Foodies may enjoy a museums dedicated to maple syrup, Les Délices de l'Érable (mapledelights.com). The Musée National des Beaux-arts du Québec (www.mnba.qc.ca) features works of art from the province from the 17th century to the present. The Musée de la civilisation is a large museum that features exhibitions about civilization, science and human development. Its Discovery Zone has interactive exhibits for children. Canada's oldest musuem -- the Musée de l'Amérique francaise (www.mcq.org/en/ma) -- showcases exhibits that depict the history of the country.
Miller, Lauren. "Tourism in Quebec City." Travel Tips - USA Today, https://traveltips.usatoday.com/tourism-quebec-city-43194.html. Accessed 25 April 2019.


"Diversity" is another word that often gets bandied about without qualification when the writer usually means only diverse along one axis – I'm amazed at how many utterly erased books I've read or TV shows I've watched that were praised for their supposedly vast inclusion.
Similarly to expanding the definition of oppressions, there's also the stretching of definition of social justice movements. I've lost count of the times I've said to someone "y'know that was kind of homophobic" and received a reply of "I'm not homophobic, I'm a feminist!" And this is relevant, why? Being anti-homophobia doesn't make you anti-racist or anti-misogynist. Being feminist doesn't make you anti-racist or anti-homophobia etc. Don't assume an inherent intersectionality - and, by all that is holy, do not play the "no true Scotsman" fallacy for your preferred movement either. It's another way to deny privilege and oppression by absorbing another's oppression into your movement. That doesn't mean that people can't identify as part of X movement AND be against all the other isms – but it's an AND not an INCLUDED – it requires more than just assuming a label – especially when that label never included said oppression in the first place.
Which brings me to the next one – centering your own personal oppression as the be-all and end-all of oppression and implying (or outright saying) that other oppressions are more minor or a sub-set of your One True Oppression. There was a post up here earlier about how discussions about racism are derailed by the classism distraction. But we see it elsewhere as well – there was the twitter meme that keep raises its ugly head that said "Homophobia: The fear that another man will treat you like you treat women." Get that clever wording? Homophobia – just a subset of sexism, not a REAL oppression (which is a really common and offensive reduction we see in a lot of places). With added bonuses for completely ignoring Lesbians and Bisexual women AND defining all homophobes as male – sexism is the REAL oppression and straight women totally cannot be homophobic.
Finally, there's another that keeps raising its ugly head – Solve My Oppression, Save the World (hereby known as the "Cheerleader" oppression). This assumes that the world will be magical and fluffy for all people if we finally manage to defeat white supremacy, or patriarchy or heteronormativity or the class system or whatever. All other oppressions will magically end and there will be bunnies and unicorns and fluffy clouds everywhere.
This, of course, is useful in, again, centering your movement as the One True Movement and all other anti-ism fights to be mere distractions or lesser cousins. It also gives members of the movement or people facing that oppression a huge pass – the implication is that if THEY were the ones in power then there would be no oppression, because they are so utterly free from prejudice and would never, ever encourage an –ism, precious!
It's not true. We KNOW it's not true. A world without the patriarchy would still be as racist, ableist and homophobic as ever. A world without homophobia would still be racist, ableist, misogynist et al. A world without white supremacy would still be misogynist, homophobic etc etc. We know this, it's self-deception to claim otherwise.
All in all, every anti-oppression movement needs to be given the respect it deserves, every oppression needs to be seen as severe as it is and every privilege needs to be acknowledged – no matter who holds it. We cannot achieve justice while giving passes for unexamined privilege and overlooking oppressive behaviour – and we can't achieve justice without it being for everyone. And that will never happen if we wear blinkers or gloss things over.


Today, we find a high degree of digitisation and connectivity throughout the professional and private sphere. The automotive industry has long responded to this development with numerous innovations. BMW automobile already offers individually tailored digital services such as the BMW Connected App – a personalised digital mobility assistant that helps the driver to plan appointments and travel, for instance.
Munich. Today, we find a high degree of digitisation and connectivity throughout the professional and private sphere. The automotive industry has long responded to this development with numerous innovations. BMW automobile already offers individually tailored digital services such as the BMW Connected App – a personalised digital mobility assistant that helps the driver to plan appointments and travel, for instance.
As long ago as 2009, BMW Motorrad presented BMW ConnectedRide, demonstrating the wide-ranging possibilities of rider assistance systems based on vehicle-to-vehicle communication and using intelligent connectivity.
BMW Motorrad presents ConnectedRide with new smartphone integration solution as the next step in motorcycle connectivity.
At the EICMA, BMW Motorrad now presents a further milestone in motorcycle connectivity: a TFT instrument cluster with smartphone connection as could be applied to standard BMW Motorrad models in the future. BMW Motorrad and Robert Bosch GmbH are collaborating in the field of pioneering display and networking technologies since there are signs of an increasing demand for complete connectivity in the motorcycle area, too.
Thanks to powerful synergies with BMW automobile, BMW Motorrad is well placed to accelerate the introduction of new services. In this way, various car digitisation technologies such as TFT displays, ECALL and WiFi as well as V2x communication and back-end infrastructures can be adapted for use with motorcycles.
Already a reality in BMW cars, BMW motorcycles will also offer increasing options for intelligent and simple connectivity in the future, as well as allowing continuous updating via systems and devices such as smartphones and navigation units.
Premiere at the EICMA 2016 for TFT instrument cluster which interlinks the motorcycle, rider helmet and smartphone.
At the EICMA, BMW Motorrad now presents an instrument cluster with TFT display that demonstrates the possibilities of connectivity between the instrument cluster, rider helmet and smartphone as integrated elements of BMW Motorrad ConnectedRide.
In addition to information relevant to riding (road speed, engine speed etc.), smartphone-based functions such as navigation, telephone and entertainment are provided in a multifunctional instrument cluster and operated safely and conveniently using a multi-controller. The BMW System 7 helmet fitted with microphone and speakers acts as the rider's reception centre for acoustic output such as navigation directions, telephone calls and music.
Intelligent connectivity for rapid assistance in the event of an accident or emergency.
This year, BMW Motorrad has realised an ECALL function for the first time in the motorcycle sector. The optional equipment "Intelligent Emergency Call" enables faster assistance in the event of an accident or emergency. The system will be available as an ex works option from the beginning of 2017 in a BMW motorcycle. If an emergency situation or accident occurs, the intelligent emergency call is activated automatically or manually, transmitting the position data of the motorcycle and so the coordinates of the accident scene, which in turn sets the rescue chain in motion via the qualified BMW Call Center.
State-of-the-art technologies for interconnecting the BMW Motorrad community.
Another step towards motorcycle connectivity is the integration of a worldwide community of motorcyclists through a strategic partnership with the technology start-up Rever. Since 2015, Rever users in 199 countries have covered millions of kilometres by motorcycle and have tracked their routes. Using the app and the Rever website, bikers can discover the best routes in the world, compile their own individualised routes, log their trips and share their motorcycling experiences on social media platforms. In the future, this will enable BMW Motorrad to extend and optimise its range in direct contact with the target group.
BMW Motorrad regards the simple and seamless integration of the customer's existing digital world into the motorcycle as crucial to the acceptance of this type of new service. This might happen in the future through the consistent interlinking of existing systems such as DriveNow and ChargeNow, providing services beyond actual motorcycle travel itself and even linking into smart home applications.


Very disappointing. Ensemble Villa Musica are a decent chamber group but I felt only two or three of the sixteen movements spread throughout this disc were taken at genuinely workable tempi. Furthermore there's a drab sense of horizontal unengagement that spells death to Martinů's rhythmic zest and articulacy of attack.
I'd rather like to leave it there but some supporting evidence is in order. The Nonet should snap, crackle and pop, even though it was one of his last completed scores. Instead we have a very polite delineation of the notes – expert in its way – but with very little behind them. I suppose there must be some precedent for the slow tempo for the Andante, though I've never heard a reading quite so slow – but the important matter is that the ensemble doesn't thereby bring it to emotive life. The recording doesn't aid sharpness and transparency of attack it's true but just listen to the Czech Nonet, for whom it was written, to hear how it should go – I should add that this was a later 1970s line-up of the Nonet and the performance can be found on Campion RRCD1314.
The Madrigals are again far too slow and uninflected. Rhythms are smoothed out and generic. All the jazzy lines are polished out of all recognition. The tempo these fellows take the Four Madrigals had me devoutly wishing for a variable speed player; I'm sure it's the first time the third has ever sounded like Hindemith. Lest I be thought only to promote native performances – I admit I generally do – the Dartington Ensemble on Hyperion CDA66133 really digs into the music and brings it strongly alive; and theirs is an all-Martinů programme as well.
Let's skip the Sextet. It's so sleepy and undernourished a performance it barely makes it to the speakers – this work can teem with character and panache, especially when Panenka and the Prague Wind Quintet get going on it on Supraphon. La Revue de Cuisine is one of Martinů's best-known works but stick to Rauch, Sádlo et al on Supraphon or the Saint Paul Chamber Orchestra and Hogwood on Decca, if you prefer an up-to-date recording. This way you'll be spared some halfhearted playing. They reprise the slow tempo syndrome once more – this time the Tango is so horribly slow it grinds comprehensively to a halt.
All right, you've had enough of this and so have I. Time to move on.


text:
Agrius obscura är en fjärilsart som beskrevs av Tutt 1904. Agrius obscura ingår i släktet Agrius och familjen svärmare. Inga underarter finns listade i Catalogue of Life.

