How May Is & What May Be Even the Skeptics Have Upped Their Zoom Game: People I Thought Would Never Turn on Their Web Cams Have Finally Done So
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Important Product Information
CIMPLICITY 11 Important Product Information GE Digital Proficy Historian and Operations Hub: Data Analysis in Context 1 Proprietary Notice The information contained in this publication is believed to be accurate and reliable. However, General Electric Company assumes no responsibilities for any errors, omissions or inaccuracies. Information contained in the publication is subject to change without notice. No part of this publication may be reproduced in any form, or stored in a database or retrieval system, or transmitted or distributed in any form by any means, electronic, mechanical photocopying, recording or otherwise, without the prior written permission of General Electric Company. Information contained herein is subject to change without notice. © 2020, General Electric Company. All rights reserved. Trademark Notices GE, the GE Monogram, and Predix are either registered trademarks or trademarks of General Electric Company. Microsoft® is a registered trademark of Microsoft Corporation, in the United States and/or other countries. All other trademarks are the property of their respective owners. We want to hear from you. If you have any comments, questions, or suggestions about our documentation, send them to the following email address: [email protected] Important Product Information Chapter 1. Important Product Information......................................................................................3 What's New in CIMPLICITY 11...................................................................................................3 System -
Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
Theory of Music
MUSIC THEORY 1. Staffs, Clefs & Pitch notation Naming the Notes Musical notation describes the pitch (how high or low), temporal position (when to start) and duration (how long) of discrete elements, or sounds, we call notes . The notes are represented by graphical symbols, also called notes or note signs . In English-speaking countries, the pitch names given to a row of notes steadily rising in pitch are drawn from the the first seven letters of the Roman alphabet: A B C D E F G In the Netherlands, the letters A to G are also used, but otherwise the 'Dutch' system follows the 'German' system, so-called because it originated in Germany, which also uses H. Staff or Stave The note signs are placed on a grid formed of horizontal lines and spaces. This grid is called the staff or stave . The plural of either word is staves . Although, in the past, staves could have many different numbers of lines, today the most common staff format has five lines separated by four spaces and is know as the pentagram . When numbering the lines, it is a widely used convention to number them from the bottom ( 1) to the top ( 5) of each staff. The spaces between the lines are numbered too, again from the bottom ( 1) to the top ( 4). Redaction and Publishing Marzenna Donajski © Dolmetsch Music Theory and History Online by Dr. Brian Blood 1 Music is read from 'left' to 'right', in the same direction as you are reading this text. The higher the pitch of the note , the higher vertically the note will be placed on the staff . -
HTTP Cookie - Wikipedia, the Free Encyclopedia 14/05/2014
HTTP cookie - Wikipedia, the free encyclopedia 14/05/2014 Create account Log in Article Talk Read Edit View history Search HTTP cookie From Wikipedia, the free encyclopedia Navigation A cookie, also known as an HTTP cookie, web cookie, or browser HTTP Main page cookie, is a small piece of data sent from a website and stored in a Persistence · Compression · HTTPS · Contents user's web browser while the user is browsing that website. Every time Request methods Featured content the user loads the website, the browser sends the cookie back to the OPTIONS · GET · HEAD · POST · PUT · Current events server to notify the website of the user's previous activity.[1] Cookies DELETE · TRACE · CONNECT · PATCH · Random article Donate to Wikipedia were designed to be a reliable mechanism for websites to remember Header fields Wikimedia Shop stateful information (such as items in a shopping cart) or to record the Cookie · ETag · Location · HTTP referer · DNT user's browsing activity (including clicking particular buttons, logging in, · X-Forwarded-For · Interaction or recording which pages were visited by the user as far back as months Status codes or years ago). 301 Moved Permanently · 302 Found · Help 303 See Other · 403 Forbidden · About Wikipedia Although cookies cannot carry viruses, and cannot install malware on 404 Not Found · [2] Community portal the host computer, tracking cookies and especially third-party v · t · e · Recent changes tracking cookies are commonly used as ways to compile long-term Contact page records of individuals' browsing histories—a potential privacy concern that prompted European[3] and U.S. -
View Private Rental Package
