DOCSLIB.ORG

Organized All of Mozart's Compositions Into a Long Fist: a Michel Listing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Organized All of Mozart's Compositions Into a Long Fist: a Michel Listing 'AdlbCcDdEeffGgHhliJjKkLIMmNnOoPp Qy RrSsTt LJuVvWwXxYy Zz1234567890&fECESS(£%!?0[1 PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION, VOLUME NINE, NUMBER TWO, JUNE 1982 UPPER AND LOWER CASE. THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS Ludwig von Michel (shown, below) organized all of Mozart's compositions into a long fist: a Michel Listing. We've gone a step further and organized Mozart into an 8-page color section starting on page 36. 2 EDITORIAL VOLUME NINE. NUMBER TWO, JUNE. 1982 EDITOR: EDWARD GOTTSCHALL ART DIRECTOR: BOB FARBER TYPOG EDITORIAL/DESIGN CONSULTANTS: LOUIS DORFSMAN, ALAN PECKOLICK EDITORIAL DIRECTORS: AARON BURNS. EDWARD RONDTHALER ASSOCIATE EDITOR: MARION MULLER CONTRIBUTING EDITOR: ALLAN HALEY RESEARCH DIRECTOR: RHODA SPARSER LUBALIN BUSINESS MANAGER: JOHN PRENTKI ADVERTISING/PRODUCTION MANAGER: HELENA WALLSCHLAG RAPITY ASSISTANT TO THE EDITOR: JULIET TRAVISON ART/PRODUCTION: ILENE MEHL, ANDREA COSTA. SID TIMM SUBSCRIPTIONS: ELOISE COLEMAN ©INTERNATIONAL TYPEFACE CORPORATION 1982 PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE, SEPTEMBER AND DECEMBER BY INTERNATIONAL.TYPEFACE CORPORATION NEEDS TO BE 2 HAMMARSKJOLD PLAZA. NEW YORK, NY 10017 A JOINTLY OWNED SUBSIDIARY OF LUBALIN, BURNS G CO.. INC. AND PHOTO-LETTERING. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, NY AND AT FARMINGDALE. NV USTS PURL 073430 ISSN 0362-6245 PUBLISHED IN USA ITC FOUNDERS: FELT AARON BURNS. PRESIDENT EDWARD RONDTHALER, CHAIRMAN EMERITUS HERB LUBALIN EXECUTIVE VICE PRESIDENT 1970-1981 ITC OFFICERS 1982: GEORGE SOHN, CHAIRMAN AARON BURNS. PRESIDENT EDWARD GOTTSCHALL. EXECUTIVE VICE PRESIDENT BOB FARBER, SENIOR VICE PRESIDENT ith all the current em- JOHN PRENTKI. VICE PRESIDENT. FINANCE AND GENERAL MANAGER EDWARD BENGUIAT. VICE PRESIDENT W phasis (ours included) on technologies, one needs to be U.S. SINGLE COPIES 51.50 ELSEWHERE, SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN constantly reminded that typography is an essential THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE, 2 HAMMARSKJOLD PLAZA. NEW YORK, NY 10017 and powerful force for increasing communication MICROFILM COPIES OF U&LC MAY BE OBTAINED FROM MICRO PHOTO DIVISION. BELLE. HOWELL, OLD MANSFIELD ROAD, WOOSTER, OH 44691 effectiveness. That is its essential role. Improved tech- nologies are only means towards that end. In this issue: Editorial n this regard a pro- Typography needs to be felt. The emotional impact of I the letterforms and the way they are put together vocative and very quotable editorial appeared in greatly affects the effectiveness of the message they the March/April issue in 1981 of Typografische represent. Page 2. Monatsblatter,' the Swiss journal of typography. In it, Thoughts Helmut Schmidt includes the following observations. gb ponder, feed on, muse about or file away for future contemplation. Page 3. Chess-People he message needs inter- 1500 years of warfare without a casualty! A brief pretation.“...not interpretation as a masquerade of review of the armies, with special emphasis on the Knights. Page 4. typefaces but interpretation as an evaluation of content. Interpretation in the sense of discovering Cut...Paste...Pow! the message which has been broken up into essential, An inspired illustrator and collagist reveals his minor and insignificant thoughts. Interpretation sources. Page 10. not only in advertising but also in literature, and Insects ideally a close collaboration between form and Whatever you may think of them, they are creatures content:' beloved by their mothers as well as entomologists, writers, poets, and the illustrator Bernard Darin. Page 14. To bawl, to whisper. Letters "...To bawl and to whisper, quickly and slowly, all these Pleas, requests, warnings and other expressions of are expressions of verbal communication. Reading interest from our readers. Page 16. matter will also have to bawl and whisper, will have Capitalizing on Insects to run and to stroll, will have to emerge quietly and lovingly as esthetic experiences." Another insect fancier presses them into service. Page 18. 44 Something for Everybody ypography lives its own Remarkable Words with Astonishing Origins, by T John Train, aptly and amusingly illustrated by esthetic life next to the functional typography, the Lionel Kalish. Page 20. typography of messages. We read words and sentences Artists in Wonderland but are not aware of the formal qualities of typefaces A visit to a computer graphics research and as long as letters are lined up in order to convey a development center, where artists use "wands" and message:' work of days is produced in seconds, Page 22. Puzzle To be audible, to be felt. Compose yourself and concentrate on finding the "Typography need not only be visible and legible. 