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Photography at the Intersection of Art and Science with José Francisco Salgado
Dates: Monday July 29-Friday August 2, 8:30am-noon with optional open studio time in the afternoons
Cost: $520/workshop
There is so much to see in the world with our eyes, but what about seeing the world beyond what our eyes are capable of seeing? Changes in landscape, the night sky, slowing down processes to capture a moment that happens too quickly for our brains to process, these are all things we can now see using photography. Emmy-nominated astronomer and artist José Francisco Salgado will introduce you to the techniques he has developed to extend how we can experience the world. Experiment with time-lapse photography on field trips to the beach and forest, play with high-speed flash while smashing objects like water balloons and wine glasses to catch the moment they shatter into a thousand pieces, capture a drop as it falls into a bowl of liquid, venture into the realm of infrared technology, photograph Alaskan wildlife including bears and eagles, and more. Explore and adventure through the wilds of Sitka with new eyes and new perspective.
José Francisco Salgado is an Emmy-nominated astronomer (BS in Physics, Univ. of Puerto Rico; PhD in Astronomy, Univ. of Michigan), experimental photographer, visual artist, and public speaker who creates multimedia works that communicate science in engaging ways. As the Executive Director and co-founder of KV 265, a non-profit science and arts education organization, Dr. Salgado collaborates with orchestras, composers, and musicians to present films that provoke curiosity and a sense of wonder about the Earth and the Universe. As an experimental photographer, Salgado has visited more than 30 scientific sites in remote places including the Atacama desert, the French Pyrenees, and the South African Karoo, and has contributed visuals to documentaries produced for the History, Discovery, BBC, and National Geographic channels. As a public speaker, he has given lectures in all seven continents, including a presentation at the Amundsen-Scott South Pole Station. josefrancisco.org
DSLR with all accessories & memory cards or Smartphone Camera
If using a smartphone to take time-lapse then bring a phone tripod adapter. Many smartphones come with a built-in time-lapse feature (for ex, iPhone camera app). Otherwise, you can purchase an app for a few dollars.
Laptop with Lightroom (computers available if students don't have this)
Would be good if possible:
Shutter release cable: Great for long exposures. Some are even programmable to take time-lapse sequences. Important if your camera cannot be programmed internally.
Infrared filters (good brand names include Breakthrough Photography, Hoya, and B+W) which block visible light and let only IR pass. These will depend on the lens diameter and should only be bought if your camera can capture IR light. A quick google search will answer that.
Neutral Density filters (6 or 10 stops, brand names above recommended) to take long exposures in plain daylight. Those depend on the lens diameter (67 mm, 77 mm, etc).
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Round serving tray by Wilcox International Silver Company, 1900-1915. Made of metal and silver plated; Rose Mare pattern on border. Interior is flat; sides are raised and flare out to flat rim edge with the continuous floral/scroll pattern. Interior has engraved floral design around outer edge. At center is square design made of florwers, vines and scrolls. Center is unmarked.
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Kathleen Belsten has been nominated for Twitch Streamer of the Year as a part of this year's Shorty Awards.
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The only Australian in the category, Kathleen goes head to head with major international streamers including Faker, Shroud and Deadmau5.
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Home News COVID-19 Situation Local COVID hospitalizations increased in early January
Local COVID hospitalizations increased in early January
The number of adults with COVID-19 in inpatient beds at Roswell's two acute care hospitals for the first seven days of January increased by 12 compared to the previous week, according to information from the U.S. Department of Health and Human Services.
But the number of COVID-19 patients in intensive care unit (ICU) beds decreased by six, the fourth week that ICU bed usage has gone down in the local area.
The most recent national hospital utilization report released Monday by the federal department covers the seven-day period of Jan. 1 to Jan. 7. It shows that 159 adults confirmed to have COVID-19 occupied inpatient beds in Roswell, 135 at Eastern New Mexico Medical Center and 24 at Lovelace Regional Hospital.
Adults confirmed with COVID-19 in ICU beds totaled 48, 40 at ENMMC and 8 at Lovelace.
There were no pediatric COVID-19 cases reported at either hospital for that seven-day time frame.
With those numbers, the local hospitals had 28.8% of adult inpatient beds and 40.3% of ICU beds used by COVID-19 patients for Jan. 1 to Jan. 7.
For the previous seven-day period, Dec. 25 to Dec. 31, the hospitals had 147 adult COVID-19 cases in regular inpatient beds and 54 in ICU beds. For Dec. 18 to Dec. 24, there were 180 COVID-19 patients in inpatient beds in Roswell and 79 in ICU beds. For Dec. 11 to Dec. 17, the totals were 201 COVID-19 patients in adult inpatient beds and 84 in ICU beds.
According to the New Mexico Department of Health, the state had 333 ICU beds at its hub hospitals occupied by COVID-19 patients during its last update of the data a week ago. Eastern New Mexico Medical Center is one of those facilities. One of the eight gating criteria for reopening the state is ICU bed usage at hub hospitals, with fewer than 439 being the goal.
To keep up with local coverage of the coronavirus, go to rdrnews.com/category/news/covid-19-situation/.
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Motherhood Maternity is located at the address 88 Lakewood Center in Lakewood, California 90712. They can be contacted via phone at (562) 283-5860 for pricing, hours and directions.
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Works/Mp3
Sonata: Description
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Ludwig van Beethoven's manuscript sketch for Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro), in his own handwriting. The piece was completed in 1816.
Sonata (from Latin and Italian sonare, "to sound", Italian: pl., Sonate), in music, literally means a piece played as opposed to a cantata (Latin and Italian cantare, "to sing"), a piece sung. The term, being vague, naturally evolved through the history of music, designating a variety of forms prior to the Classical era. The term took on increasing importance in the Classical period, and by the early 19th century the word came to represent a principle of composing large scale works. It was applied to most instrumental genres and regarded alongside the fugue as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though the musical style of sonatas has changed since the Classical Era, most 20th- and 21st- century sonatas still maintain the same structure.
1 Usage of sonata
2 Instrumentation
3 Brief history of the usage of sonata
3.1 The Baroque sonata
3.2 The sonata in the Classical period
3.3 The sonata in the Romantic period
3.4 The sonata after the Romantic period
4 The sonata in scholarship and musicology
4.1 The sonata idea or principle
4.2 20th century theory
5 Famous sonatas
5.1 Baroque (ca 1600 – ca 1760)
5.2 Classical (ca 1760 – ca 1830)
5.3 Romantic (ca 1830 – ca 1900)
5.4 20th Century (including contemporary) (ca 1910–2000)
Usage of sonata
In the Baroque, the term "sonata" was applied to a variety of works for solo instrument such as keyboard or violin, and for groups of instruments.[citation needed] In the transition from the Baroque to the Classical period, the term sonata underwent a change in usage, coming to mean a chamber-music genre for either a solo instrument (usually a keyboard), or a solo melody instrument with piano. Increasingly after 1800, the term applied to a form of large-scale musical argument, and it was generally used in this sense in musicology and musical analysis.[citation needed] Most of the time if some more specific usage was meant, then the particular body of work would be noted: for example the sonatas of Beethoven would mean the works specifically labeled sonata, whereas Beethoven sonata form would apply to all of his large-scale instrumental works, whether concert or chamber. In the 20th century, sonatas in this sense would continue to be composed by influential and famous composers, though many works which did not meet the strict criterion of "sonata" in the formal sense would also be created and performed.[citation needed] The term sonatina, literally "small sonata", is often used for a short or technically easy sonata.
In the Baroque period, a sonata was for one or more instruments almost always with continuo. After the Baroque period most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument together with a keyboard instrument. In the late Baroque and early Classical period, a work with instrument and written-out keyboard part was referred to as having an obbligato keyboard part, in order to distinguish this from use of an instrument or instruments as continuo, though this fell out of usage by the early 1800s. Beginning in the early 19th century, works were termed sonata if, according to the understanding of that time, they were part of the genre, even if they were not designated sonata when originally published, or by the composer.[vague] A related term at the time was "Fantasia" (Italian), "Fantaisie" (French), Phantasie (German), or Fantasy (English), which was applied to movements or works which had a much freer form than the Sonata (for example Schubert's Wanderer Fantasy).[citation needed]
In the Classical period and afterwards, sonatas for piano solo were the most common genre of sonata, with sonatas for violin and piano or cello and piano being next.[citation needed] However, sonatas for a solo instrument other than keyboard have been composed, as have sonatas for other combinations of instruments, and for other instruments with piano.
Brief history of the usage of sonata
The Baroque sonata
By the time of Arcangelo Corelli, two polyphonic types of sonata were established: the sonata da chiesa (church sonata) and the sonata da camera ("ordinary" sonata, literally chamber sonata).[citation needed]
The sonata da chiesa, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile slow movement, and a lively finale in some binary form suggesting affinity with the dance-tunes of the suite. This scheme, however, was not very clearly defined, until the works of Johann Sebastian Bach and George Frideric Handel,[citation needed] when it became the essential sonata and persisted as a tradition of Italian violin music – even into the early 19th century, in the works of Boccherini.
The sonata da camera consisted almost entirely of idealized dance-tunes, but by the time of Bach and Handel such a composition drew apart from the sonata, and came to be called a suite, a partita, an ordre, or, when it had a prelude in the form of a French opera-overture, an overture.[citation needed] On the other hand, the features of sonata da chiesa and sonata da camera then tended to be freely intermixed. Bach is also cited as being among the first composers to have the keyboard and solo instrument share a melodic line, whereas previously most sonatas for keyboard and instrument had kept the melody exclusively in the solo instrument.
The term sonata is also applied to the series of over 500 works for harpsichord solo, or sometimes for other keyboard instruments, by Domenico Scarlatti, originally published under the name Essercizi per il gravicembalo (Exercises for the Harpsichord). Most of these pieces are in one binary-form movement only, with two parts that are in the same tempo and use the same thematic material, though occasionally there will be changes in tempo within the sections. Many of the sonatas were composed in pairs, one being in the major and the other in the parallel minor.[citation needed] They are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of their time. They are admired for their great variety and invention.
The genre – particularly for solo instruments with just the continuo or ripieno – eventually influenced the solo movements of suites or concerti that occurred between movements with the full orchestra playing, for example in the Brandenburg Concerti of Bach.[citation needed] The trio sonatas of Vivaldi, too, show parallels with the concerti he was writing at the same time.[citation needed]
The sonatas of Domenico Paradies are mild and elongated works of this type,[vague] with a graceful and melodious little second movement included. The manuscript on which Longo bases his edition of Scarlatti frequently shows a similar juxtaposition of movements, though without any definite indication of their connection.[citation needed] The style[vague] is still traceable in the sonatas of the later classics, whenever a first movement is in a uniform rush of rapid motion, as in Mozart's violin sonata in F (K. 377), and in several of Clementi's best works.[citation needed]
The sonata in the Classical period
The practice of the Classical period would become decisive for the sonata; the term moved from being one of many terms indicating genres or forms, to designating the fundamental form of organization for large-scale works. This evolution stretched over fifty years. The term came to apply both to the structure of individual movements (see Sonata form and History of sonata form) and to the layout of the movements in a multi-movement work. In the transition to the Classical period there were several names given to multimovement works, including divertimento, serenade, and partita, many of which are now regarded effectively as sonatas. The usage of sonata as the standard term for such works began somewhere in the 1770s. Haydn labels his first piano sonata as such in 1771, after which the term divertimento is used very sparingly in his output. The term sonata was increasingly applied to either a work for keyboard alone (see piano sonata), or for keyboard and one other instrument, often the violin or cello. It was less and less frequently applied to works with more than two instrumentalists; for example piano trios were not often labelled sonata for piano, violin, and cello.
Initially the most common layout of movements was:
Allegro, which at the time was understood to mean not only a tempo, but also some degree of "working out", or development, of the theme. (See Charles Rosen's The Classical Style, and his Sonata Forms.)
A middle movement which was, most frequently, a slow movement: an Andante, an Adagio, or a Largo; or, less frequently, a Minuet or Theme and Variations form.
A closing movement was generally an Allegro or a Presto, often labeled Finale. The form was often a Rondo or Minuet.
However, two-movement layouts also occur, a practice Haydn uses as late as the 1790s. There is also in the early Classical period the possibility of using four movements, with a dance movement inserted before the slow movement, as in Haydn's Piano sonatas No. 6 and No. 8. Mozart's sonatas would also be primarily in three movements. Of the works that Haydn labelled piano sonata, divertimento, or partita in Hob XIV, 7 are in two movements, 35 are in three movements, and 3 are in four movements; and there are several in three or four movements whose authenticity is listed as "doubtful." Composers such as Boccherini would publish sonatas for piano and obbligato instrument with an optional third movement – in Boccherini's case, 28 cello sonatas.
But increasingly instrumental works were laid out in four, not three movements, a practice seen first in string quartets and symphonies, and reaching the sonata proper in the early sonatas of Beethoven. However, two- and three-movement sonatas continued to be written throughout the Classical period: Beethoven's opus 102 pair has a two-movement C major sonata and a three-movement D major sonata.
The four-movement layout was by this point standard for the string quartet, and overwhelmingly the most common for the symphony. The usual order of the four movements was:
An allegro, which by this point was in what is called sonata form, complete with exposition, development, and recapitulation.
A slow movement, an Andante, Adagio or Largo.
A dance movement, frequently Minuet and trio or – especially later in the classical period – a Scherzo and trio.
A finale in faster tempo, often in a sonata–rondo form.