Källor

Svärmare
obscura

redpajama_set_name: RedPajamaWikipedia


text:
The Cure planning "dark, incredibly intense" new album for Halloween release
The newly inducted Rock & Roll Hall of Fame outfit is also planning Disintegration 30th anniversary concerts
The Cure, photo by Debi Del Grande
March 30, 2019 | 2:25pm ET
At a night in which The Cure were recognized for their musical accomplishments over the last four decades, frontman Robert Smith had the band's future on his mind.
Speaking to reporters following The Cure's induction into the Rock & Roll Hall of Fame, Smith divulged more details concerning the band's highly-anticipated new album.
"Because it's the anniversary of Disintegration, I was thinking about how we did that, and how we turned that into something, and what my mindset was," Smith explained to Rolling Stone. "A key part of it was everyone being away from home, being away from everything they loved, and being in one place at the same time. So for the first time in 20 years, we went into a studio — we actually went into the studio where [Queen] did Bohemian Rhapsody, funnily enough. It's a great studio in the middle of nowhere. We just played music for three weeks. And it's great. I know everyone says that. But it really is fucking great."
Smith described the band's new music as "so dark" and "incredibly intense," adding, "And I've waited ten years to do something that means something." They've recorded 19 songs so far, with many of them spanning 10, 12 minutes in length.
"So I have no idea what to do now," Smith remarked. The others are saying, 'triple album!' I'm saying, no let's not. I'll pick six or maybe eight songs and do like a single album. But I think I will delight our hardcore fans. And probably really, really infuriate everyone else. At my age, I'm still doom and gloom."
Smith told Rolling Stone that he intends to finish the album before the band embarks on their European festival tour, though it's unlikely they'll play much of the new music live. "I'm not sure how much of it we'll play this summer at festivals. It's not really festival music."
As for a release date? "I don't know, October? Halloween! Come on!"
Smith also revealed that the band plans to mark the 30th anniversary of Disintegration with a series of shows in the US later this year. (The band previously announced Disintegration shows in Australia for May.)
"We're holding home theaters in New York and Los Angeles," he explained. "But I kind of feel like we should do it in a bigger venue. I'd like to a big show with it, really. It's a bigger album. I think when we did the first three albums we did three nights at the Beacon in New York. It was much more punky. We were trying to recreate that vibe. But I think Disintegration is just big. So we need to do somewhere that's just big. But probably about Christmas time we'll come back."
In the meantime, revisit Trent Reznor's emotional and personal speech inducting The Cure into the Rock Hall, and watch the band's emotional and personal speech.
Album Update
Best Indie Artists
The Cure planning "dark, incredibly intense" new album for Halloween release