80 composers hidden in the letter grid. Page 26. Typography needs to be audible. Typography needs Ex Libris to be felt. Typography needs to be experienced. You can't judge books by their covers, but you can Typography today does not mean to place, typog- learn a lot about owners if their book plates are raphy today means to portray?' designed by Andrzej Kot. Page 28. What's New From ITC ITC Modern No. 216"" is a classical revival, created by t its best, typography Ed Benguiat, with all the dignity and grace of earlier A "Moderns" plus up-to-date modifications. Page 30. today is a wonderful blend of art and technology. And that is nothing new It was that way when ideograms The Saga of Two Mo's were cut in tablets, or letters were chiseled in stone The colossal genius Mozart is the subject of versatile or penned on papyrus or scrolls. We just need to virtuoso Mo Lebowitz. Cover, concept, copy and design—all created by our guest art director, remember that long before today's technologies were Lebowitz. Page 36. just ideas, and long after they are obsolete, the artist will have to manipulate some technology so that This issue of U8cic was mailed to 180,000 readers: 148,000 in the United States and Canada, and 32,000 abroad. It will be read by typography will be seen, and read, and understood, over 500,000 people. and, to be truly effective, be felt. TABLE OF CONTENTS AND EDITORIAL SET IN ITC MODERN NO. 216"" MASTHEAD SET IN ITC NEVVTEXT" (REDUCED). THOUGHTS Art If you is a lie think which education makes is expensive us realize try the truth. ignorance... PICASSO Man has In the fields never of printing reconciled and graphic design himself it is generally to the agreed.that ten the poet commandments. in our midst WILL AND ARIEL DURANT is the type designer. NOEL MARTIN ILLUSTRATIONS BY WALLY NEIBART THESE PAGES WERE SET IN ITC MODERN NO. 216 ,', 4 CHESS- PEOPLE *As long as anyone can remem- simply, it's a game of war! It in- ber, the pieces used in the volves attack... defense... and the game of chess have been called object of all the maneuvers is to cap- chessmen. But in this day and ture the opponent's King. It is a age of aroused feminine con- game of wit, skill and consuming sciousness, it is necessary to concentration. Even a minute dis- set a wrong to right. The traction, such as heavy breathing Queen by an opponent, has sent tourna- has been a part of the ment players into tantrums at the action for over 900 years. She unfair psychological diversion. is also, without question, the That's how serious the game can be. most powerful piece on the he strategy and chessboard. It behooves us to tools of modern war- revise the name and make Tfare notwithstanding, amends for centuries of warfare on the chessboard is con- neglect; hence, chesspeople. ducted essentially in the same man- ner as it has been for centuries. The ven those of us who are total ignoramuses Eabout the strategy and intrigue in the game of chess, know what it's about—purely and --::::-..P' t 0 1 / I , 1 •-,-/7,- , kooLlall , jr , . ... ■ ---_ _f ' -,r--„trf VOW ..... ... ,,.. oadl.... ' .,,,, -- --,- , ,,-- ---. - . ....A....0.. .. , R ri' , ........ vi, , ,, ,1/4 ,,f ' „...;, ad. ' - • - - . ........- - cca s./... a 0.. c IT ig '"' .r," t Z i Le.... igde411•11o,.....:•,. ........... " /17:1!.... ii'"(--1/■=.-- ' 1,/, , \_ The illustrations by Frank Riccio are adapted from photographs from the picture collection of the New York Public Library and from photographs in the book Chessmen, by Frank Greygoose G 1979 by Frank Greygoose, published by David & Charles, Ltd., Great Britain. the playing pieces have varied in on which animal was indigenous to cised considerable power in affairs exact facts about the origin of the of state, a Bishop replaced the origi- game are murky. But it is generally strange and fascinating ways. the locale) and a charioteer or or design-oriented rukhkh at the extreme flanks. In nal counselor at the King's side. accepted that a version of the game The King's castle replaced the char- was played in India as early as people, it is the evo- front of this hierarchy stood a line ution of the chess- of foot soldiers. ioteer at the extreme flanks, but 500 A.D. It spread to Persia, Fl retained the name "rook" from the chess, people that is probably more era to era, and where it acquired the name, rukhkh. And during this from the Persian word for King, interesting than the evolution of the country to country, original he characterization chivalrous age, the soldier on horse- Shah. Arabic peoples learned the game itself From the earliest ver- Ft sions of the game, the cast of char- of chesspeople varied reflecting back became the Knight—a most game when they conquered Persia essential figure in the defense of the in the 7th century and carried it acters has included an all powerful political, social and cultural insti- with them into Europe when they figure—a King—standing at the tutions.