This four-movement layout came to be considered the standard for a sonata, and works without four movements, or with more than four, were increasingly felt to be exceptions; they were labelled as having movements "omitted," or had "extra" movements. Movements when they appeared out of this order would be described as "reversed", such as the Scherzo coming before the slow movement in Beethoven's 9th Symphony. This usage would be noted by critics in the early 1800s, and it was codified into teaching soon thereafter.
It is difficult to overstate the importance of Beethoven's output of sonatas: 32 piano sonatas, plus sonatas for cello and piano and violin and piano, forming a large body of music which would over time increasingly be thought essential for any serious instrumentalist to master.
The sonata in the Romantic period
In the early 19th century conservatories of music were established, leading to a codification of the practice of the Classical period.[citation needed] In this setting, our current usage of the term sonata was established, both as regards form per se, and in the sense that a fully elaborated sonata serves as a norm for concert music in general, which other forms are seen in relation to.[vague] Carl Czerny declared that he had invented the idea of sonata form, and music theorists began to write of the sonata as an ideal in music.[cite this quote] From this point forward, the word sonata in music theory as often labels the abstract musical form as well as much as particular works. Hence there are references to a symphony as a sonata for orchestra. This is referred to by William Newman as the sonata idea, and by others as the sonata principle.[citation needed]
Among works expressly labeled sonata, some of the most famous were composed in this era.[citation needed] Among piano sonatas alone, there are the three of Frédéric Chopin, those of Felix Mendelssohn, the three of Robert Schumann, Franz Liszt's Sonata in B Minor, and later the sonatas of Johannes Brahms and Sergei Rachmaninoff.
In the early 19th century the sonata form was rigorously defined, from a combination of previous practice and the works of important Classical composers, particularly Haydn, Mozart, Beethoven, but composers such as Clementi also.[citation needed] Works not explicitly labeled sonata were nevertheless felt[weasel words] to be an expression of the same governing structural practice. Because the word became definitively attached to an entire concept of musical layout, the differences in Classical practice began to be seen as important to classify and explain.[citation needed] It is during this period that the differences between the three- and the four-movement layouts became a subject of commentary, with emphasis on the concerto being laid out in three movements, and the symphony in four. Many thought[weasel words] that the four movement form was the superior layout. The concerto form was thought to be[weasel words] Italianate, while the four-movement form's predominance was ascribed[weasel words] to Haydn, and was considered German.
The importance of the sonata in the clash between Brahmsians and Wagnerians is also of note.[citation needed] Brahms represented, to his advocates, adherence to the form as it was strictly construed, while Wagner and Liszt claimed to have transcended the Procrustean nature of its outline.[citation needed] For example Ernest Newman wrote, in the essay "Brahms and the Serpent":[1]
That, perhaps, will be the ideal of the instrumental music of the future; the way to it, indeed, seems at last to be opening out before modern composers in proportion as they discard the last tiresome vestiges of sonata form. This, from being what it was originally, the natural mode of expression of a certain eighteenth century way of thinking in music, became in the nineteenth century a drag upon both individual thinking and the free unfolding of the inner vital force of an idea, and is now simply a shop device by which a bad composer may persuade himself and the innocent reader of textbooks that he is a good one. (Newman 1958, 51)
This view, that the sonata is truly only at home in the Classical style, and had become a road block to later musical development, is one that has been held at various times by composers and musicologists, including recently by Charles Rosen.[citation needed] In this view the sonata called for no explicit analysis in Haydn, Mozart, and Beethoven's era, in the same sense that Bach "knew" what a fugue was and how to compose one, whereas later composers were bound by an "academic" sense of form that was not well suited to the Romantic era's more frequent and more rapid modulations.
The sonata after the Romantic period
The sonata was closely tied in the Romantic period to tonal harmony and practice. Even before the demise of this practice, large-scale works increasingly deviated from the four-movement layout that had been considered standard for almost a century, and the internal structure of movements began to alter as well. The "sonata idea," along with the term sonata itself, continued to be central to musical analysis, and a strong influence on composers, both in large-scale works and in chamber music.[citation needed] The role of the sonata as an extremely important form of extended musical argument would inspire composers such as Hindemith, Prokofiev, Shostakovich to compose in sonata form, and works with traditional sonata structures continue to be composed and performed.
The piano sonatas of Scriabin began from standard forms of the late Romantic period, but progressively abandoned the formal markers that had been taught, and were usually composed as single-movement works.[citation needed]
Charles Ives's massive Concord Sonata (1920) for piano bore little resemblance to the traditional Sonata. It had four movements (though not with the usual tempos), very few barlines, and the tonality, where present, is fleeting or often compounded with polytonality.[citation needed] It even contained optional (and very minor) parts for viola and flute.
Still later, Pierre Boulez would compose three sonatas in the early 1950s, which, while they were neither tonal nor laid out in the standard four-movement form, were intended to have the same significance as sonatas.[vague] Elliott Carter began his transition from neo-classical composer to avant-garde with his Cello Sonata (1948).[citation needed]
The sonata in scholarship and musicology
The sonata idea or principle
Research into the practice and meaning of sonata form, style, and structure has been the motivation for important theoretical works by Heinrich Schenker, Arnold Schoenberg, and Charles Rosen among others; and the pedagogy of music continued to rest on an understanding and application of the rules of sonata form as almost two centuries of development in practice and theory had codified it.
The development of the classical style and its norms of composition formed the basis for much of the music theory of the 19th and 20th centuries. As an overarching formal principle, sonata was accorded the same central status as Baroque fugue; and generations of composers, instrumentalists, and audiences were guided by this understanding of sonata as an enduring and dominant principle in Western music. The sonata idea begins before the term had taken on its present importance, along with the evolution of the Classical period's changing norms. The reasons for these changes, and how they relate to the evolving sense of a new formal order in music, is a matter to which research is devoted. Some common factors which were pointed to include: the shift of focus from vocal music to instrumental music; changes in performance practice, including the loss of the continuo (Rosen 1997, 196) and the playing of all movements of a work straight through, without "mechanical" repeats; the shift away from the idea that each movement should express one dominant emotion (see Affekt), to a notion of accommodating contrasting themes and sections in an integrated whole; the move from a polyphonic mode of composition to a homophonic mode; changes in the availability of instruments, and new technical developments in instruments; the obsolescence of straightforward binary organization of movements; the rise of more dance rhythms; and changes in patronage and presentation.[citation needed]
Crucial to most interpretations of the sonata form is the idea of a tonal center; and, as the Grove Concise Dictionary of Music puts it: "The main form of the group embodying the 'sonata principle', the most important principle of musical structure from the Classical period to the 20th century: that material first stated in a complementary key be restated in the home key" (Sadie 1988,[page needed]).
The sonata idea has been thoroughly explored by William Newman in his monumental three-volume work Sonata in the Classic Era (A History of the Sonata Idea), begun in the 1950s and published in what has become the standard edition of all three volumes in 1972. He notes that according to his research, theorists had generally shown "a hazy recognition of 'sonata form' during the Classical Era and up to the late 1830s"[cite this quote] and places particular emphasis on Reicha's 1826 work describing the "fully developed binary form", for its fixing of key relationships,[cite this quote] Czerny's 1837 note in the preface to his Opus 600, and Adolf Bernhard Marx, who in 1845 wrote a long treatise on sonata form. Up until this point, Newman argues, the definitions available were quite imprecise, requiring only instrumental character and contrasting character of movements.[cite this quote]
William Newman also notes, however, that these codifications were in response to a growing understanding that the 18th century did have a formal organization of music.[cite this quote] Before those publications of Reicha, Czerny, or Marx, there are references to the "customary sonata form", and in particular to the organization of the first movement of sonatas and related works. He documents the evolution of sonata analysis as well, showing that early critical works on sonatas, with some very notable exceptions, dealt with structural and technical details only loosely.[cite this quote] Instead, many important works belonging to the sonata genre, or in sonata form, were not analyzed comprehensively in terms of their thematic and harmonic resources until the 20th century.[citation needed]
20th century theory
Two of the most important theorists in European musicology of the 20th century, Heinrich Schenker and Arnold Schoenberg, both had ideas of central importance for the analysis and general understanding of the sonata. Their ideas were extremely rigorous, and placed tremendous emphasis on the long range influence of tonal materials. Both advanced theories of analysis of works which would be adopted by later theorists. While the two men disagreed with each other, their ideas have often been used in combination.[citation needed]
Heinrich Schenker argued that there was an Urlinie or basic tonal melody, and a basic bass figuration. He held that when these two were present, there was basic structure, and that the sonata represented this basic structure in a whole work with a process known as interruption (Schenker 1979, 1:134). Arnold Schoenberg advanced the theory of monotonality, according to which a single work should be played as if in one key, even if movements were in different keys, and that the capable composer would reference everything in a work to a single tonic triad.[citation needed]
For Schenker, tonal function was the essential defining characteristic of comprehensible structure in music, and his definition of the sonata form rested, not on themes groups or sections, but on the basic interplay between the different "layers" of a composition.[citation needed] For Schoenberg, tonality was not essential to comprehensibility, but he accorded similar importance to the structural role of notes, in "explaining" the relationships of chords and counterpoint in musical structure.[citation needed] Both theorists held that tonality, and hence sonata structure in tonal form, is essentially hierarchical: what is immediately audible is subordinate to large-scale movements of harmony. They argued that transient chords and events are less significant than movement between certain crucial underlying chords.[citation needed]
As a practical matter, Schenker applied his ideas to the editing of the piano sonatas of Beethoven, using original manuscripts and his own theories to "correct" the available sources. The basic procedure was the use of tonal theory to infer meaning from available sources as part of the critical process, even to the extent of completing works left unfinished by their composers. While many of these changes were and are controversial, that procedure has a central role today in music theory, and is an essential part of the theory of sonata structure as taught in most music schools.
Famous sonatas
For a more comprehensive list of sonatas, see List of sonatas.
Baroque (ca 1600 – ca 1760)
Three Sonatas for solo violin
Giuseppe Tartini
Devil's Trill Sonata
Classical (ca 1760 – ca 1830)
Piano Sonata No. 8 "Pathétique"
Piano Sonata No. 14 "Moonlight"
Piano Sonata No. 17 "Tempest"
Piano Sonata No. 21 "Waldstein"
Piano Sonata No. 23 "Appassionata"
Piano Sonata No. 29 "Hammerklavier"
Violin Sonata No. 5 "Spring"
Violin Sonata No. 9 "Kreutzer"
Cello Sonata No. 1 in F Major Op. 5
Cello Sonata No. 2 in G Minor Op. 5
Cello Sonata No. 3 in A Major Op. 69
Piano Sonata No. 8 in A Minor (K. 310)
Piano Sonata No. 11 in A Major (K. 331/300i)
Piano Sonata No. 12 in F Major (K. 332)
Piano Sonata No. 13 in B-flat Major (K. 333)
Piano Sonata No. 14 in C Minor (K. 457)
Piano Sonata No. 15 in F Major (K. 533/494)
Piano Sonata No. 16 in C Major (K. 545)
Sonata in A for Violin and Keyboard (K. 526)
Romantic (ca 1830 – ca 1900)
Cello Sonata No. 1
Piano Sonata No. 2 in B♭ Minor
Piano Sonata No. 3 in B Minor
Three sonatas for Violin and Piano
Sonata after a Reading of Dante (Fantasia Quasi Sonata)
Sonata in B minor
Violin Sonata No 1 in A minor opus 105
Johannes Brahms, Albert Dietrich, and Robert Schumann
'F-A-E' Sonata
20th Century (including contemporary) (ca 1910–2000)
Cello Sonata Op. 6
Sonata for Two Pianos and Percussion
Sonata for Solo Violin
Sonata No. 1 for Violin and Piano
Piano Sonata No. 1
Sonatas and Interludes for Prepared Piano (1946–48)
Alberto Ginastera
Piano Sonata No. 1, 1952
Hans Werner Henze
Royal Winter Music, Guitar Sonatas No. 1 and 2
Sonata, for solo cello (1948/1953)
Piano Sonata No. 2, Concord, Mass., 1840-60
1. X. 1905 (Janáček's Sonata for Piano)
Ben Johnston
Sonata for Microtonal Piano
Violin Sonata No. 1 in F Minor
Violin Sonata No. 2 in D Major
Alexander Scriabin
Piano Sonata No. 2 (Sonata-Fantasy)
Piano Sonata No. 7 "White Mass"
Piano Sonata No. 9 "Black Mass"
Piano Sonata No. 10
Sonata for Piano in F♯ minor (1903–04)
Sonata for Piano (1924)
Sonata for Two Pianos (1943)
Mangsen, Sandra, John Irving, John Rink, and Paul Griffiths. 2001. "Sonata". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
Newman, Ernest. 1958. More Essays from the World of Music: Essays from the London Sunday Times, selected by Felix Aprahamian. London: John Calder; New York: Coward-McCann, Inc.
Newman, William S.. Sonata in the Classic Era (A History of the Sonata Idea) ISBN 0-393-00623-9.
Newman, William S. 1983a. The Sonata in the Baroque Era, fourth edition. New York: W. W. Norton. ISBN 0-393-95275-4.
Newman, William S. 1983b. The Sonata in the Classic Era, third edition. New York: W. W. Norton. ISBN 0-393-95286-X.
Newman, William S. 1983c. The Sonata since Beethoven. New York: W. W. Norton. ISBN 0-393-95290-8.
Newman, William S. 1988. Beethoven on Beethoven: Playing His Piano Music His Way. New York: W. W. Norton. ISBN 0-393-02538-1 (cloth) ISBN 0-393-30719-0 (pbk).
Rosen, Charles. 1988. Sonata Forms, revised edition. New York: W. W. Norton. ISBN 0-393-02658-2
Rosen, Charles. 1997. The Classical Style: Haydn, Mozart, Beethoven, expanded edition, with CD recording. New York: W. W. Norton. ISBN 0-393-31712-9.
Rosen, Charles. 1995. The Romantic Generation. Cambridge: Harvard University Press. ISBN 0-674-77933-9 ISBN 0-674-77934-7 (pbk).
Sadie, Stanley (ed). 1988. The Grove Concise Dictionary of Music. London: Macmillan Publishers. ISBN 0333432363 (cloth); ISBN 0393026205 (pbk).
Salzer, Felix Structural Hearing: Tonal Coherence in Music. 2 vols. New York: Dover Publications.
Schenker, Heinrich. 1979. Free Composition (Der freie Satz): Volume III of New Musical Theories and Fantasies, edited by Oswald Jonas, translated by Ernst Oster. 2 vols. New York: Longman. ISBN 0582280737.
Schoenberg, Arnold. 1966. Harmonielehre, 7th edition. Vienna: Universal-Edition. ISBN 370240029X.
History of sonata form
Sonata da camera
Sonata form
Sonata rondo form
Bassoon sonata
Cello sonata
Clarinet sonata
Flute sonata
Piano sonata
Viola sonata
Violin sonata
This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Sonata". Allthough most Wikipedia articles provide accurate information accuracy can not be guaranteed.
Mauro Bertoli
Symphony No. 1 in C major
Cello Suite No. 1 in G major
Debussy, C.
Tom Pascale
Barber, S.
Adagio for Strings
Corale San Gaudenzio