redpajama_set_name: RedPajamaCommonCrawl


text:
Klarinet Archive - Posting 000395.txt from 1999/09
From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] tonguing (long)
Date: Wed, 15 Sep 1999 18:01:13 -0400
On Mon, 13 Sep 1999 16:33:55 -0700, david-patty@-----.net said:
> One metaphor for clarinet tonguing lies in the articulation difference
> between piano and organ. On the piano, the articulation is created
> primarily by how one strikes the key, whereas on the organ, it is
> created by the release of the key. If the tongue remains on the reed
> for long it pretty much closes things up, so the tongue can be seen
> much as a valve (?) opening an organ pipe; when one releases the key,
> the pipe is open. When the tongue is removed, the clarinet sounds.
I think metaphors are an essential tool in the communication of skills
like articulation. A few years ago I wrote a series of articles
collecting a number of metaphors that could apply to clarinet playing.
(Some of them are similar to the ones you use:-)
Probably in the end I will publish a small book. Some of this material
has appeared in the "Cambridge Companion to the Clarinet", CUP.
Here is a fuller version of what is there on the subject of "Tonguing".
It complements and refers also to another article I've reproduced here,
called "All that stuff about the diaphragm", and repeats in a different
form some of the content of that article.
METAPHORS FOR ARTICULATION
Why are metaphors useful?
^^^^^^^^^^^^^^^^^^^^^^^^^
The ability to perform some complex skill (like playing a clarinet) is
experienced by the performer as a whole. It is impossible to teach this
whole to another directly. We could say that it has various components
-- physical, intellectual and emotional. Any way in which we describe it
has to be incomplete.
When we begin learning a skill, obviously we make mistakes. If those
mistakes go uncorrected, and get built into our performance, we create
another whole, different from the one we were aiming at. It may then be
difficult to take this counterproductive 'whole' apart and find out
where we might change things in order to get better. It may even be the
case that we have several things wrong, and changing just one of them
won't be good enough to show us we are on the right track.
Wise teachers, or wise students, will try a number of different ways of
approaching the problem. These approaches may be in the realm of direct
instruction; but they will almost always be more successful if they
operate also on a higher level of experience, so that they take
advantage of the naturalness of our already highly sophisticated
experience of how the world works.
One thing we can try is to ask the student, or ourselves, to imagine the
experience of playing as though it is like the experience of *something
else*. This 'something else' will usually have been generated by
someone who already has a successful experience of the particular
technique. If we try out a number of things that a more expert player
knows the experience is like for him or her, we stand a chance of
catching on to that expertise for ourselves.
It may be that we are already imagining the experience in terms of a
wrong 'something else', which holds us in a grip that we must break.
Indeed, we may be reinforcing this grip by the way in which we 'talk
about' the situation to ourselves.
Language is constructed metaphorically. Often we are not aware that we
are held by a metaphor, because it is built into an idiom of our
language that we use without thinking about it.
'Languaging' a point of view
^^^^^^^^^^^^^^^^^^^^^^^^^^^
Here is an example of how we may make such an assumption, without
noticing it, and lead ourselves astray.
If we say of someone, "he is full of anger," we inevitably talk
ourselves into a 'container' metaphor for emotions. We imagine his
anger 'filling' him in some sense. Then, the normal behaviour of
containers filled with things influences us in our assessment ot the
possibilities open to him, and therefore, on other occasions, to
ourselves. Whether this is a good idea or not depends on the
One consequence might be that we think of our anger as something that we
can only 'let out' or 'hold in'. On the other hand, we might imagine
instead that anger is a substance that can 'evaporate' -- this is of
course a further metaphor, and possibly a more useful one on occasion.
But now consider a superficially similar concept, that of 'confidence'.
Here the 'container' metaphor is almost wholly counterproductive.
Someone who observes another's inspiring and 'confident' performance may
be tempted to say "she is full of confidence," and then work on getting
himself full of this elusive substance. Evaporation might be even more
counterproductive! In any case, the similarity of language has
concealed the fact that confidence and anger have different structures.
(As we shall see in a later chapter, confidence is best thought of not
as an emotion.)
So one way of proceeding when we are improving any skill is:
First, to notice, if we can, what sort of metaphor we are already using.
How can we do this? The best way is to try out another metaphor. If
there is a collision -- that is, if the metaphors are inconsistent -- we
may be able to see how we are limiting ourselves.
Second, to work towards a whole, successful experience of the skill in
the context of better chosen metaphors.
Unfortunately, neither of these instructions is easy to follow. But one
thing is certain: if we find that we are going through struggle and
effort, then it makes sense to look at the assumptions we are making.
The hard work of real self-examination may be less painful.
Any really able exponent of an instrument demonstrates that playing need
not be experienced as difficult. It is as though we are clearly shown
what is required: that we find out what works and what doesn't work ™-
and then do what works rather than what doesn't.
'Tonguing'
With all this in mind, let us look first at how all English-speaking
people are prone to deal with the notion of staccato.
How we 'language' staccato is a problem.
The very first step ™- the verb "to tongue" ™- is a major difficulty.
This is because in common usage it can be applied to a single note (as
in, "that note is tongued"), and it carries the implication that it is
something that we do to that note, with our tongue, at its beginning.
Conductors sometimes ask us to "tongue that note harder" when they want
more of an attack. This use of the verb again gives the impression that
it is the action of the tongue that begins the note. Moreover, it
suggests that the harder we tongue, the louder will be the beginning.
In fact, the tongue begins the note only in the same sense that the
light-switch lights the room. We don't get more light if we push it
harder! Many people, though, start off by making this sort of mistake
on the clarinet.
In Italian, staccato means 'separated', which is more suggestive of the
idea that the action of the tongue will occur both at the beginning and
the end of the note, if we are to use the tongue to perform the
separation.
A better English word for our purposes is 'articulation'. This word is
suggestive of both separating and joining.
For example, we speak of the elbow as an 'articulated' joint, and use
the phrase 'articulated lorry'; it is clear in each case that both arm
and lorry can be regarded as one and as two things.
The word 'articulation' also applies naturally to a group of notes,
indicating that those notes are to be separated to a greater or lesser
degree whilst nevertheless remaining a group.
We can say, "this group of semiquavers is to be articulated", meaning,
"what we have to do is separate these joined-up notes".
Each of the sequence of metaphors I am about to outline communicates
this experience of unity in separation. The metaphors approach the
experience in a variety of ways, via language, mental images and
physical sensations.
Metaphor 1 -- 'Mud'
^^^^^^^^^^^^^^^^^
If we imagine a series of notes that we want to be staccato, or
articulated, we may think of them as represented in the diagram.
<The diagram is a series of shaded rectangles, representing the notes
which appear above them, separated by silences. Under each silence is
the letter 'd', and under each rectangle is the letter 'u'.>
This is a very schematic representation. The idea is that the shaded
rectangles represent the sound of the semiquavers above them. The
letters underneath are the usual vocalisations, with the letter d
occurring where the tongue is on the reed and the letter u where it
comes off, allowing the reed to vibrate.
It is a sort of graph of sound intensity against time, although in
reality such a graph would not have sharp corners, or even be
rectangular. The reed takes a moment to begin vibrating, and the air
inside the clarinet continues to vibrate for a moment when the reed
stops, so the result would be much less mechanical. Even so, it is a
preliminary picture we might make of a crisply articulated short burst
of staccato.
In the conventional vocal representation of staccato, we are often asked
to say the syllables du-du-du-du-du etc. This again has the effect that
we are likely to imagine the d initiating each note.
Looking at the middle of the passage, though, there is no particular
reason to group the d and the u in this way. We can just as well say
the syllables ud-ud-ud-ud-ud, or, as I would suggest, creating a real
English word, mud-ud-ud-ud-ud etc. We can imagine ourselves continually
interrupting the word 'mud'.
The advantage of this move is twofold. Firstly it has the effect of
emphasising the unity of the passage -- there is just one word 'mud' to
be interrupted. Secondly, it makes clear that each individual note
begins with a pure sound, one that is created by the air pressure.
There is no percussive 'clonk' made by the tongue. Rather than
imagining that we start a note with the tongue, we imagine that we 'stop
stopping' the previous one.
Now, the question immediately arises: how much force does it require to
stop a note? Taking this question as a sort of research project, we can
begin to experience the process of articulation from a diametrically
opposed viewpoint to that suggested by the word "tonguing". (You've got
to do it with the clarinet, though -- thinking about it isn't enough.)
First you must be sure that you really are producing a good firm sound
before proceeding. Then, if you play a low E, say, it is possible to
place the tongue gently on the reed without stopping the sound. The
pitch of the note becomes flatter, but the reed is able to continue to
vibrate even though it has a 'passenger' to carry.
It's absolutely necessary to continue blowing strongly throughout the
process. Some people find this difficult to do, because their tongue
action is already bound up with their blowing. For them, breaking this
connection is perhaps the most powerful move they can make to improve
their playing, quite apart from their staccato. In fact, with a little
practice, by changing the embouchure and tongue position and increasing
the air pressure, we can in this way play quite a strong note at the
pitch almost of an E flat.
Speaking technically, the reed is able to vibrate, despite extra
damping, but the vibration has to carry an added mass. The elementary
theory of oscillations then tells us that the result will be a lower
frequency of vibration -- hence, a lower note.
By contrast, and quite strikingly, in the upper register it is
impossible to touch the reed at all without immediately stopping the
note. This can come as a great surprise to many players. Those of us
who have had the misfortune to get a small particle of biscuit or other
material between the reed and the mouthpiece whilst playing will find
it, on reflection, less strange. (You can almost tell which are the
reed players among other orchestral musicians by the fact that they
always finish their coffee break with several mouthfuls of coffee ™ or
even skip the biscuit entirely.)
Anyhow, we immediately become aware of a possible difference in the
action of the tongue, depending on the register of the passage. Notice
that this discovery is the result of an experiment that we could not
have thought of making had we not been open to the idea that the job of
the tongue in "tonguing" may be to stop rather than to start a note.
It also becomes clear that in articulating a passage we must never blow
less. In fact, if we don't blow strongly enough, so that there is
insufficient pressure difference between the inside of the mouth and the
inside of the mouthpiece, the reed is unlikely to start to vibrate again
in a smooth and well-behaved way (particularly in the high register)
when we 'stop stopping' it.
Metaphor 2 ™ A Pendulum
^^^^^^^^^^^^^^^^^^^^^^^
One way to think about the situation involves another metaphor. The
idea is to imagine that the reed behaves like a pendulum of greater or
lesser length, according to whether it is vibrating to produce a low
note or a high note. This mini-pendulum comes to an abrupt halt if we
stop blowing. Real pendulums oscillate much more slowly, and also
gradually come to a standstill, unless their oscillation is maintained
by an applied force. In a clock, this force is supplied either by a
spring or by an electromagnetic system.
The vibration of the reed is similarly maintained, in this case by the
pressure difference between the air in the mouth and the air inside the
instrument.
We can imagine, then, that a high note, looked at in slow motion, is
like a fast-swinging, light and delicate pendulum, and a low note like a
long, slow-swinging and massive one.
Now imagine stopping each of these pendulums, just as we imagined
stopping the reed with the tongue. We would clearly need a stronger
grip to stop the long and massive pendulum. We might only use two
fingers for the small one. Also, if we needed to release a pendulum
afterwards so that it went on swinging nicely as before, we would be
careful about precisely how we gripped it in stopping it. Probably we
would hold the small one particularly carefully, so that it would begin
again by slipping between our two fingers as we opened them slightly.
All of these considerations have their analogues in how we touch the
reed with the tongue. The simplest and most delicate action that
succeeds in stopping the reed is likely to be the most effective in
allowing it to start when we let it go again. This is why we are often
recommended to touch the reed at the tip. But if we try to give more
specific details of how the tongue should touch the reed, we begin to be
in trouble. Because players have very different physiques, including
differing lengths and shapes of tongue, what works well for one player
may be useless for another, We have to be flexible in our approach.
Every player has the opportunity to find out personally what works best;
though there is more than one way of going about this, too, and not
every method has an equal chance of success.
Controlling the tongue
^^^^^^^^^^^^^^^^^^^^^^
You can try out how much control you have over your tongue by sticking
it out at yourself in a mirror, and telling it to keep still.
If you can do this at all, it will be with great difficulty. It seems
that the tongue can perform miraculous feats, but resists direct,
precise instruction. Children beginning to talk learn to perform
incredibly subtle movements of the tongue, though they have no sense of
directing their own physical actions. They can even talk and eat at the
same time.
So if you are trying to instruct yourself or others in related skills,
such as articulation, a delicate approach is in order. It has rightly
been said that if it were possible for us to teach children to speak
directly, by telling them exactly how to do it, they would probably
never learn.
Of course, it is impossible for us to interfere, because children can
already deal with much of the mechanics of speaking by the time they can
understand any such instruction. It's a sobering thought, though, that
if we could in some way offer direct instruction, we would not only rush
in to do it, but also probably have competing systems, and experts, and
lots of reasons why it wasn't working.
As children, we learn skills like speaking or singing by imitation,
approximating more and more closely the sounds around us. As adults, we
have the tendency to introduce an intermediate stage in this process:
we try to find out and then describe to ourselves what we should do to
achieve the required result, and then concentrate on doing that thing.
We try, in other words, to tell ourselves how to do it.
Sometimes this may be a sensible move, particularly if the time-scale we
are dealing with is long, as when we are planning a picnic; but it is
wise to moderate the process by trusting ourselves to learn even without
knowing how. This is particularly true when the complication of what we
have to do is such that we cannot keep track of our actions. In this
way we are also less likely to make the mistake of being so interested
in the intermediate stage that we lose sight of what we were trying to
do in the first place.
Several interesting and useful books have been written about the
possibilities of this approach, mostly as applied to sports. (A famous
violin player is quoted as saying that 'The Inner Game of Tennis' by
Timothy Gallwey is the best book about playing the violin he knows.)
Essentially, the idea is to have a good model or notion of what you want
to achieve, and then perform the action whilst remaining as conscious or
aware as possible of one aspect of your experience, always in a
non-judgemental way.
This particular aspect might be a body sensation or behaviour, or
alternatively part of the actual result obtained. After a while, it
becomes possible to make an intelligent choice of what to concentrate on
at any given moment. Progress is often much more fluent and natural
than with a more traditional method of immediate error-correction. What
happens is that we tie up our conscious mind with the job of describing
something useful for us to know in some sense, with the added advantage
that our intellect is disabled from delivering its customary
evaluations, instructions and fears, most of which would be too late to
be effective even if they were appropriate.
In many ways, these activities of our mind are our greatest enemy, and
constitute the opponent in Gallwey's metaphor of the 'inner game'. They
also give rise to the vicious circle of the psychological block, as we
shall see, where the anxiety arising from our fear of failure is the
fuel of that very fear.
It is easy to approach staccato on the clarinet with too rigid an
attitude to controlling the tongue. In finding how the tongue can most
effectively stop the reed from vibrating, and move neatly away in order
to allow it to continue, we do best by indulging freely in experiment.
When we already have a problem, our experience of playing the instrument
tend to fix many of the variables we may want to alter, immediately we
put the instrument in our mouth. This makes experiment difficult,
because though we may feel uncomfortable about the defects in our
playing we already know about, we feel even more uncomfortable about
ones that we are generating and observing for the first time.
The metaphors I have already described constitute a minimally
confronting context for such experiment. Fundamentally, they move our
actions in the direction of using much less force, particularly in the
higher register, and encourage us to think of the action of the tongue