Corporate Rentals Package Meridan Hall 1 Front Street E, Toronto, ON M5E 1B2 Located in the heart of downtown Toronto, Meridian Hall is an integral part of the city’s cultural sector, making it an exciting spot to host your private events. Dynamic and versatile, the venue is a unique setting for a wide variety of events, including professional conferences, product launches, car shows, trade shows, award shows, town halls, convocations, weddings, company holiday parties and fundraising galas. In addition to the Theatre and Stage, the Lobbies, Lounges and Mezzanine offer a variety of options to host your event. With unique and customizable spaces, Meridian Hall offers limitless possibilities. Scott North, Sales Manager (416) 368-6161 ext. 7139 [email protected] Meridian Hall opened as the O’Keefe Centre on October 1, 1960. Since its inception, countless renowned musicians and bands, dance companies, comedy acts, family programs, films with live orchestra, international performers, award shows and special events have been hosted here. When you decide to host an event at the Meridian Hall, you are sharing a space with the world’s most noteworthy performers. Scott North, Sales Manager (416) 368-6161 ext. 7139 [email protected] Event Spaces THEATRE Full Auditorium - 3,191 Orchestra - 2,146 Mezzanine/Balcony - 1,045 Mid-House Curtain - 1,173 At 3,191 seats, Meridian Hall boasts the largest soft-seat theatre in Pricing available the country. The theatre is a prime space to host large events. A mid- upon request house curtain can split the orchestra level in half at 1,173 seats, creating a more intimate space for smaller events. -
Important Product Information
Proficy CIMPLICITY 11.1 Important Product Information GE Digital Proficy Historian and Operations Hub: Data Analysis in Context 1 Proprietary Notice The information contained in this publication is believed to be accurate and reliable. However, General Electric Company assumes no responsibilities for any errors, omissions or inaccuracies. Information contained in the publication is subject to change without notice. No part of this publication may be reproduced in any form, or stored in a database or retrieval system, or transmitted or distributed in any form by any means, electronic, mechanical photocopying, recording or otherwise, without the prior written permission of General Electric Company. Information contained herein is subject to change without notice. © 2021, General Electric Company. All rights reserved. Trademark Notices GE, the GE Monogram, and Predix are either registered trademarks or trademarks of General Electric Company. Microsoft® is a registered trademark of Microsoft Corporation, in the United States and/or other countries. All other trademarks are the property of their respective owners. We want to hear from you. If you have any comments, questions, or suggestions about our documentation, send them to the following email address: [email protected] Chapter 1. Important Product Information......................................................................................3 What's New in CIMPLICITY 11.1................................................................................................3 System Requirements and -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Discontinued Browsers List
Discontinued Browsers List Look back into history at the fallen windows of yesteryear. Welcome to the dead pool. We include both officially discontinued, as well as those that have not updated. If you are interested in browsers that still work, try our big browser list. All links open in new windows. 1. Abaco (discontinued) http://lab-fgb.com/abaco 2. Acoo (last updated 2009) http://www.acoobrowser.com 3. Amaya (discontinued 2013) https://www.w3.org/Amaya 4. AOL Explorer (discontinued 2006) https://www.aol.com 5. AMosaic (discontinued in 2006) No website 6. Arachne (last updated 2013) http://www.glennmcc.org 7. Arena (discontinued in 1998) https://www.w3.org/Arena 8. Ariadna (discontinued in 1998) http://www.ariadna.ru 9. Arora (discontinued in 2011) https://github.com/Arora/arora 10. AWeb (last updated 2001) http://www.amitrix.com/aweb.html 11. Baidu (discontinued 2019) https://liulanqi.baidu.com 12. Beamrise (last updated 2014) http://www.sien.com 13. Beonex Communicator (discontinued in 2004) https://www.beonex.com 14. BlackHawk (last updated 2015) http://www.netgate.sk/blackhawk 15. Bolt (discontinued 2011) No website 16. Browse3d (last updated 2005) http://www.browse3d.com 17. Browzar (last updated 2013) http://www.browzar.com 18. Camino (discontinued in 2013) http://caminobrowser.org 19. Classilla (last updated 2014) https://www.floodgap.com/software/classilla 20. CometBird (discontinued 2015) http://www.cometbird.com 21. Conkeror (last updated 2016) http://conkeror.org 22. Crazy Browser (last updated 2013) No website 23. Deepnet Explorer (discontinued in 2006) http://www.deepnetexplorer.com 24. Enigma (last updated 2012) No website 25. -
Notes, Rhythm, and Meter Notes
Dr. Barbara Murphy University of Tennessee School of Music NOTES, RHYTHM, AND METER NOTES: Notes represent a duration or length of a sound. Notes consist of the head the stem and the flag or beam. note = head + stem + flag NOTE HEADS: The head of the note should be written as an oval (not a round circle) and should be centered on the line or space of the staff that represents the note. STEMS: Stems are notated on the right side of the note head and are ascending if the note head is on the 3rd line of the staff or below that line. Stems are notated on the left side of the note head and are descending if the note is on the 3rd line of the staff or above that line. Stems should be about 1 octave in length and should be straight up and down (not slanted). FLAGS: Flags are notated to the right of the stem whether the stem is on the right or left side of the note head. BEAMS: Notes should be beamed together to show the beat. Beams should therefore not cross beats. Beams should be straight lines, not curves. Beams may be slanted ascending or descending according to the contour of the notes. Beaming notes together may result in shortened or elongated stems on some notes. If beaming eighth notes and sixteenth notes together, sixteenth note beams should always go inside the beginning and ending stems. DURATIONS: Notes can have various durations and various names: American British (older version) double-whole breve whole semi-breve half minim quarter crotchet eighth quaver sixteenth semi-quaver thirty-second demi-semi-quaver sixty-fourth hemi-demi-semi-quaver These notes look like the following: double whole half quarter 8th 16th 32nd 64th whole In the above list, each note duration is one-half the duration of the preceding note duration. -