A Guide to Producing Food Labels — Derksen Co.
When it comes to producing food products, labeling is not only necessary to market and sell your merchandise but it is required to communicate important information about the makeup of your products and their nutritional values. Getting your label right can be tricky, but with the help of proper software and label printing equipment, you can rest assured your customers will have all the necessary information at their fingertips when they look at your products. Read on to find out how to make nutrition facts labels for food products.
At Derksen Co. we specialize in label production of all kinds. As a full-service printing house, we not only print labels but also provide companies with the tools to set up their own label production. In the food industry, it is necessary to be able to adapt packaging with recipe changes, create new labels for upcoming items, and seasonally change your marketing strategy and product offering. With the help of label printing software systems, like nutraCoster™, you can easily adapt your labels to fit your products.
nutraCoster™ is a label design software that is specially designed for the food industry. Easy-to-use and intuitively designed, this software is streamlined to meet the needs of food producers everywhere. This program performs nutrition analysis, generates nutrition facts data, ingredient lists, and can store recipes so you can have an inventory of data readily available as your production needs arise. Working in conjunction with our thermal printing equipment and label stock supply, nutraCoster™ can allow you and your company to get up and running quickly and efficiently.
NiceLabel is a label design software that allows you to easily create and print product labels for your merchandise. Barcode-capable and easy-to-use, this software is perfect for food producers who want to take their label production into their own hands. Working with Derksen Co.'s thermal printing equipment, NiceLabel allows your shop to design and print labels depending upon your needs, giving you increased flexibility when it comes to changing your product line.
Thermal printing has two avenues of approach: thermal direct and thermal transfer. Depending upon your products, the life and durability of your label needs, your preferences, and your label design, we'll customize a selection of printing equipment, label printing software, and supplies to help you get your label production up and running. Our team are experts in developing labeling solutions for a variety of business and have special expertise in the food label production industry. We stock ribbons, label rewinders, label applicators, and blank label stock. In addition to blank label stock, we can also produce branded label stock on which you can imprint your product's information. This option allows you to further customize your label and make a lasting impact with your packaging.
We hope you found this guide to producing food product labels helpful and informative. If you would like to learn more about how to make nutrition labels for food products, contact a member of the Derksen Co. team by navigating to our contact us page or our inquiries page. Call us at (920) 685-4000 or email team@derksenco.com.