Load more

Recommended publications
  • Unicode Alphabets for L ATEX
    Unicode Alphabets for LATEX Specimen Mikkel Eide Eriksen March 11, 2020 2 Contents MUFI 5 SIL 21 TITUS 29 UNZ 117 3 4 CONTENTS MUFI Using the font PalemonasMUFI(0) from http://mufi.info/. Code MUFI Point Glyph Entity Name Unicode Name E262 � OEligogon LATIN CAPITAL LIGATURE OE WITH OGONEK E268 � Pdblac LATIN CAPITAL LETTER P WITH DOUBLE ACUTE E34E � Vvertline LATIN CAPITAL LETTER V WITH VERTICAL LINE ABOVE E662 � oeligogon LATIN SMALL LIGATURE OE WITH OGONEK E668 � pdblac LATIN SMALL LETTER P WITH DOUBLE ACUTE E74F � vvertline LATIN SMALL LETTER V WITH VERTICAL LINE ABOVE E8A1 � idblstrok LATIN SMALL LETTER I WITH TWO STROKES E8A2 � jdblstrok LATIN SMALL LETTER J WITH TWO STROKES E8A3 � autem LATIN ABBREVIATION SIGN AUTEM E8BB � vslashura LATIN SMALL LETTER V WITH SHORT SLASH ABOVE RIGHT E8BC � vslashuradbl LATIN SMALL LETTER V WITH TWO SHORT SLASHES ABOVE RIGHT E8C1 � thornrarmlig LATIN SMALL LETTER THORN LIGATED WITH ARM OF LATIN SMALL LETTER R E8C2 � Hrarmlig LATIN CAPITAL LETTER H LIGATED WITH ARM OF LATIN SMALL LETTER R E8C3 � hrarmlig LATIN SMALL LETTER H LIGATED WITH ARM OF LATIN SMALL LETTER R E8C5 � krarmlig LATIN SMALL LETTER K LIGATED WITH ARM OF LATIN SMALL LETTER R E8C6 UU UUlig LATIN CAPITAL LIGATURE UU E8C7 uu uulig LATIN SMALL LIGATURE UU E8C8 UE UElig LATIN CAPITAL LIGATURE UE E8C9 ue uelig LATIN SMALL LIGATURE UE E8CE � xslashlradbl LATIN SMALL LETTER X WITH TWO SHORT SLASHES BELOW RIGHT E8D1 æ̊ aeligring LATIN SMALL LETTER AE WITH RING ABOVE E8D3 ǽ̨ aeligogonacute LATIN SMALL LETTER AE WITH OGONEK AND ACUTE 5 6 CONTENTS
    [Show full text]
  • 1 Symbols (2286)
    1 Symbols (2286) USV Symbol Macro(s) Description 0009 \textHT <control> 000A \textLF <control> 000D \textCR <control> 0022 ” \textquotedbl QUOTATION MARK 0023 # \texthash NUMBER SIGN \textnumbersign 0024 $ \textdollar DOLLAR SIGN 0025 % \textpercent PERCENT SIGN 0026 & \textampersand AMPERSAND 0027 ’ \textquotesingle APOSTROPHE 0028 ( \textparenleft LEFT PARENTHESIS 0029 ) \textparenright RIGHT PARENTHESIS 002A * \textasteriskcentered ASTERISK 002B + \textMVPlus PLUS SIGN 002C , \textMVComma COMMA 002D - \textMVMinus HYPHEN-MINUS 002E . \textMVPeriod FULL STOP 002F / \textMVDivision SOLIDUS 0030 0 \textMVZero DIGIT ZERO 0031 1 \textMVOne DIGIT ONE 0032 2 \textMVTwo DIGIT TWO 0033 3 \textMVThree DIGIT THREE 0034 4 \textMVFour DIGIT FOUR 0035 5 \textMVFive DIGIT FIVE 0036 6 \textMVSix DIGIT SIX 0037 7 \textMVSeven DIGIT SEVEN 0038 8 \textMVEight DIGIT EIGHT 0039 9 \textMVNine DIGIT NINE 003C < \textless LESS-THAN SIGN 003D = \textequals EQUALS SIGN 003E > \textgreater GREATER-THAN SIGN 0040 @ \textMVAt COMMERCIAL AT 005C \ \textbackslash REVERSE SOLIDUS 005E ^ \textasciicircum CIRCUMFLEX ACCENT 005F _ \textunderscore LOW LINE 0060 ‘ \textasciigrave GRAVE ACCENT 0067 g \textg LATIN SMALL LETTER G 007B { \textbraceleft LEFT CURLY BRACKET 007C | \textbar VERTICAL LINE 007D } \textbraceright RIGHT CURLY BRACKET 007E ~ \textasciitilde TILDE 00A0 \nobreakspace NO-BREAK SPACE 00A1 ¡ \textexclamdown INVERTED EXCLAMATION MARK 00A2 ¢ \textcent CENT SIGN 00A3 £ \textsterling POUND SIGN 00A4 ¤ \textcurrency CURRENCY SIGN 00A5 ¥ \textyen YEN SIGN 00A6