more like that of a switch than that of an impulse. Here is a further
metaphor that may help.
Metaphor 3 -- Pickup and Turntable
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Imagine we have a hi-fi gramophone with a powerful amplifier and speaker
at our disposal. We have also a recording that includes a loud
sustained passage, and our job is to produce a loud, clear, short sound
(i.e. a staccato chord) from the equipment. How would we go about it?
If we turn up the volume control, we can lower the stylus of the pickup
arm until it is just above the part of the rotating record that contains
the loud passage. At this point we can delicately lower the stylus on
to the record for an instant, thereby producing the loud, abrupt chord.
But notice that there is nothing in our action that corresponds to the
abruptness or the energy of the result. The powerful component of the
system is the amplifier, which is operating constantly at the same
level. In fact, if we were to match the intended loudness with a
similarly violent action with the pickup arm, we would most likely
fail to achieve our objective.
The same situation obtains when we play a loud short note on the
clarinet. The power comes from the air-stream, which is what causes the
note to begin as the tongue stops stopping it.
Compare the situation when we enunciate a very loud syllable, beginning
and ending with a 'd'. Here it really does seem that the tongue is
working hard, especially just before and just afterwards. But this is
because the tongue has to hold back the airstream, which indeed must be
forceful. Admittedly it does also seem that a violent action of the
tongue is being performed when we hear a fortissimo staccato note on the
clarinet. But as we have seen from our experiment, it takes very little
contact with the tongue to stop the reed, even when it is vibrating
strongly.
The helpful analogy for the action of the tongue is the analogy with a
control system, rather than a power system. Remember the light switch!
You can play a very loud short note with a very delicate and precise
tongue action, just as, in principle, you could turn on and off even an
atomic power station with your little finger.
This last analogy might seem ridiculously extreme. But in the world of
our imagination, it may be really useful. Many players are very
surprised to discover quite how much they habitually overestimate the
amount of tongue action required. We really need practically no contact
between tongue and reed in the high register. The area of contact can
be reduced almost to nothing and the effect still achieved, even in
fortissimo. Nor is it necessary to specify exactly how the tongue
moves.
I personally find that in the higher register I tend to touch the reed
with the underside of the tip of my tongue, which seems to alter shape
rather than move bodily, especially in fast passages, whilst lower down
the action is larger. (A student once said to me, "But, my teacher says
that's *wrong*!") Also the degree of tension in the tongue can vary.
Perhaps those with a very fast staccato have succeeded in controlling
the sort of oscillations that we sometimes get in flexed groups of
muscles, though in general, in my experience, less rather than more
tension is to be encouraged.
We are really lucky to have this flexibility of control with the reed.
We can play a staccato that is more rapid than the speed at which we
could fully interrupt the word "mud" in reasonably loud speech. To do
so, we must be able to touch the reed without interrupting the airstream
or compromising the embouchure, which is another reason why
experimenting with stopping the note whilst still blowing is so
important. Sometimes players with long tongues find this difficult, but
they have all learned to talk acceptably, which required some gymnastic
lingual ability. Playing staccato on the clarinet is a minor feat by
Some players have a phenomenally fast, "rattlesnake" staccato, and it is
probably hoping too much to think of developing such a special ability
from scratch; but a good medium-fast tongue action, fast enough for the
classical repertoire, and above all variable in its weight and area of
contact, should be accessible to most if not all players.
Metaphor 4 -- Half full or half empty?
The next metaphor is a sort of correction or complement to the first
three. The metaphors so far have involved giving centre-stage in
consciousness to the airstream, reducing concern with the precise
details of the tongue action, even to the point of allowing these
details be unconscious. Now I want to return to the business of
becoming aware of the tongue, but with the idea that we may be more
spectators than participants in its action. We can switch between two
ways of looking at the situation, keeping the relative energies of the
airstream and tongue action as they were. The only movement, as they
say in Zen, is in the mind.
We are all familiar with the figure/ground reversal whereby a white
goblet on a black background appears to turn into two faces in
silhouette against a white background. We know that we can also describe
the land as being the part of the seabed that is out of water, or
alternatively the bottom of the sea as the part of the land that is
underwater; or a glass of wine as half-full or half-empty. A cousin of
these sorts of reversal of perception occurred when we changed the
organisation of the 'd' and the 'u' in Metaphor 1 from the grouping du-du-du
to the grouping ud-ud-ud. The idea was to break the association of the
d with the beginning of the note so that we could experiment with the
idea that the tongue stops the note.
Independently of the sound, though, we can look on the action of the
tongue in a sequence of staccato notes in two complementary ways: as
resting gently on the reed and leaving it momentarily, or as poised near
the reed and visiting it momentarily.
The first way of looking at the situation gives a clearer experience of
how lightly or firmly, and where, the tongue rests on the reed, and
mostly gives rise to a short staccato, whilst the other gives a clearer
experience of the distance the tongue withdraws from the reed, and
mostly gives a longer or mezzo-staccato. It's worth trying both in turn
for a passage that is giving difficulty. Sometimes I find that thinking
about the distance of my tongue from the reed (second point of view)
helps me to slow down and control a staccato that is suddenly moving too
fast for the context.
The sound in staccato
^^^^^^^^^^^^^^^^^^^^^
Anyone who has tried to emulate Danny Kaye doing his virtuoso
tongue-twisting prestissimo "patter" will know from personal experience
that one particular sort of voice works better than any other. The
sound that gives clarity to his breakneck verbal delivery is quite light
and bright ™ there are lots of consonants, too.
(Danny Kaye, by the way, was a very good musician. We can all learn
from his performances conducting the New York Philharmonic Orchestra.)
But why is it that fast, dense passages seem to require this particular
timbre to sound at their best?
Before answering this question, we should convince ourselves that we
indeed are capable of producing a variety of basic sounds on the
clarinet, by varying, among other things, the embouchure and the
resonance of the cavity behind the reed, which includes the mouth, the
larynx and probably more. When we speak of someone having a good sound,
it is not always realised that a really able player uses a number of
different sounds, or, more accurately changes the sound from moment to
moment, even if we as listeners perceive just one basic quality.
The reason why faster moving music needs a timbre with more higher
frequencies in it, in order to sound as clear as slower music for a
given acoustic, is this. Lower frequencies persist longer, and muddy
the change from one note to the next, if they are predominant in the
sound. We know (from listening to late-night parties next door) that
bass notes resist absorption more effectively than the higher partials.
If these higher partials are present, they die faster, and form a
non-overlapping sequence in a fast moving passage. The result is a
clarity of movement from one note to the next. This is why we find we
need softer reeds, which produce more defined high partials, in a very
resonant acoustic.
It is also easier for us to stop a high frequency vibration than a lower
one. The effect of articulation is therefore more marked when the sound
is more brilliant. Even when we have completely stopped the reed,
doubtless the tube vibrates for a moment longer, and the hall for longer
than that. Again, the high frequencies dominate the perceived division
between one note and its successor, and so it makes sense to keep the
sound rich in upper partials.
A large resonating cavity behind the reed makes the sound richer in the
medium range harmonics, which doesn't help with this clarity. Therefore
it may be better to choose a smaller mouth shape and an embouchure that
brightens the sound, as we might naturally do for fast legato
semiquavers.
This is just a biasing of the sorts of movements of tongue and
embouchure we make when we play any passage. In the end it is probable
that any passage, however articulated, requires a whole range of tongue
movements or techniques, modulated not consciously but after the manner
of speech, which is to say governed by the character of the executant's
intention or view of the music.
Beginnings and Phrasing
Till now, we have looked at articulation as something best thought of
not as an action that begins a note, but instead as an action mostly to
do with the end of the previous note.
But then, how do we deal with the awkward question of how we use the
tongue when there are no other notes? In other words, what metaphor do
we use when we begin a smooth phrase, or just one note?
Firstly, it's useful to clear aside the idea that there is one 'right'
way to do it. If you speak to professional players, you will find a
variety of responses on the subject. Some players almost always use the
tongue, others sometimes do and sometimes don't, depending on the
context. We should have at our disposal metaphors that can embrace all
the techniques that successful players use.
It is said: there was a famous magician who specialised in card tricks.
He was a renowned technician, but one trick in particular baffled his
colleagues. It became an obsession with them to discover his secret.
Every time he performed it, they would watch closely, and from time to
time one of them was convinced he had solved the riddle. But
immediately the master magician would smile, and do the trick again in
such a way that it was obvious that the proposed solution was not the
answer.
Finally, when he retired, he put his colleagues out of their misery.
There was no one trick. He had three or four ways of producing the same
illusion, and when anyone thought they had him cornered, he would switch
to another method.
There is a moral in this story that has a wider application than the
present discussion. When someone is expert at something that we find
difficult, we tend to think that their playing contains some 'secret
ingredient'. Perhaps it's the make of reeds, or mouthpiece, or the
shape of their mouth, or the strength of their embouchure and so on.
Students sometimes mob famous players after concerts in search of this
sort of information. But like the 'good sound' which is in fact many
sounds, the answer is almost always more plural. We may need to enrich
our own plurality and flexibility to succeed.
So, the metaphors are as follows.
Metaphors 5 and 6 -- The Bow and the Hosepipe
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
The diagram illustrates, again in schematic form, the beginning of a
note, supposed to be begun without the tongue.
<The diagram is a sharply rising curve, starting from nothing, that
reaches a maximum after a short time, and remains steady thereafter.>
There are a number of possible shapes, depending on the steepness of the
beginning of the curve, and the variety of these shapes is mediated by
the details of the muscular opposition abdominal/diaphragm which we
usually call support. As I pointed out in "All that stuff about the
diaphragm", this process is mostly unconscious, occurs when we have the
opposition set up as we begin the note, and allows the result to follow
the sort of shape that we have imagined. You can, for example, imagine
a shallower or a steeper curve to begin with, and continue the shape
after the high point, either maintaining the dynamic or making a gradual
diminuendo.
As the opposition is set up, we can imagine a drawn bow, about to shoot
an arrow. The abdominal muscles take the role of the bow, whilst the
diaphragm corresponds to the hand and arm, which provide the equal and
opposite force holding the system in equilibrium. The more the support,
the more the bow is drawn and the greater are the forces involved. More
support thus means a steeper initial curve in the diagram if the
diaphragm is suddenly relaxed, whilst very little support gives a more
gentle entry. But this is as though we actually shoot the arrow.
Sometimes we will want to maintain control through the initial curve, as
though we simply allow the arrow to move forward as the force of the bow
overcomes the reduced pull of our arm. If we maintain the support in
this way, we can often achieve a very focussed and precise entry, even
without the use of the tongue, and control of how the note subseqently
develops can give all the varieties of accent, fortepiano and
phrase-shaping which are the life-blood especially of slow and
expressive music.
The one thing we cannot do in this way is to completely eradicate the
initial upward curve.
But we can do so using the tongue. The effect is as though by very
delicately stroking the reed at the beginning of the note, we shave off
the initial curve, so that the note reaches the peak almost immediately.
Remember, the note begins when we imagine it beginning (see, 'All that
stuff about the diaphragm'), not when we experience doing something to
begin it -- so, here, we imagine it beginning and then simultaneously
perform the tongue stroke. The duration of contact of the tongue with
the reed is very short, and the touch very gentle (imagine a feather).
Even if we want an explosive accent, the holding back of the attack is
done by the diaphragm.
The important point is that the action of the tongue can be cosmetic.
We can imagine the attack first and then clean it up with the tongue as
it begins.
The 'hosepipe' metaphor applies to the situation where it is just the
tongue that holds back the attack. We play without support ™ and then
the action of the tongue takes longer, because it must remain on the
reed during the build up of air pressure from the abdominal muscles.
When the air pressure is at the level we require, we release the reed,
which begins to vibrate. The analogy is with a garden hose, controlled
at the 'business end' by a valve (or a thumb). The water pressure is
constant after the tap connecting the hose to the water supply is turned
Personally I usually find this less satisfactory, because I dislike the
artificial feeling of the air pushing against a non-vibrating reed for
such a long time. Also it is possible to achieve effects of any
subtlety as we articulate notes in quiet dynamcs only by using a
combination of tongue and diaphragm, or diaphragm alone. Still, using
the tongue alone can be useful, though it seems ironic that this less
flexible method is the one that is most commonly taught. The 'hosepipe'
method is in fact the special case of the 'bow plus cleanup' method in
the limiting case where we don't use support.
Finally, on the subject of support in fast staccato passages, we should
note that very often sub-phrasing needs to be shown. Playing with
support is the ideal way to do this, as then we have a natural control
of the dynamic envelope, as we would in legato. Yet there is no
interruption of the airstream, so the reed still behaves well.
It is not my purpose here to provide exercises for staccato, which can
be found in many books, methods and tutors. Moreover, exercises
divorced from music have the disadvantage that they lead to the habit of
regarding articulation as a monochrome technique. I want to hear a
staccato that makes it clear to me why it is being used. There is
brilliant staccato; and also staccato to make notes light, staccato to
make notes heavy, staccato to make audible, bubbly staccato,
'travelling' staccato and many more. I could have said virtuoso
staccato instead of brilliant staccato and not been misunderstood, but
this is a detestable use of the word 'virtuoso'. True virtuosity
consists of the ability to make a piece sound necessary in its own
terms, so that the response of the public might well be to say, "What
wonderful music!" more than, "What a wonderful player!" Thus staccato
should always be studied relative to a musical context.
However, it's worthwhile mentioning one small exercise that is
sufficiently effective and innocent to be worth recommendation.
I said before that it's often advantageous to get one's mind out of the
way to allow one's body to learn more fluently and naturally (the 'inner
game' techniques). If we tie our minds up with another difficulty than
the one of articulating, our minds can't interfere.
Now, one of the abilities we sometimes need when we play music is the
ability to change between semiquavers and triplets, say, or between
straight quavers and quintuplets, whilst the beat itself remains
constant. This can be made into an exercise in staccato, using a
metronome. We switch at random between groupings of two, three, four,
five and even six to a beat, against a constant pulse. The mental
difficulty of imagining the shift accurately and adjusting when we prove
mistaken I find an excellent context in which to develop basic
articulation skills.
© Antony Pay 1993/1997
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339
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text:
Title: When the Snow Falls
Author and Title: William Moy Thomas. When the Snow Falls
First Edition: London: Sampson Low, 1859. 2 volumes, post 8vo., 21s.
Serializations:
"The Other Garret", Household Words, 11 January 1851
"Alice and the Angel", Household Words, 29 March 1851
"The Island in the River", Household Words, 28 June 1851 to 12 July 1851 (weekly)
"The Home of the Hundred Blind Men", Household Words, 22 November 1851
"A Guest for the Night", Household Words, 6 November 1852
"Cogwell's", Household Words, 27 November 1852
"Doctor Chillingworth's Prescription", Household Words, 11 December 1852
"A Shadowy Passion", Household Words, 5 February 1853
"Myself and my Family", Household Words, 30 April 1853
"The Borrowed Book", Household Words, 4 June 1853
"A Leaf from the Parish Register", Household Words, 7 January 1854
"Miss Furbey", Household Words, 17 June 1854
"The Last Howley of Killowen", Household Words, 15 July 1854
"Dr. Graves of Warwick Street", Household Words, 29 December 1855
"Famine Aboard!", Household Words, 16 January 1858
"Tried Friendship", Household Words, 9 October 1858
Summary: Collection of stories (loosely strung together).
References: BL; EC; Princeton
Bassett, Troy J. "Title: When the Snow Falls." At the Circulating Library: A Database of Victorian Fiction, 1837—1901, 15 December 2022, http://victorianresearch.org/atcl/show_title.php?tid=7011&aid=294. Accessed 9 February 2023.