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Written by Laurence Sidorczuk. Published on November 12th 2013.
THE value of art as a political dynamic is well-established. Ruling classes since the Renaissance favoured the works of the Great Masters to instil elite establishment values, often linking material wealth and privilege with heavy religious and imperialistic overtones.
These can be found in many municipal galleries around the country – the large canvases within ornate frames, the country houses, the idyllic rural scenes, the glories of conquest. Yet, you may ask, was life really like that for the rest of society?
Alternatives certainly did exist and would make eventually make their mark to prove that the peasants, then the working-classes, could celebrate their own culture and identity across the increasingly fractured social structures emerging from the Industrial Revolution.
In order to assess this, Tate Liverpool has provided a opportunity to discover how, what and why this all happened.
Atelier Populaire 1968Not only that, it's on a grand scale covering nearly every inch of the 4th floor – everything from trade-union banners AND hand-printed agitprop posters from Paris in 1968, samizdat Situationalist leaflets, the images and reports from Mass Observation and much more. Liverpool hasn't seen anything like this since the opening of the People's Republic gallery at the Museum of Liverpool.
Given the range of themes involved, some issues need to be addressed. Art as Propaganda is probably the most obvious. These range from early Bolshevik posters of Lenin, Molotov and the other Russian Revolutionaries, some with intriguing Arabic script, to recent Chinese prints depicting "The Production Brigades Reading Room" (main image, top). Well-scrubbed happy workers all.
Compare these to the camaraderie of labour activism through the lens of British Victorian trade-unionism and we arrive at a more down-to-earth Walter Crane and William Morris. These two embody a utilitarian socialism which promoted artisanship, influenced by the craft movement, rather than collective struggle against the bosses.
Crane's Utopian view extols the solidarity of [worldwide] labour. Interesting to see an original Kelmscott Press "News from Nowhere" from Morris, as well as some textile design prints and hand-printed wallpaper.
At the other extreme: "sous les pavés la plage" and the symbols of the student/intelligentsia/trade-union General Strike of revolutionary Paris in May 1968. These really capture the mood of the time through hastily-silkscreened satirical posters by Atelier Populaire attacking the Establishment, de Gaulle in particular. This was class-warfare writ large and they certainly had a revolutionary impetus at the time.
A more recent phenomenon was the emergence in 1985 of the Guerrilla Girls whose by-line was "conscience of the art world". Post-feminist, yes, but still using street-media to attack the male-dominated art establishment in the US. The same could, also, be said of the Hackney Flashers [a women's collective] who sought to expose the inequalities of domestic drudgery, low-paid work and lack of opportunity.
Then we come to the downright anarchic through various offshoots of the Situationalist International in the form of the Guy Debord, King Mob and Black Mask. Their output ranges from a homage to the Luddite Rebellion to the taking over of a West End Christmas Grotto and giving out all the presents to the kids for free. Likewise, Meireles preferred a more anti-capitalist approach. In this case, he put political slogans onto Coca-Cola bottles and returned them to the supermarket.
The work of Mass Observation isn't so much left-wing socialist as popular-culturalist.
Circuits - Cildo Meireles 1970Initially, Madge and Jennings were keen to develop social anthropology with an emphasis on documentary records to reveal the often unseen lives of the working-classes in Britain. This was the catalyst for both Grierson's G.P.O Film Unit but, also, the keeping of diaries by ordinary people. Humphrey Spender was invited to become the photographer/agent-in-the-field and this collection is a rare opportunity to see at first-hand how people and their communities dealt with the daily grind of everyday life.
There are a couple of quite unusual additions which, although avant-garde, seem out-of-place. These include a kinetic installation, a golden cloth where you can stitch your own personal work, a piece called Retrograde [which serves to underpin collectivist credentials] and a variety of modernist sculptural pieces by Hendricks.
There's even a drop-in "Office of Useful Art" at the heart of the exhibition which they describe as "promoting the idea of art as a process – a part of everyday civic life rather than simply a rarefied spectator experience".
Now that's original and if it works as they hope, then there could be an important legacy factor. At the very least, it goes some way to transform the visitor experience into something more potentially creative and participatory. To show how this could happen, there's a collaborative piece [My Room] produced by the locally-based Black-E project which confirms the fact that art can, indeed, be a positive exercise.
Overall, given Liverpool's own history of union militancy and intermittent civil unrest, it seems fitting that Tate Liverpool should choose to explore the creative dynamics within movements which reflect left-leaning core values - although it will cost you £8 to get in.
The works on display illustrate the wide number of personal and communal interpretations of this, yet it's perhaps ironic that they're being shown in a converted dock warehouse and funded through the philanthropic generosity of one of the Victorian grandees wealthiest families.
My Room - Black-E ProjectThat said, Art Turning Left asks more serious questions about the current state of the art market, individual/collective creative effort and the importance of the political context[s] which influence struggle and resistance to help deliver change.
One thing is certain, the artistic means of production in the 21st century, whether it be photography, printing, digital or any other media has seen a seismic democratic shift away from the elite. It may not be entirely Utopian, but it's unquestionably egalitarian.
Indeed, we are all capable of creative expression now so, if you think that the system is unfair and life needs to change for the better, then this exhibition basically says "No more excuses…just get out there and do something about it".
*Art Turning Left, Tate Liverpool, Albert Dock, L3, until February 2, 2014. Adult £8.80 (£8 without donation). Concession £6.60 (£6 without donation).