    [Show full text]
  • The Brill Typeface User Guide & Complete List of Characters
    The Brill Typeface User Guide & Complete List of Characters Version 2.06, October 31, 2014 Pim Rietbroek Preamble Few typefaces – if any – allow the user to access every Latin character, every IPA character, every diacritic, and to have these combine in a typographically satisfactory manner, in a range of styles (roman, italic, and more); even fewer add full support for Greek, both modern and ancient, with specialised characters that papyrologists and epigraphers need; not to mention coverage of the Slavic languages in the Cyrillic range. The Brill typeface aims to do just that, and to be a tool for all scholars in the humanities; for Brill’s authors and editors; for Brill’s staff and service providers; and finally, for anyone in need of this tool, as long as it is not used for any commercial gain.* There are several fonts in different styles, each of which has the same set of characters as all the others. The Unicode Standard is rigorously adhered to: there is no dependence on the Private Use Area (PUA), as it happens frequently in other fonts with regard to characters carrying rare diacritics or combinations of diacritics. Instead, all alphabetic characters can carry any diacritic or combination of diacritics, even stacked, with automatic correct positioning. This is made possible by the inclusion of all of Unicode’s combining characters and by the application of extensive OpenType Glyph Positioning programming. Credits The Brill fonts are an original design by John Hudson of Tiro Typeworks. Alice Savoie contributed to Brill bold and bold italic. The black-letter (‘Fraktur’) range of characters was made by Karsten Lücke.
    [Show full text]
  • Times and Helvetica Fonts Under Development
    ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous, John Plaice To cite this version: Yannis Haralambous, John Plaice. ΩTimes and ΩHelvetica Fonts Under Development: Step One. Tugboat, TeX Users Group, 1996, Proceedings of the 1996 Annual Meeting, 17 (2), pp.126-146. hal- 02101600 HAL Id: hal-02101600 https://hal.archives-ouvertes.fr/hal-02101600 Submitted on 25 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous Atelier Fluxus Virus, 187, rue Nationale, F-59800 Lille, France [email protected] John Plaice D´epartement d’informatique, Universit´e Laval, Ste-Foy (Qu´ebec) Canada G1K 7P4 [email protected] TheTruthIsOutThere and publishers request that their texts be typeset —ChrisCARTER, The X-Files (1993) in Times; Helvetica (especially the bold series) is often used as a titling font. Like Computer Modern, Times is a very neutral font that can be used in a Introduction wide range of documents, ranging from poetry to ΩTimes and ΩHelvetica will be public domain technical documentation.. virtual Times- and Helvetica-like fonts based upon It would surely be more fun to prepare a real PostScript fonts, which we call “Glyph Con- Bembo- or Stempel Garamond-like font for the serifs tainers”.