The Romaco Group's decision to purchase the assets of Medipac AB, the Swedish manufacturer of tube filling machines, will strengthen its position in the effervescents sector. The Medipac portfolio will in future be integrated in the Romaco Siebler brand. The contracts were signed on 25/11/2015.
The Romaco Group has just acquired the assets of Medipac AB, a premier Swedish manufacturer of tube filling machines for effervescent tablets. The transaction was officially closed on 25/11/2015. The Medipac portfolio will in future be integrated in the Romaco Siebler brand, which is based in Karlsruhe (Germany). Medipac has its headquarters in Hässleholm (Sweden) and its experts will continue to provide valuable support to the Romaco Group.
Siebler has belonged to Romaco Pharmatechnik GmbH since 1998 and is today a leading supplier of strip packaging solutions for effervescents. Medipac's tube filling technologies for effervescent tablets will round off the Romaco Siebler portfolio in this area. On the process side, Romaco will be able to create new synergetic effects with its Innojet and Kilian brands for granulating, coating and tableting effervescent powders. Cartoning and final packaging solutions in the Romaco Promatic series can be connected downstream of the Medipac filling machines.
Medipac – established in Hässleholm (Sweden) in 2002 – is specialised in the development and manufacture of tube filling machines for effervescent tablets. Medipac machines are based on a modular design that gives users the maximum possible flexibility when implementing their respective technologies. The result: cost-efficient filling processes which can easily be adapted to any production environment. Medipac currently serves the international markets for effervescent pharmaceuticals and nutraceuticals, and is particularly strong in Eastern Europe and the U.S.
The manufacture and processing of effervescent tablets call for specialist expertise when it comes to granulating, coating and pressing the products and packing them into tubes or strips. Effervescents tend to be very sensitive to air, light and humidity as well as fragile and highly friable. These factors have to be considered at all stages of manufacturing and the processes adapted accordingly. Effervescent tablets sold in tubes are ideal for daily use. If the products are only needed sporadically – or if they are especially susceptible to environmental factors – Romaco Siebler unit dose strip packaging makes a good alternative.