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Industrial Automation / Power Substation / SCADA
By Edvard | July, 23rd 2011 | 3 comments | Save to PDF
Continued from How Stuxnet (PLC virus) spreads – Part 1 » Read here
Stuxnet is a computer worm designed to infect Siemens SIMATIC WinCC and S7 PLC products, either installed as part of a PCS 7 system, or operating on their own. It starts by taking advantage of vulnerabilities in the Windows operating systems and Siemens products. Once it detects a suitable victim, it modifies control logic in specific models of Siemens PLCs. The objective appears to be to sabotage a specific industrial process using two vendors' variable-frequency drive controllers, along with a supervising safety system for the overall process. While there has been much speculation on Stuxnet's intended target, recent information suggests it was Iran's nuclear program and more specifically, its uranium enrichment process.
Stuxnet is capable of infecting both unsupported/legacy and current versions of Windows including Windows 2000, Windows XP, Windows Server 2003, Windows Vista, Windows Server 2008 and Windows 7. It also infects the Siemens STEP 7 project files in such a way that it automatically executes when the STEP 7 project is loaded by an uninfected Siemens system.
How Does Stuxnet Spread?
Stuxnet is considered by many to be one of the most complex and well-engineered worms ever seen. It took advantage of at least four zero-day vulnerabilities and showed considerable sophistication in its exploitation of both the Windows platform and the Siemens systems. Some of the important characteristics of the worm are:
It propagates slowly between sites, typically via USB flash drives and other "removable" media,
It propagates quickly within a site via multiple network pathways,
It searches for many vendors' anti-virus technologies on machines being attacked and modifies its behavior to avoid detection,
It contacts a command and control server on the Internet for instructions and updates,
It establishes a peer-to-peer network to propagate instructions and updates within a site, even to equipment without direct Internet connectivity,
It modifies PLC programming logic, causing physical processes to malfunction,
It hides the modified PLC programs from control engineers and system administrators who are trying to understand why their system has malfunctioned,
It is signed with certificates stolen from one of two major hardware manufacturers, so that no warnings are raised when the worm is installed, and
If a particular machine is not the intended target, the worm removes itself from the machine after it has replicated itself to other vulnerable media and machines.
The worm propagates using three completely different mechanisms:
Via infected Removable Drives (such as USB flash drives and external portable hard disks);
Via Local Area Network communications (such as shared network drives and print spooler services), and
Via infected Siemens project files (including both WinCC and STEP 7 files).
Within these three, it uses seven different vulnerability exploitation techniques for spreading to new computers in a system. The worm:
Exploits a zero-day vulnerability in Windows Shell handling of LNK files; a vulnerability present in all versions of Windows since at least Windows NT 4.0,
Uses several techniques to try to copy itself to accessible network shares and spread from there if at all possible,
Copies itself to printer servers using a zero-day vulnerability,
Uses an older "Conficker" RPC vulnerability to propagate through unpatched computers,
Contacts Siemens WinCC SQLServer database servers and installs itself on those servers via database calls, and
Puts copies of itself into Siemens STEP 7 project files to auto-execute whenever the files are loaded.
An earlier version of the worm used a variant of the old "autorun.inf" trick to propagate via USB drives.
In addition to the propagation techniques described above, the worm used two zero-day vulnerabilities to escalate privilege on targeted machines. This provided the worm with "system" access privileges so it could copy itself into system processes on compromised machines.
What Does Stuxnet do to Control Systems?
When first installed on a computer with any STEP 7 software installed, Stuxnet attempts to locate Siemens STEP 7 programming stations and infect these. If it succeeds, it replaces the STEP 7 DLL routines on the programming stations, so that any person viewing a PLC's logic would not see any changes Stuxnet later makes to the PLC. These actions occur on all computers with STEP 7 software installed, irrespective of whether the compromised computers are connected to PLCs.
Stuxnet then looks for specific models of Siemens PLCs (6ES7-315-2 and 6ES7-417). If it is able to connect to one of these two models, it "fingerprints" the PLC by checking for the existence of certain process configurations and strings in the PLC. If Stuxnet finds what it is looking for in the PLC, it starts one of three sequences to inject different STEP 7 code "payloads" into the PLC. The PLC's PROFIBUS driver is replaced and the main PLC program block (Organizational Block 1) and the primary watchdog block (Organizational Block 35) are significantly modified. As well, depending on which sequence is selected, between 17 and 32 additional function blocks and data blocks are injected into the PLC.
Two of Stuxnet's injected payloads are designed to change the output frequencies of specific Variable Frequency Drives (VFDs) and thus the speed of the motors connected to them, essentially sabotaging an industrial process. A third payload appears to be designed to control the overall safety system for the centrifuges.
This payload takes the inputs coming from the PLC's I/O modules and modifies them so that the PLC safety logic uses incorrect information. The Stuxnet logic then tells the PLC's outputs to do what it wants. This is possibly to prevent a safety system from alarming on or overriding the changes the worm is making to the VFD operations.
The Target – A High-Security Site
In this part of the analysis, we propose a hypothetical site that is the worm's target. As noted earlier, we assume this site is following all the guidance provided for "high security" sites in Siemens' "Security Concept PCS 7 and WinCC – Basic Document."
It is important to note that the Siemens recommendations for protecting control systems were selected both because the Stuxnet worm specifically targeted Siemens PLCs and because the Siemens recommendations are a good example of existing "best-practice" recommendations.
Nothing in this discussion is intended to imply that Siemens control systems are less secure than competing control system solutions. In fact, it is the opinion of the authors that a majority of industrial sites are protected much less thoroughly than is the hypothetical Siemens site described in this paper.
Networks at a High Security Site
According to the Siemens documentation, the high security site is separated into at least four security zones as illustrated in Figure 4:
The pink "Enterprise Control Network" zone is the corporate network, which hosts most business users and business accounting and planning systems, such as Enterprise Resource Planning (ERP) systems. The Enterprise Control Network may itself be separated into additional sub-networks, each with their own protections. Such segmentations and protections are typically established and managed by the corporate IT group.
Figure 4: The Hypothetical ICS Network Architecture
The yellow "Manufacturing Operations Network" zone hosts the SIMATIC IT servers, which exchange information between the control system, the ERP system, and other important applications on the Enterprise Control Network.
The brown "Perimeter Network" zone hosts servers that manage equipment in the control system, and servers that provide information to end users on the Enterprise Control Network. This is a common location for servers responsible for providing software patches and updates, including Windows security updates and anti-virus updates. Many of the servers within this zone provide information to end users via web servers and web services. People sometimes refer to this zone as a "demilitarized zone" or DMZ.
The green security zone hosts two networks: the green "Process Control Network" and the blue "Control System Network." The Process Control Network hosts the 24×7 plant operators on their Human Machine Interface (HMI) workstations, and is also connected to the WinCC/PCS 7 control system servers. The Control System Network is connected to a number of Programmable Logic Controllers (PLCs) and is also connected to the WinCC/PCS 7 control system servers.
In a large facility, there are frequently multiple "green" zones, one for each control center or operating area. For example, a large chemical plant may have as many as twenty or thirty operating areas, each with their own SIMATIC PCS 7 system, and each controlling a large portion of the facility with both input and output storage facilities to help decouple operational disturbances between areas. These areas are able to operate independently of other portions of the large facility for some period of time. The facility may have many control rooms and corresponding server rooms, each hosting one or more control centers or operating areas.
The corporate wide area network (WAN) connects sites to one another, and connects different kinds of security zones within sites. Corporate IT manages the various enterprise networks and the corporate firewalls which protect enterprise network segments.
Note that while the Process Control Network and the Control System Network are different networks, they are both in the same security zone. WinCC and PCS 7 control system servers have at least two network interfaces, one for each kind of network. The two networks are separated for performance and technological reasons, not security reasons.
In other words, the Control System Network is dedicated to traffic specifically related to "automation" and "control" such as traffic to/from process controllers/PLCs and servers, while traffic on the Process Control Network is utilized for "information" and "display" such as that between HMI's and servers.
Internet Security and Acceleration (ISA) Servers
In the recommended architecture, Microsoft Internet Security and Acceleration (ISA) Servers protect the plant zones from the WAN. They also protect zones from each other. All traffic between security zones passes through an ISA server. Each ISA server hosts a number of functions, such as firewall services, network address translation, web proxies, virus scanning and secure web server publishing.
All of the ISA servers are configured by default to block connections originating in less-trusted networks, such as the corporate WAN. The ISA servers allow connections, such as web services connections, from clients on less-trusted networks to selected servers, such as web servers, in the Perimeter Network. Servers that receive connections from less-trusted networks are specifically hardened. The ISA servers manage connections to servers in the Perimeter Network, and allow VPN and web connections only for authorized users with legitimate credentials via the WAN.
The ISA servers are also configured to allow machines inside the protected networks to initiate connections "outward" to specific machines and services on less trusted networks. Those connections may pass through the corporate WAN to external servers such as vendor websites on the public Internet. However, connections from protected equipment to arbitrary sites on the Enterprise Control Network or the Internet are not allowed. Just like inbound connections, the outbound connections through the ISA firewalls are "deny by default," with only specific, approved connections to external servers permitted.
It should be mentioned that Windows ISA Server was originally introduced in 2001 to run on the Windows 2000 platform. It was enhanced over the years with new editions released in 2004 and in 2006, with both releases designed for the Windows Server 2003 platform. The Siemens Security Concept document is based on the ISA Server 2006 platform. Today, Microsoft offers the Forefront Threat Management Gateway which was released in 2009 and builds upon the ISA 2006 platform offering new features including support for the Windows Server 2008 and 2008R2 platforms. For additional information on ISA and Forefront TMG, please consult Microsoft's product documentation.
Virtual Private Network Connections
The ISA servers also mediate Virtual Private Network (VPN) connections into protected networks. From time to time, workstations and laptops whose security is managed by third parties are allowed to connect to protected networks through the ISA servers. Such connections are labeled as "support stations" in Figure 4. Support stations are used most commonly for remote engineering activities or vendor support activities. The stations may be at the site, or at a remote corporate site, connected indirectly to the corporate WAN, with their access into corporate networks other than the WAN mediated by either corporate firewalls or the ISA servers. The vendors may also be at other "noncorporate" remote sites, connecting directly to the ISA servers from quarantine zones served by routers.
When these support stations access protected network zones through an ISA firewall, the firewall authenticates the VPN connection. If the vendor uses WinCC or other process applications that require access to the Process Control Network, the firewall allows a small number of connections, including WinCC and STEP 7 database connections, to protected servers. For broader access to protected networks, the ISA server allows only VPN connections to remote access servers running Microsoft Terminal Services or Remote Desktop Services. These are sometimes referred to as "jump hosts", and are intended to provide isolation between the untrusted hosts, such as support laptops, and the trusted hosts such as the servers and workstations on protected networks.
Host Hardening and Malware Prevention
In addition to the firewall and perimeter protections the ISA servers provide, a variety of host hardening and malware prevention mechanisms are also in place, as specified by the Siemens security architecture. On the Enterprise Control Network, all hosts are part of a comprehensive patch management program that provides automated and managed installation of critical software patches and hot fixes. All hosts have anti-virus and anti-spyware products installed, and signatures for these products are distributed to all hosts immediately upon receipt from the anti-malware vendors.
Hosts have only those applications installed and services enabled that are essential to business functions. Enterprise workstations have access to the open Internet, but all web, ftp and email traffic into the Enterprise Control Network is scanned for spam and malware at the Enterprise Control Network firewall. Select workstations on the Enterprise Control Network have VPN access configured to hosts on the Manufacturing Operations Network and hosts on the Perimeter Network, but no workstations on the Enterprise Control Network have VPN access directly into the Process Control or Control System Networks.
On the Manufacturing Operations Network and the Perimeter Network all hosts are part of the security program implemented at the corporate level. All hosts are current with Siemens patches, Microsoft operating system and application patches, third party application patches, anti-virus and anti-spyware signatures, and all hosts have been reviewed to ensure that only applications and services needed for the correct operation of the host and appropriate network are running. On the Process Control Network and Control System Network, hosts are hardened and are running antivirus software, but the hosts are not part of the corporate patch management system. Operations manages patches on these critical networks, and subjects new Siemens, Microsoft and third-party patches to a rigorous testing process before approving the patches for deployment on critical system components.
The Microsoft Windows Server Update Services (WSUS) servers manage deployment of approved patches, and such deployment is staged so that if unexpected problems arise when patches are deployed, the affected equipment can be taken offline and rolled back without impacting the overall performance of the control system. In addition, operations manages the anti-virus servers for
Process Control and Control System Networks, testing all new signature sets before approving them for deployment, and staging deployment of signature sets just like patch deployment is staged. The WSUS servers also provide management of the deployment of patches allowing users to configure the specific hosts and their timing and sequencing of installation in order to minimize any risk associated with patch rollout. This ensures that equipment that develops unexpected problems because of new patches and signature sets can be taken offline and repaired without affecting the overall performance of the control system.
To be continued soon! Subscribe and be informed – HERE
SOURCE: How Stuxnet Spreads – A Study of Infection Paths in Best Practice Systems by: Eric Byres, P. Eng. ISA Fellow, Andrew Ginter, CISSP, Joel Langill, CEH, CPT, CCNA (www.tofinosecurity.com www.abterra.ca www.scadahacker.com) – Develop best practice guidelines to certify the security and reliability of your infrastructure and information assets