Introduction to Braille Music Transcription
Introduction to Braille Music Transcription Mary Turner De Garmo Second Edition Revised and edited by Lawrence R. Smith Music Braille Transcriber Bettye Krolick Music Braille Consultant Beverly McKenney Music Braille Transcriber Sandra Kelly Music Braille Advisor Volume I National Library Service for the Blind and Physically Handicapped The Library of Congress Washington, DC 2005 Contents VOLUME I Foreword to the 1974 Edition . xi Preface to the 2005 Edition . xii Acknowledgments . xiii How to Use This Book . xiv Related Resources . xiv Overall Plan . xiv References to MBC-97 . xiv Using Computer Assistance . xv Taking the Course . xv References . xvi PART ONE: Basic Procedures and Transcribing Single-Staff Music 1 Formation of the Braille Note . 1 2 Eighth Notes, the Eighth Rest, and Other Basic Signs . 3 General Procedures . 4 Examples for Practice . 4 Procedures Specific to This Book . 7 Drills for Chapter 2 . 7 Exercises for Chapter 2 . 9 3 Quarter Notes, the Quarter Rest, and the Dot . 11 Examples for Practice . 11 Proofreading . 13 Drills for Chapter 3 . 13 Exercises for Chapter 3 . 15 4 Half Notes, the Half Rest, and the Tie . 17 Drills for Chapter 4 . 19 Exercises for Chapter 4 . 20 5 Whole and Double Whole Notes and Rests, Measure Rests, and Transcriber-Added Signs . 23 Various Print Methods for Showing Consecutive Measure Rests . 26 Reading Drill . 28 Drills for Chapter 5 . 30 Exercises for Chapter 5 . 31 6 Accidentals . 33 Directions for Brailling Accidentals . 33 Examples for Practice . 34 Drills for Chapter 6 . 35 i Exercises for Chapter 6 . 37 7 Octave Marks . 39 The Seven Octave Marks . -
Creative Spaces Case Study Series Meridian Hall
Creative Spaces Case Study Series Meridian Hall This Creative Spaces Case Study Series is supported by: Table of Contents Introduction 3ArtsBuild Ontario 3Meridian Hall 4Interviewees 4 Mission 4 Historical Background 4 Project Summary 4 The “What” 5What was built? 5 What were the project timelines? 5 The “Why” 5Why did they take on these capital projects? 5 The “Who” 6Who was involved in the project? 6 Who supported these projects outside of Meridian Hall? 6 Who was contracted for these projects? 6 Who opposed the projects? 6 The “How” 7How did the project go from concept to construction? 7 How was a construction plan formed? 7 How were day-to-day operations and organizational capacity impacted? 7 How were contingencies managed? 7 How was accessibility included in the project? 8 How was energy efficiency and the environment incorporated? 8 How was the project funded? 8 The “Ongoing” 8How were new finances projected? 8 Does the space provide additional revenue? 8 How will the facility be maintained? 9 What lessons were learned? 9 1 | Page Case Study Summary 9 Resources 10 2 | Page Introduction These in-depth case studies will serve as a resource for arts and heritage organizations embarking on a capital project to learn from the successes and challenges of others in the sector. In these case studies, we will be analyzing the why (why they took on this capital project), the what (what were they building and creating), the who (who are they serving, who supported this project, who led this project and who they hired), the how (how was the project financially supported and what positions were created/how were they funded), and the ongoing (what happened after? How is the building maintained/operated? Is it sustainable? How is revenue generated?) behind each project. -
OPTA Annual Survey 2021 Responses
OPTA Annual Survey 2021 1 Table of Contents Acknowledgements ....................................................................................................................................... 3 Part 1: Organizational Survey ....................................................................................................................... 4 1. What is the primary nature of your organization? ........................................................................... 5 2. How many OPTA members are employed by your organization? .................................................... 5 3. How many Full-time employees are in your ticketing department? ................................................ 6 4. How many Part-time employees are in your ticketing department? ............................................... 6 5. How many volunteers are in your ticketing department? ................................................................ 7 6. How many employees are currently furloughed from your ticketing department? ........................ 7 7. What ticketing system do you use? .................................................................................................. 8 8. Is your ticketing department combined with any other departments? ........................................... 9 9. Is your part-time staff unionized? ................................................................................................... 10 10. Please list the hourly part-time wages for each level of part-time employee. .........................