I have been crafting most of my life. Once I retired from my full time job, beading (Kumihimo mostly) has been my thing. I have an online store where I make and sell Kumihimo bead kits. I fell in love with a 7 cord braid called Fill the Gap many years ago. I created a 7 cord template that sits on top of your Kumihimo braiding disk which makes all the difference in braiding else. I am also the creator and admin of a facebook group called Kumihimo Supplies Tutorials where we can post Kumihimo related supplies (kits) and patterns.
The Class is an ancient Japanese braid called Kusari Tsunagi. Pru McRae of London England created a special foam disk which allows for this Marudai braid to be braiding using a more portable means. The braid is done with a combination of satin cord and beading weight cord together. The structure of the braid is straight, meaning it has no twist as the traditional Kongo Gumi braid has. Once the students learn the structure of this braid, the skies the limit as to what can be braided. Pru has given me permission to teach her version of this ancient braid.
Students can bring their own beading mat & weight, but I will have some available for those who do not have one. If they do not finish the braid before the end of class, they will be shown how to attach the clasp. If they attach the clasp at home they will need E-6000 or Crazy Glue to hold the clasp securely in place.


Dublin, Aug. 10, 2018 (GLOBE NEWSWIRE) -- The "Quantum Computing: Technologies and Global Markets to 2022" report has been added to ResearchAndMarkets.com's offering.
The market for quantum computing technologies was in its infancy in 2016. Some analysts believe the market to be larger, but their definition of the quantum computing market does not appear to meet the publisher's definition of a commercial market.
This research expects the worldwide commercial market for quantum computing technologies to increase in 2017. In contrast to the 2016 market estimates, the publisher's projected growth rates are generally consistent with the CAGRs projected by other analysts.
Until recently, quantum computing was confined to the laboratory, with many experts predicting that commercial applications of quantum computing were years away. However, at the time this report was written in 2017, there was a growing consensus that the industry is on the verge of a breakout in quantum computing.
D-Wave, a Canadian company, has been selling quantum computers since 2010, but its computers are only capable of solving a limited range of problems. Other firms, including IBM, Alphabet Inc.'s Google, Rigetti Computing of San Francisco, are developing so-called universal quantum computers, which will be capable of solving a wider range of problems.
Early in 2017, IBM introduced IBM Q, the first commercial universal quantum computer, which it plans to offer to fee-paying users in the near future. The earliest versions of IBM Q will not outperform conventional computers, but IBM hopes that the system will help to develop a market for future quantum computers that will be able to handle complex calculations beyond the capabilities of conventional computers.
While these advances in quantum computing hold out the possibility of technology millions of times more powerful than conventional computers, the key to commercial success will be in applying quantum computing to real-world problems. Therefore, this study focuses on future applications for quantum computing as a basis for understanding the potential market for quantum computers, related software and services.
Profiles of the leading companies offering products and services related to quantum computing technologies, including D-Wave Systems, Intel Corp., International Business Machines Corp., Microsoft, and Amgen Inc.
Silicon Quantum Computing Pty Ltd.


Properties in Erua average 4.5 out of 5 stars.
Property 19: The Family Ski Shed.
Property 31: Inviting Railway Cottage. Old World Charm with Modern Conveniences.
Property 33: Uncle Bill's Cottage - award winning bach!


My name is Jessica and I'm Mom to Elise and Mila and wife to Ori. We are both city and country mice and love exploring the streets of Boston and the hills of Vermont. Our passion for travel will lead us on adventures near and far.
When I'm not taking pictures of my family, I love to learn about unique brands which delight and enchant us and celebrate the joys of childhood. We appreciate good design and well crafted, ethically produced, long lasting pieces that can take us from the playground to the zoo and everywhere in between.
I love sharing inspiration and would love to hear from you!


Your personal data is of upmost importance to us and we will take appropriate technical and organisational measures to safeguard it.
This Policy applies to personal information processed by or on behalf of Kingsway English Centre Limited and any associated trading names (referred to in this policy as "we" or "us" or the "Kingsway group").
Information about your use of products or services held with our business partners, such as Kingsway Medical, Kingsway English Test, Nursemark etc.
Your family, lifestyle or social circumstances, if relevant to our Services with reference to your enquiry or course booking.
We buy or rent information about you or customers generally from third parties including demographic information, online media channels, marketing information, publicly available information and other information to help improve our Services or our business.
d) Sharing your personal information with business partners and services providers when you request our Services to help manage your order, for example making a hotel booking as part of your course.
f) For some of our profiling and other decision making to decide whether to offer you our Services, particular payment method and the price or terms of this.
c) For some of our processing of special categories of personal data, such as about your health, or of a family member or beneficiary if relevant to making adjustments to the manner in which we provide our Services.
8. Is your personal information transferred outside the UK or the European Economic Area?
We want to make sure that the personal data we hold about you is accurate and up to date and so if any of the details are incorrect you should tell us so that we can update our records.
You have the right to object to certain purposes for processing, in particular to data processed for direct marketing purposes and to data processed for certain reasons based on our legitimate interests although we will be required to continue to process certain personal information in order to provide our Services to you and for legal reasons. You can contact us by going to the Contact Us section of our website to exercise these rights.
If you have any questions about this policy, or if you wish to exercise your rights you can contact us by going to the Contact Us section of our website https://www.kingsway-english.com/contact-us or by writing to the below address.
You can write to Kingsway English Centre Limited, 40 Foregate Street, Worcester WR1 1EE, UK.


Following a four year programme of racing across Europe, on Monday the first day of racing in the Louis Vuitton Cup was scheduled. For the first time, the challengers were sailing for their lives, with elimination looming after two Round Robins - but the weather did not fully cooperate.
For the more than 50,000 spectators in the AC Park on a holiday Monday, it was a beautiful, warm, sunny day; the first for weeks. But on the water, the wind needed for fair racing never materialised with a very light and unstable sea breeze teasing race officials and sailors alike. Racing was postponed with the teams remaining on the water all afternoon. Race Officers Peter REGGIO and Harold BENNETT held station until 16:50 when racing was called off for the day.
The postponed matches will be pushed to the first available racing slot, which is the Reserve Day on Friday. On Tuesday, racing is scheduled to continue with Flights Three and Four, as previously scheduled.
It was not only the sailors and spectators who were disappointed. There were some international VIPs on board many of the race boats in the '18th man' position. On Emirates Team New Zealand, Prime Minister Helen CLARK occupied that role. On Luna Rossa, American television and movie actor Ashton KUTCHER was on board, whilst BMW ORACLE Racing hosted German fashion model Tatjana PATITZ.
3. BMW ORACLE Racing vs. Team Shosholoza.


We're located in the beautiful Gulf Coast of Mississippi area.
For your Gulfport and Mississippi Gulf Coast dental needs, contact Scott Breazeale DMD.
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Sedation Dentistry is the answer for dental procedures during which you will experience little or no anxiety. Overcome your fears and enjoy great dental health with sedation dentistry. Experience sedation dentistry once and you will never be afraid to go to the dentist again. Relax while we create the smile you've dreamed about in as little as one appointment.
Learn how Cosmetic Dentistry can dramatically improve your smile. We will help you create the smile you have always wanted with our large selection of affordable cosmetic dentistry options. We offer the latest state-of-the-art cosmetic procedures like implants and bonding.
Click here to view our Special Offers.
Learn how Cosmetic Dentistry can dramatically improve your smile.
Sedation Dentistry is the answer for anxiety-free dental procedures.
Through regularly scheduled Preventative Treatments many expensive and time consuming procedures can be avoided.
When you have Dental Problems, it is best to have Dr. Breazeale give you a thorough examination.
Read more about additional General Dentistry topics.
Gulfport Dentist MS Gulf Coast Dr. Breazeale Cosmetic & Family Dentistry 228.896.7022 - Dr. Breazeale and his dental staff are dental professionals that take exceptional care of their patients and their comfort is of the highest priority. We are dedicated to Family & Cosmetic Dentistry such as Dental Exams, Cleanings, X-rays, Dental Makeovers, Teeth Whitening, Veneers, Crowns, & more. Please visit Gulfport, MS dentist Dr. Breazeale. We are conveniently located along the Mississippi Gulf Coast and welcome patients from throughout Biloxi, Ocean Springs, Landon, Lyman, Long Beach and Pass Christian areas.