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Al Cantu
38 Riv
Online fee : 22€
Al Cantu is a narrative project within a musical project. No voices, however, but four jazz musicians united in a quest borrowed from other musical genres: the search for a common sound - a common voice. What does this voice say? It speaks to everyone. It speaks of memories, it tells of landscapes, characters, atmospheres.
Al Cantu's pictorial music sometimes seems to go back to the origins of jazz, to the time when only the cabarets of New Orleans ensured the meeting of music with various influences from classical and blues.
That time has passed, however, and it is instead in an open world, shaken by exchanges and influences, that Al Cantu takes up the challenge of finding his own way, an authentic voice, which sounds familiar to everyone.
Paul Sany: piano
Antoine Decune: tenor saxophone
Nicolas Fleury: double bass
Léo Tochon: drums
38 Rue de Rivoli, 75004 Paris, France


a. The company's inventory of office supplies on December 1 was 2,850. The company bought supplies costing Rs. 4,710 in December. The inventory of office supplies on December 31 totaled Rs. 1,930.
b. The company had not paid December salary of Rs.4,900 at the month-end.
c. On 9 December, a customer paid an advance of Rs.9,300 for future services. The company provided services worth Rs. 7,100 to the customer in December.
d. The company made a three-year bank deposit ofRs. 20,000 on December 1. The deposit carried interest at 12 percent per annum.
e. The company bought equipment costing Rs. 13,000on November 1. The equipment had an estimated useful life of 10 years at the end of which it has salvage value Rs. 1,000.


Indianapolis Airport car rental is a part of an international rental broker VIP Cars and, thus, has friendly tie-ups with a leading network of suppliers in Indiana. We present some of the best Muncie car rental deals at most competitive prices. When you rent a car in Muncie, you get the convenience of planning your stay as per your schedule. Both business and leisure travelers can find a suitable rental car with us, as our suppliers provide us with finest fleet of economical and high ends cars. With exclusive discounts, top rental inclusions, easy online booking and 24/7 booking support, we make your Muncie car rental experience unforgettable.
Muncie is a city in the middle of town, Delaware County in eastern Indiana. Muncie is best known as the home of Ball State University and the birthplace of the Ball Corporation. It is the capital city of Greater Muncie, Indiana. The city has established its name from Munseetown, a tribal town on the Delaware along the White River. Muncie is home to many unique attractions. Oakhurst Gardens consists of six acres of gardens and renovation of the 1895 home of George and Frances Ball. Minnetrista Cultural features 40 acres of landscape around a modern museum facility. The National Model Aviation Museum contains the largest collection of model airplanes in the country. The Muncie Civic Theatre offers live entertainment to suit all tastes. Downtown Muncie is an art and cultural district in the heart of the city. The charm of the historic city center of Muncie is in unique places to shop like F.B Fogg and Cassella's kitchen. Travelers can experience easy and comfortable Muncie car hire service offered by us.
Book your Muncie car rental with us now!


text:
Q: How to split data for 2 columns from up to down? I have a question about the way to show the data from up to down for 2 columns in Bootstrap. My data is inside an array, so I loop it with foreach.
On the attached picture you can see that I intend to arrange my two columns in a vertical then horizontal manner, so the first half of the items should be in the left column and the second half in the right column.
This code

Buy

            <?php foreach ($product as $k => $v) : ?>

Low

<?= $v['txt'] ?>

<?= $v['desc'] ?>

<?= number_format($v['price']) ?>

                                    60
                                 -10%

                            Check

            <?php endforeach;  ?>

A: If $product is a 0-indexed array, then:
for ($index = 0; $index < count($product) / 2; $index++) {
    //Display a row, your left item is $product[$index]
    //and your right item is $product($index + ((int)count($product)) / 2)
    //the right item is missing if $index + ((int)count($product)) / 2 >= count($product)
    //So, if the comparison above is true, then you need to have a missing item
    //otherwise display the item having the given index
}

If $product is not a 0-indexed array, then you can convert it into one:
$indexedProduct = [];
foreach($product as $k => $v) {
    $indexedProduct[]=$v;
}

A: You can use css's column-count property, check the following example, adjust it according to your needs.

.card-container {
  column-count: 2;
}
.card {
  margin-bottom: 1rem;
  break-inside: avoid-column;
}
<link href="https://stackpath.bootstrapcdn.com/bootstrap/4.4.1/css/bootstrap.min.css" rel="stylesheet"/>

Buy

Card title 1

Some quick example text to build on the card title and make up the bulk of the card's content.

            Go somewhere

Card title 2

Some quick example text to build on the card title and make up the bulk of the card's content.

            Go somewhere

Card title 3

Some quick example text to build on the card title and make up the bulk of the card's content.

            Go somewhere

Card title 4

Some quick example text to build on the card title and make up the bulk of the card's content.

            Go somewhere

Card title 5

Some quick example text to build on the card title and make up the bulk of the card's content.

            Go somewhere

redpajama_set_name: RedPajamaStackExchange


Outfitter for caribou hunts, salmon and trout fishing, snowmobile outings and boat excursions. Contains hunting and fishing package details and photos.
Wedge Hills Lodge - Outfitter for caribou hunts, salmon and trout fishing, s snowmobile outings localities and boat excursions. Contains hunting and s fishing package details and localities photos.
Wikipedia: Schefferville, Quebec - Article from an online encyclopedia created by a group of volunteers.


text:
package com.ip_b1.fii.admission;

import com.ip_b1.fii.admission.Controllers.ApplicationAccept;
import com.ip_b1.fii.admission.Controllers.GetForm;
import com.ip_b1.fii.admission.DTO.AuthEntity;
import com.ip_b1.fii.admission.DTO.DistributionListEntity;
import com.ip_b1.fii.admission.DTO.FormOutEntity;
import org.junit.Assert;
import org.junit.Test;
import org.junit.jupiter.api.AfterEach;
import org.junit.jupiter.api.BeforeEach;
import org.springframework.http.HttpStatus;
import org.springframework.http.ResponseEntity;

import javax.xml.ws.http.HTTPException;

public class GetFormTest {
    private GetForm test;

    @BeforeEach
    private void setUp(){
        test = new GetForm();
    }
    @AfterEach
    private void tearDown(){
        test = null;
    }

    @Test
    public void unauthorized_user() {

        test = new GetForm();
        AuthEntity testEntity;
        try {
            testEntity = new AuthEntity("admin@info.uaic.ro", "tkek");
            ResponseEntity<FormOutEntity> testResult = test.run(testEntity);
            Assert.assertNotEquals(HttpStatus.OK, testResult.getStatusCode());

        }
        catch(HTTPException e) {
            Assert.assertEquals(HttpStatus.UNAUTHORIZED, e.getStatusCode());
        }
    }

    @Test
    public void test_ok() {
        test = new GetForm();
        AuthEntity testEntity = new AuthEntity("admin@info.uaic.ro", "topkek");
        ResponseEntity<FormOutEntity> testResult = test.run(testEntity);
        Assert.assertEquals(HttpStatus.OK, testResult.getStatusCode());
    }
}

redpajama_set_name: RedPajamaGithub


text:
Keith Lee talks about his move from NXT to WWE RAW
Wrestling NewsWWE News
By Watch Wrestling Online On Nov 9, 2020
In an interview with SportsNet, Keith Lee discussed the magnitude of his transition and move from the NXT roster to RAW. Keith Lee made his red brand debut back in August and while he claims it was 'astronomical', The Limitless One also felt that it was a natural one.
"The magnitude was astronomical from NXT to walking into RAW and stepping into Randy Orton's space. I don't know many people that have done that. It was a very large transition, especially those first few weeks of fighting him and trying to work to a pay-per-view, and the triple threat for a number one contenders thing with the world title – it was a lot, to say the least. A big transition." H/t WrestlingInc
Keith Lee also discussed the major differences between the two rosters, and how things changed so much and quite rapidly, especially when it came to meeting all the new roster members and colleagues.
"I think that things can change so very quickly. I also think that's just part of being in wrestling as a whole, so that's not a huge difference. But the biggest difference is just getting to know people that I've either never wrestled or never met, and just getting used to how things are and the way things work at RAW… At the end of the day, I was actually very fortunate because I had several friends on RAW, so I wasn't unsure or uncomfortable. I'm a fairly confident guy anyway, so when it comes to the transition, it felt very natural." H/t WrestlingInc
Keith Lee says Survivor Series was one of the most intense moments in his career
Keith Lee also discussed the upcoming Survivor Series PPV and the fact that he would be working with so many great WWE Superstars as part of the RAW team. The team currently includes the likes of Braun Strowman, AJ Styles, Sheamus, and Keith Lee himself.
However, The Limitless One's first Survivor Series was last year when he was a member of NXT. Even though his team lost, it was an intense moment where he went in and made a statement.
"I say that was maybe one of the more intense moments of my career. Considering that you had 15 guys out there from three different brands, you can never gloss over the fact that I was one of the last two in there in the battle. That's huge; it's enormous. Even though I didn't win, I made a statement and made some waves, and I think that's something that's contributed to everything that I'm trying to accomplish as far as making an impact in this supposed glass ceiling that I have, which I have every intention of shattering."H/t WrestlingInc
Keith Lee will be fighting on Team RAW against Team SmackDown at Survivor Series on the 22nd of November 2020. However, both teams have one more spot to be filled. It will be interesting to see how The Limitless One and his teammates can coexist given what happened on last week's RAW.
Published 09 Nov 2020, 07:56 IST
YouTube To Air MLW FUSION Wednesday Nights Starting November 18
Potential spoiler on future WWE storyline plans for Aalyah Mysterio and Murphy
WWE sets pre-registration record for United Kingdom event this September
Veer Mahaan re-debuts on Monday's WWE Raw
WWE confirms both nights of WrestleMania 38 will air live in theaters nationwide
Jeff Hardy provides details on leaving match at WWE event in Texas, turning down HOF


(MoneyWatch) The smartphone revolution has left us with one unfortunate legacy: Much higher phone bills. Almost half of Americans with mobile phones pay more than $100 per month, for example, and a significant chunk of that is the cost of the subsidized handset. Factor out the handset cost, and the average bill is closer to $47.
Is there a way out of these crazy expensive phone bills? Of course. For starters, you can avoid smartphones entirely, and fall back on a cheap plan with a feature phone. But that's not a compromise most of us are willing to make. An increasingly popular option is going with a no-contract provider, like Boost or Virgin Mobile. Recently, I found a new name in the no-contract business: TextNow.
Has your cell phone been hacked?
TextNow clocks in with some crazy-cheap prices that start at $19/month for 500MB of data and 750 roll-over minutes, along with unlimited texting and incoming calls. You can step up to a $27/moth plan that offers 1GB of data, or $40/month for 2GB of data (with similar boosts in roll-over minutes). You can see the complete three-tiered chart on the TextNow site.
So how can TextNow offer plans so cheap? There are two reasons: First, you have a choice of just two (somewhat older) handsets: the Nexus S ($90) and the Galaxy S II ($120). You purchase both handsets outright, avoiding any subsidy fees. Whichever one you choose, they come to you refurbished, which means you're not the original owner.
Secondly, the phones rely primarily on Wi-Fi for voice and data, only falling back on Sprint's cellular network when you're not in a wireless hotspot. Is that a problem? It doesn't concern me a lot -- especially given the price -- but former MoneyWatch contributor Rick Broida thinks that you could find mediocre call quality when moving from one network to another.
As long as new handsets and service plans from major providers cost so many of us $100 or more each month, the market for affordable options like TextNow's no-contract solution will continue to grow. And honestly -- $20/month? That's hard to beat. I'd be willing to put up with some mediocre call quality for that.


You could have forgiven United's Away Days Faithful for not being in full voice for this one. But that wasn't the case. Not even close!
There was an anticipation in the air that everyone going was looking forward to this game. From the lads singing on the coach, to the packed out concourse at St Andrews just before the game that was literally bouncing with energy and song. Have no doubts, we were in full voice.
The game started and the noise that is coming from the United contingent is immense. It's a long way from the often stale atmosphere that spreads around Old Trafford these days. I have to say though that I was quite disappointed in the home fans. I thought the Birmingham fans would have been up for this game but I heard hardly anything from them until they scored at the end.
The first half was largely forgettable. The resurgent Anderson striding about the midfield and Berbatov now looking like the player everyone has wanted to believe in for so long, is boding well for United. But the seemingly lopsided formation with Rooney stuck out wide looks as if it's taken the verve, that was present against Sunderland, out of the team.
The second half starts and again once the United end warms back up the noise comes flowing back. Even more so when Dimitar drives us ahead! Groups of people from every angle throw themselves around in celebration…"United, United, top of the league". For the next 20-30 minutes United seem comfortable, Berba even hitting the post (a goal that would have sealed the win) but then Birmingham regroup and applied some pressure.
Birmingham score. 90th minute. I look about to see the same expression on other United fan's faces as mine. Gutted. Almost feels like a defeat. Another away game slipped from our grasp. Saint Nick certainly deserting us there!
The feeling of disappointment fills the air, and the trip back up the M6 seems a lot longer for that result. I tried to take some positives (top of the league; unbeaten; a point more than Chelsea took there; etc) but I can't shake the feeling that United cannot keep passing up these chances to take control of this title race. But then again, its never straightforward with United is it? It's almost like it isn't worth doing if you can't make it a challenge!
And the attention turns to West Brom away and another jaunt down the M6…and a suggestion of a New Years resolution for the team: hold a lead away from home please!
Steve Ferguson had taken over & re-branded The Faithful MUFC website back in the summer of 2014 and is now the owner and editor of the site. Steve, from Ashton-Under-Lyne in Greater Manchester, is a 35-year-old life long Manchester United fan, travelling over the globe to see the Reds play. Steve has been lucky enough to be at both the 1999 and 2008 Champions League finals, seeing Manchester United lift the biggest trophy in the World, none more exciting than that faithful night in Barcelona in 99. The website is a blog, but also hopes to deliver the latest Manchester United news from around the internet too, linked up with our growing twitter account which is @TheFaithfulMUFC, give it a follow as we will follow you back as soon as we can.
Thanks for that interesting post ^^.