Economic conditions in Russia, a key market for the Gorenje Group, have deteriorated dramatically in recent weeks. The Russian rouble has depreciated by 34% in the period from December 1 to 15, after having lost over 12% in November. Gorenje Group is looking to alleviate the negative effects of the exceptional aggravation of economic conditions in Russia by a number of measures.
Economic conditions in Russia have worsened in recent weeks, which has also been reflected in strong depreciation of the rouble. After depreciating by over 12% relative to the euro in November this year, the Russian currency lost a further 34% relative to the euro in the period from December 1 to 15. Cumulatively, the rouble depreciation from the beginning of the year to mid-December exceeds 80%. The depreciation of the Russian currency has a negative effect on the Gorenje Group's revenue from sales in Russia in euro terms, and the currency translation differences have a negative effect on the Group's bottom line.
Gorenje Group is carefully monitoring the development of all events affecting the value of the rouble, as it seeks to alleviate the negative effects of the harsh economic conditions in this market on the operations and performance with a variety of measures.


Check-in time is 2:00 - 9:00 PM.
A deposit of one night's lodging or a credit card is required to confirm your reservation.
We are a NON-SMOKING guest house.
Our guest house is suitable for children ages 8 and older.
Guests may bring their own alcohol and are welcome to use any of our cocktail glasses and bar accessories.
A service fee equal to one night's stay will be charged for reservations cancelled less than 48 hours prior to check in.
For the safety and comfort of our guests we maintain a policy of No Smoking in the bedrooms. You are welcome to smoke in the garden which you can access 24 hours a day. We ask you to vacate your room by 11.00am on the day of your departure, but you are welcome to leave your luggage at the guest house until you are ready to continue your journey. We try to get the rooms ready for you to check in as early as possible but we cannot guarantee a check in before 2.00pm. However you can arrive as early as you want and we can store your luggage until the room is ready.
E-mail us or call about room availability.
If you are interested in booking a room please use our search form for instant availability and booking online now.


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Treasurer Curtis Loftis Presents Teen Founder of Charity with Future Scholar Grant
Myrtle Beach, SC - Treasurer Curtis Loftis recently presented David Linkous, the founder of a non-profit in the Pee Dee, with a privately funded $529 grant for his Future Scholar 529 account.
Linkous founded David's Blankets of Hope in 2012 at the age of seven. The organization provides fleece blankets to children from birth to 21 months who are facing serious illness, disability or severe injury. David's blankets have been delivered to children throughout South Carolina and the United States, and as far away as England, Canada and Haiti.
David recently gave away his 1000th blanket to a sick child. The board of David's Blankets of Hope raised money towards David's Future Scholar account and Future Scholar was able to provide additional funds to the account.
Treasurer Loftis presented David with a $529 privately funded grant for this Future Scholar 529 College Savings account.
"It's amazing to see this young man working to help those less fortunate than him," said Treasurer Loftis. "We wanted to reward him for his hard work in helping others. Even though he may not be that excited about the money now since he can't spend it, he'll appreciate it when he's getting ready for college and can take the money tax-free to pay for school."
The Future Scholar 529 college savings plan is a tax-advantaged education savings vehicle that is designed to help make saving for college easier. Future Scholar funds can be used to pay for tuition and qualified higher education expenses at eligible two and four-year public and private colleges, and graduate, professional and certain vocational programs. Future Scholar is the 529 college savings plan sponsored by the State of South Carolina and administered by the Office of State Treasurer, Curtis Loftis.
To learn more about Future Scholar, visit futurescholar.com.


Sivrihisar, a town of Eskişehir in Midwestern Anatolia, is one of our cities which was able to largely keep its old town characteristics. It seems that the town, which saw Turkish settlement during the Seljucks, was furnished with architectural structures such as mosques, madrasas, hans and hamams (Turkish bath), and that it developed into a city with Turkish characteristics.
Alongside many historical monuments, Sivrihisar also contains a large cultural heritage with its houses. Unfortunately, the town is not very well- known for its traditional houses.
Sivrihisar houses, besides their unique features in terms of appereance and space organization, have the characteristic plan elements of Middle-Anatolian Turkish houses. Also Sivrihisar houses especially show close resemblances to old traditional houses of Ankara region. The main feature which makes these houses special is that they were able to keep their originality despite many alterations. However, due to lack of serious protection measures, these buildings are being demolished and are decreasing in number or losing their originality with alterations. As a result, the old structure of the settlement is subject to change and is loosing its historical properties day by day. In order to keep this original structure alive the monuments that form it should be protected as a whole.
For that purpose, between the years 2001-2003, we carried out a study on Sivrihisar houses with the monetary support of Ege University and it is presently ready for publication as a book.
In the prepared book, the factors (such as history, geography, population, urbanization and culture), that had effects on the formation of Sivrihisar houses, are stressed. Then information on the historical monuments in and around the city is given.
The houses are described thoroughly in the cataloque section where eleven examples were chosen from traditional houses of Sivrihisar.
In the fourth section where architectural properties of Sivrihisar houses are discussed, the houses are examined in terms of their plans, facades, materials, technical and ornamentation aspects. The work is supported with 56 figures and 166 pictures.


In the central corridor of Calit2's Nano3 clean room facility: (l-r) Nano3's Fruhberger; grad student Bondarenko; and ECE assistant project scientist Maziar Nezhad, first author on the Nature Photonics paper.
(PhysOrg.com) -- Imagine packing 4 billion nanolasers on a three-inch semiconductor wafer. That is now nearer to reality, thanks to researchers at the University of California, San Diego's Jacobs School of Engineering, who have demonstrated a micron-sized laser - less than one-thousandth of a millimeter on each side - that can operate at room temperature.
Until now, the only way to operate such a nanolaser was to cool it cryogenically to offset the various losses in the device. The UCSD solution, as published online in advance of appearing in the May issue of the journal Nature Photonics, was to add super-thin layers of silica (glass) and aluminum to encase the core of each device.
To achieve a subwavelength laser, Nezhad and his colleagues in Fainman's Ultrafast and Nanoscale Optics Group worked through a series of approaches to create an efficient subwavelength cavity. The conventional approach used in the past for this purpose had been to use a fully dielectric cavity, but it quickly became evident that in the subwavelength size regime this type of cavity would not lead to a working solution. The UCSD team decided to incorporate a metal/dielectric composite layer in the nanolaser design to create an efficient resonant cavity and also to electromagnetically isolate the nanolaser from surrounding devices. The immediate candidates for the metal to be used - aluminum, gold and silver - all have good optical properties because they are very reflective (i.e., they absorb less light). In the tests described in the Nature Photonics article, aluminum was used, but Nezhad says that in theory, silver should be the most efficient shield.
The fabrication was done in the Nano3 clean room facility of the California Institute for Telecommunications and Information Technology (Calit2) at UC San Diego. To create and characterize the tiny lasers with their composite layers of glass and aluminum, the team made extensive use of Nano3's electron beam lithography, etchers, deposition tools, scanning electron microsocopy and optical profiling equipment. Once the wafers of micron-sized laser cavities were complete, optical measurements were performed in Fainman's lab in the Jacobs School of Engineering.
ECE grad student Olesya Bondarenko inspects the chamber of the AJA sputter deposition tool in a Nano3 clean room in Atkinson Hall.
While other NACHOS-funded teams were mainly working on solutions at cryogenic temperatures, UC San Diego focused on delivering an optically-pumped laser operating in pulse mode at room temperature - which it delivered last summer. In the ongoing Phase Two of the project, the research teams are working on replacing the optical pump with electrical pumping (also known as injection pumping) and by the end of the five-year program's final phase in 2012, the research teams are expected to demonstrate nanolasers operating in continuous rather than pulsed mode.
Meanwhile, the teams at other universities are working on their own solutions to the challenges set forth by DARPA, so the researchers at UC San Diego won't be resting on their laurels.