In the past month, the National Labor Relations Board has come under furious attack from Republicans in Congress, and decades-old workers' rights are at risk. Backed by a well-financed lobbying and publicity offensive, Republicans are using a recent labor-law complaint against Boeing to achieve a radical goal that goes far beyond the legal issues in the case: unraveling workers' rights that have been part of the fabric of our social contract since the Great Depression.
In April, the labor board's acting general counsel filed a complaint against Boeing, alleging that the company retaliated against unionized workers by opening a nonunion aircraft facility in South Carolina, instead of using a facility in its home state of Washington. Citing multiple public statements by Boeing executives, the general counsel contended that the company decided to locate the plant in South Carolina in significant part to punish its Washington workers for having exercised their right to strike, enshrined in the National Labor Relations Act of 1935.
Boeing has an opportunity at trial and in administrative and court appeals to disprove these allegations. It also may avoid the general counsel's proposed remedy — an order restoring the aircraft production in question to Washington — if it can show that the order would be unduly burdensome.
But for Republicans, the legal process is beside the point. Representative Darrell Issa of California has disparaged the labor board as a "rogue agency," and the presidential candidate Mitt Romney has called the general counsel's complaint a "job killer" — even though the outcome of the case will determine only the location, not the number, of jobs. Last month, in an ambush against a federal agency's powers in a pending case, the Republican-controlled House, voting almost entirely along party lines, approved a bill that would eliminate one of the paramount federal rights afforded workers for decades by prohibiting the labor board from ever ordering any employer to restore jobs illegally outsourced or relocated.
The attack against the Boeing complaint rests on three myths.
Myth No. 1: The general counsel has invoked an unprecedented legal rule. Apart from its unusually large scale (the location of an estimated 1,800 jobs is at stake), the Boeing case involves nothing legally new. The general counsel's complaint is based on principles accepted by the labor board and the courts over many decades. In 1967, the future Supreme Court Chief Justice Warren Burger (then a federal appellate judge) wrote a decision holding that an employer may not transfer work to punish employees for exercising National Labor Relations Act rights (like the right to strike). Likewise, the labor board has long had the authority to order restoration of work relocated as part of an unfair labor practice, and the appellate courts have approved such orders. In the absence of work restoration, any alternative remedy available to the labor board — like an order that Boeing post a bulletin-board notice promising to obey the law from now on — would be cosmetic.
Myth No. 2: The Boeing complaint means that the government can dictate the location of businesses. Everyone agrees that a company may legally locate its production anywhere it wishes and for any reason — except retaliatory ones. Imagine if Boeing had deliberately located a new plant in an area with a predominantly white labor force and then publicly stated that it did so because it was tired of listening to discrimination complaints made by African-American employees at its home plant. If the general counsel's allegations are true, Boeing did something legally indistinguishable — unless labor rights no longer count as "real" rights.
Myth No. 3: The general counsel has discretion to drop the case in the name of economic policy. The general counsel is not a policy maker authorized to base decisions on what is good for employment in a particular region of the country. His discretion is confined to enforcing the policy already chosen by Congress in the National Labor Relations Act. If his investigation yields reasonable cause to believe that a violation occurred, his only legally proper course is to bring a case to be decided through the ordinary process. If the Internal Revenue Service determines that a South Carolina employer owes millions in unpaid taxes, should it drop the case if it believes doing so would help the local economy?
The Boeing case is not about jobs. Selecting one place rather than another to build planes creates no additional jobs. The general counsel did his job as the law requires. It would be tragic if his dutiful efforts provided an occasion for Republicans to extinguish decades-old workers' rights.
Mark Barenberg, James Brudney and Karl Klare are professors of labor law at Columbia, Fordham and Northeastern University, respectively.
Minister David Willetts held at least 12 meetings with for-profit education firms before publishing his plans for university reform for England.
Meetings with representatives from two firms accused of recruitment or public loan fraud in the US were among them.
The universities minister published plans to make it easier for private providers to enter the sector in June.
The government said Mr Willetts had spoken to higher education providers "of all types" before doing so.
Mr Willetts has been up-front about his plans to open up England's higher education system to private providers to help increase the number and type of university places available and boost competition.
But his plans have drawn criticism from academics and opposition politicians who fear that it could lead to a fall in the quality of education available, with more learning being carried out online and in non-traditional ways.
Most of the meetings were revealed to the BBC in answer to a parliamentary question from Barry Gardiner MP.
He said the scale of the contact between these for-profit firms and Mr Willetts was "extraordinary and appalling".
In July 2010 Mr Willetts met one firm, the Education Management Corporation (EDMC), which is currently being sued for $11bn by the Department of Justice in the US over its alleged student recruitment practices.
The firm is accused of wrongly using federal education funds to pay bonuses to its student recruiters, a claim it vehemently denies.
Another firm Mr Willetts met, Apollo, has paid out millions of dollars over claims it improperly recruited students to the University of Phoenix.
Although Apollo admitted no liability in a whistleblower case in 2009, it settled saying it wanted to bring "closure to a long-running dispute" and avoid "uncertainty and further expense associated with protracted litigation".
Apollo is the parent company of BPP University College of Professional Studies, which gained university college status last year. It was the first private sector institution to gain this status for more than 30 years.
Mr Willetts met representatives of Apollo and BPP in May 2011. He also met BPP as part of wider meetings with higher education providers in December 2010 and January 2011.
A spokesman for BPP said of the meetings: "There was an exchange of views which centred on BPP University College's plans to grow its career-focused degree programmes."
Mr Willetts also met publishing giant Pearson five times. This includes three meetings in close succession in the run-up to the publication of White Paper on higher education in England, which pledged to "make it easier for new providers to enter the sector".
Mr Willetts, who spoke at a Pearson event in May 2010 about the future of higher education, also plans to allocate 20,000 places to degree course providers charging less than £7,500 a year.
These are expected to be mainly from further education colleges and the private providers, and have widely been seen as a means of addressing the fact that so many universities plan top-price fees of £9,000 a year.
Pearson, one of the world's biggest publishers, has made no secret of its plans to seek degree-awarding powers in England's education system.
After a meeting with Mr Willetts in December 2010, the firm announced that it was planning to start by offering four vocational degrees with a further education college at "very competitive" prices. These will be piloted from September 2012, when the new fees system beings.
It also said in June that it would be offering degrees in conjunction with Royal Holloway, part of the University of London, which would be the validating partner.
But it is still pursuing its aim of gaining degree-awarding powers itself, potentially working as a validating partner for England's further education colleges.
A Pearson spokesman said: "Pearson provides and develops qualifications including BTecs, A-Levels and GCSEs as well as publishing support materials and offering technology products for schools, colleges and universities.
"As part of this work, we meet with teachers, education stakeholders and government representatives to discuss our plans and share ideas."
Mr Willetts also met a firm called Laureate, which has 55 higher education institutions in 27 countries. In England it runs online masters and doctoral degree courses accredited by the University of Liverpool.
A spokesman for the Department for Business, Innovation and Skills said its ministers complied with the rules regarding disclosure of their meetings.
"In the run-up to the publication of the higher education White Paper David Willetts spoke to higher education providers of all types," he added.
But Mr Gardiner, Labour MP for Brent North, said: "The fact that there have been at least 12 meetings just shows what the focus of the higher education minister is with private sector providers and undermining the existing public sector provision. This is not what he should be focusing on.
"These are not chance meetings; they are ideologically driven meetings about what this government sees as the future of higher education on this country.
"It is not a pretty sight and it is not what the British people recognise. They want to Americanise the system."
General secretary of the UCU lecturers' union Sally Hunt said: "Events in America have shown the for-profit model is fraught with danger for students and taxpayers alike.
"Rather than meeting with the privateers, we believe the government should tighten up existing regulations and abandon any proposals that would further encourage for-profit companies in the UK.
"The companies being sued and investigated by the US Congress are the very same ones who are now eyeing up the UK."