When dreaming of the ideal all-inclusive vacation, most people think of spending time on the beach or in a big, beautiful swimming pool straight away, but the fact of the matter is a lot of things make up the perfect all-inclusive vacation. Every thing, no matter how small or seemingly insignificant, is important and can make a huge difference in your experience, whether it's the room accommodations, the friendliness of the staff or the diversity and quality of the FOOD in the on-site restaurants and bars. The Grand Sunset Princess All-Suites Resort has all of that and more. This stunning resort is a 4-star, all-inclusive, family resort located in Cancun, Mexico. It boasts a fun, exciting atmosphere with 12 swimming pools, a full-service spa, on-site theater and so many fun daytime and evening activities. The resort also has delectable cuisine and delicious beverages care of the large number of incredible restaurants and bars on-site! The Grand Sunset Princess restaurants serve up a plethora of unique, cultural and themed cuisine from places like Italy, Switzerland, Mexico and Asia. Come tour the world with us while we explore the Grand Sunset Princess Restaurants.
Who doesn't love a delicious buffet restaurant? These restaurants are open for breakfast, lunch and dinner, and reservations are not required. With different theme dinners every day of the week, you could eat here every day of your stay and have something different! Guests are not allowed to enter barefoot, wearing swimsuits or wet clothes. Gentlemen must wear shirts with sleeves. The Green restaurant is located in the Grand Riviera Princess Resort and the Orange restaurant is located in the Grand Sunset Princess Resort.
These buffet-style, all-inclusive restaurants serve up international cuisine for breakfast and lunch each day (breakfast: 7am – 11:30am; lunch: 12:30pm – 3pm.) Reservations are not required. Attire: guests are not allowed to enter barefoot, wearing swimsuits or wet clothes. Gentlemen must wear shirts with sleeves. Snack Sunset is located in the Grand Sunset Princess Resort and Snack Riviera is located in the Grand Riviera Princess Resort.
This open-air, al fresco-style dining experience on the beach is open for breakfast (8am – 12pm) and dinner (6pm – 11pm) Monday through Saturday (closed Sunday.) Reservations are required. This restaurant is only included for those staying in the Platinum Yucatan Suite room category, but is available to all other guests at an additional charge. The dress code is casual. Swimsuits and wet clothes are not permitted.
This Spanish-style tapas restaurant is only permitted to guests of 18 years of age or older. Dinner is available with reservation. Each of the two nightly dinner shifts offers a live Flamenco show with dinner. Gentlemen are asked to please wear long pants, closed-toe shoes and shirts with sleeves. Ladies are permitted to wear casual shorts and sandals.
If you'd rather stay in for dinner, room service is also available at the Grand Sunset Princess. The service is included for those staying in the Platinum Suite room category and the Laguna Villa. All other room types are subject to a service fee.
Are you ready to enjoy the many flavors of the Grand Sunset Princess Resort? Explore more and book your stay today, and don't forget to keep checking our Travel Blog for more updates like this one!
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John Adkisson
Name John Adkisson [1, 2, 3, 4, 5]
Born 20 Apr 1901 Hamilton County, Illinois [1, 2, 3, 4, 5]
Died 11 Apr 1981 Evansville, Vanderburgh, Indiana [1, 4]
Buried Galatia, Saline County, Illinois, USA [1]
Person ID P31987 Lemon-Knapp
Father John Adkisson, Sr, b. Abt 1879, Illinois
Mother Alma Davis, b. Abt 1885, Illinois
Family Edith Blanche Sprague, b. Abt 1905, Illinois , d. 1966 (Age ~ 61 years)
1. Ralph Adkisson, b. 12 October 1927, Saline County, Illinois, USA , d. 13 March 2013, Saint Louis, St. Louis City, Missouri, USA (Age 85 years) [Natural]
2. Bob L Adkisson, b. 13 August 1930, Williamson County, Illinois, USA , d. 2 October 2002, Paducah, McCracken County, Kentucky, USA (Age 72 years) [Natural]
[S-2113878077] 1930 United States Federal Census, Ancestry.com, (- Provo, UT, USA: The Generations Network, Inc., 2002. - United States of America, Bureau of the Census. Fifteenth Census of the United States, 1930. Washington, D.C.: National Archives and Records Administration, 1930. T626, 2,667 rolls.: United States o), Year: 1930; Census Place: Pontiac, Oakland, Michigan; Roll: 1017; Page: 2A; Enumeration District: 0048; Image: 394.0; FHL microfilm: 2340752.
[S-2113927563] 1920 United States Federal Census, Ancestry.com, (- Provo, UT, USA: The Generations Network, Inc., 2005. For details on the contents of the film numbers, visit the following NARA web page: NARA. Note: Enumeration Districts 819-839 on roll 323 (Chicago City. - United States of America, Bureau of the Cens), Year: 1920; Census Place: Flannigan, Hamilton, Illinois; Roll: T625_366; Page: 6B; Enumeration District: 51; Image: 958.
[S850885527] Indiana, Death Certificates, 1899-2011, Ancestry.com, (Ancestry.com Operations, Inc.).
[S-1794679775] 1940 United States Federal Census, Ancestry.com, (Online publication - Provo, UT, USA: Ancestry.com Operations, Inc., 2012.Original data - United States of America, Bureau of the Census. Sixteenth Census of the United States, 1940. Washington, D.C.: National Archives and Records Administration, 1940. T627), Year: 1940; Census Place: Lake Creek, Williamson, Illinois; Roll: T627_911; Page: 7A; Enumeration District: 100-55.


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Denmark: Solar District…
Denmark: Solar District Heating Capacity increases 5-fold
Solar heat is penetrating Denmark's district heating networks at an unprecedented rate: Around 90,000m2 of collector area (63 MWth) are going to be connected to the country's networks in 2011. The map shows the existing and planned solar district heating systems in Denmark, including the installed or planned collector area. The Danish consulting and engineering company PlanEnergi was responsible of drafting the map in the framework of Task 45 "Large Solar Heating/Cooling Systems, Seasonal Storage, Heat Pumps". The task was started in January 2011 by the International Energy Agency's Solar Heating and Cooling Programme (IEA SHC), which will run until December 2013.
Source: PlanEnergi
"Compared to last year, the capacity of the new solar district heating will be twice as much," Task 45 Operating Agent, Jan Erik Nielsen from PlanEnergi, said in a IEA SHC press release from the end of September. "And, the main reason for this dramatic development is simple: it's good business. Decreasing costs and increasing efficiency makes solar district heating competitive even in the absence of any subsidies." In addition, it makes Denmark the most dynamic solar thermal market in Europe in 2011. According to PlanEnergi estimations, 2011 market volume would reach 110,000 m2 (77 MWth) – 90,000 m2 in district heating and 20,000 m2 in the residential sector. This corresponds to an increase of 89 % compared to the 58,100 m2 (41 MWth) of newly installed collector area in 2010.
Since 1988, Denmark has been one of the countries which have made extensive use of solar energy for district heating. Over the last five years, however, the market has virtually exploded: Between 2006 and 2010, installed capacity has increased 5-fold, from 30 to 150 MWth. Solar district heating plays a crucial role in meeting the national solar targets. "In 2007, we published our Solar Thermal Strategy," Jens Windeleff of the Danish Energy Authority is quoted in the above mentioned press release. "We believe that by 2050, solar could provide 40% of the energy needed to heat Denmark's buildings. Which is why we have redoubled our efforts to further improve solar district heating in cooperation with the IEA SHC." Task 45 is supported by researchers from 7 countries and is going to hold his second task meeting in Calgary – Calgary & Banff, Alberta (Canada), from 23 to 27 October 2011.
http://www.planenergi.dk
http://www.iea-shc.org/task45/
Big Solar in Kosovo replaces coal-based electric heating January 25, 2023
Successful operator models for solar district heating in Germany January 5, 2023
Gas-free industrial heat with PVT collectors and heat pumps December 12, 2022
International Energy Agency's Solar Heating and Cooling ProgrammeTask 45
CanadaDenmark
Solar District Heating


Today is 11-11-11 and I have just completed your book, The Automatic Millionaire. I am in my late twenties and my fiance is in his early thirties…there couldn't have been the more perfect time for all this knowledge. We are purchasing a home, debt free and ready to build a future for ourselves and future children.


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Raymarine Will Be Showcasing Its New Range At Sanctuary Cove Boat Show
The E Series Widescreen with HybridTouch™ which was previewed during the Autumn international boat shows has received a huge response from dealers and customers. The E Series Widescreen HybridTouch™system will make its Australian boat show debut in May at the Sanctuary Cove International Boat Show.
The new E Series Widescreen is the first multifunction display to offer Raymarine's HybridTouch™ technology, giving users the choice of touch screen or hard key operation of the multifunction display.
Also making its Australian debut at Sanctuary Cove International Boat Show will be the Raymarine HD Digital Radome. Radar target detection has undergone massive changes in the last year, thanks to the introduction of High Definition Digital technology. Now the superior benefits of these new systems are available to even more boaters, with the launch of Raymarine's new HD Digital Radomes. Compact domes are the most popular radar antennae for the majority of power and sail boats throughout the world, and now these boat owners can benefit from the latest radar technology with Raymarine's new 18″ and 24″ HD Digital Radomes.
For larger boats the Raymarine Glass Bridge Monitors will be previewed for the first time in Australia at the Sanctuary Cove International Boat Show. Combining the latest advanced technology in an ultra-stylish, black, edge-to-edge glass screen, Raymarine's new Glass Bridge Monitors are aimed at the highly demanding operational and interior design requirements of vessels over 40 feet.
Available in two sizes – the GB150 (15") and GB170 (17") these large, ultra- bright, sunlight-viewable colour displays offer multiple display combinations for every navigational scenario. LED technology ensures the best visibility in all light conditions. The ultra sophisticated styling will please even the most discerning owner or captain.