    [Show full text]
  • MAPS: Minutes and Appendices ::::: ::::: ::::: ::::: ::#12 (94.1) E
    Nederlandstalige TEX Gebruikersgroep MAPS: Minutes and APpendiceS ::::: ::::: ::::: ::::: ::#12 (94.1) e Verslag: 1. Opening 12 NTG bijeenkomst 18 november 1993 : :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: : 1 2. Verslag NTG bijeenkomst van 10 juni 1993 : :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: ::: :: :: : 1 3. Ingekomen stukken en Mededelingen : :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: ::: :: :: :: :: :: 1 4. Begroting 1994 :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: 2 5. Wat verder ter tafel komt :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :2 6. LATEX3 ::: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: 2 7. MAPS :: :: :: :: :: ::: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: 3 8. Verslag bijeenkomsten :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: ::: :: :: :: :: ::3 9. Verslag werkgroepen : :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: : 3 10. Rondvraag : :: :: :: :: ::: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: :: 4 11. Voordrachten: `(LA)TEX gebruikersomgeving' : :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :5 12. Volgende bijeenkomsten : :: ::: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: 5 13. Sluiting : :: :: :: :: ::: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: :: :: :: ::: :: :: :: ::: :: 5 Bijlagen:
    [Show full text]
  • Basic Latin Range: 0000–007F
    C0 Controls and Basic Latin Range: 0000–007F This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation.
    [Show full text]
  • Some Problems with Accents in Tex : Letters with Multiple
    Cahiers GUTenberg m SOME PROBLEMS WITH ACCENTS IN TEX: LETTERS WITH MULTIPLE ACCENTS AND ACCENTS VARYING FOR UPPERCASE/LOWERCASE LETTERS P A.S. Berdnikov, O.A. Grineva Cahiers GUTenberg, nO 28-29 (1998), p. 44-55. <http://cahiers.gutenberg.eu.org/fitem?id=CG_1998___28-29_44_0> © Association GUTenberg, 1998, tous droits réservés. L’accès aux articles des Cahiers GUTenberg (http://cahiers.gutenberg.eu.org/), implique l’accord avec les conditions générales d’utilisation (http://cahiers.gutenberg.eu.org/legal.html). Toute utilisation commerciale ou impression systématique est constitutive d’une infraction pénale. Toute copie ou impression de ce fichier doit contenir la présente mention de copyright. 44 Cahiers GUTenberg n˚28-29 — Congr`es EuroTEX mars 1998 Some Problems with Accents in TEX: Letters with Multiple Accents and Accents Varying for Uppercase/Lowercase Letters A.S. Berdnikov and O.A. Grineva Institute of Analytical Instrumentation 198103 St.Petersburg, Rizskii pr. 26 email: [email protected] Abstract. The problems of using the internal command \accent as a tool for support of some Cyrillic writing systems is investigated. It is shown that the internal features of \accent prevent construction of some Cyrillic letters which require several accents simultaneously. A special macro which emulates the work of \accent by some other commands is suggested. The accents for I/i and J/j, which are different for uppercase and lowercase letters, are also considered. If-then-else structures by use of which correct accents can be placed, depending on the letter case, are proposed. A similar technique can be used for case change of the Cyrillic “capital form” ligatures and .
    [Show full text]
  • IPA Braille: an Updated Tactile Representation of the International Phonetic Alphabet
    IPA Braille: An Updated Tactile Representation of the International Phonetic Alphabet Print Edition Overview, Tables, and Sample Texts Edited by Robert Englebretson, Ph.D. Produced by CNIB For the International Council on English Braille 2008 List of ICEB Member Countries As Of April, 2008 Australia Canada New Zealand Nigeria South Africa United Kingdom United States ii Table of Contents ACKNOWLEDGEMENTS BY ROBERT ENGLEBRETSON.............................................. V FOREWORD by Fredric K. Schroeder .................................................................. VII ACCLAIM FOR IPA BRAILLE BY MARTHA PAMPERIN.............................................IX 1. INTRODUCTION ............................................................................................. 1 2. THE SYMBOLS OF THE IPA ............................................................................. 5 2.1. CONSONANTS (PULMONIC) .................................................................. 6 2.2. CONSONANTS (NON-PULMONIC) ....................................................... 11 2.3. OTHER SYMBOLS ................................................................................ 13 2.4. VOWELS ............................................................................................. 15 2.5. DIACRITICS ....................................................................................... 17 2.6. SUPRASEGMENTALS ........................................................................... 23 2.7. TONES & WORD ACCENTS..................................................................
    [Show full text]
  • Latin Extended-B Range: 0180–024F
    Latin Extended-B Range: 0180–024F This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation.
    [Show full text]
  • Reference Chart for IPA Typography
    Hagiwara – Reference Chart for IPA Typography Reference Chart for IPA Typography Robert Hagiwara University of Manitoba Version 1.1 October 2002 Overview This table is intended to provide quick and concise reference for people who want to type or refer to IPA characters in either the Summer Institute of Linguistics (SIL) IPA Encore fonts or using Unicode. I refer to this table often in general word processing and in web-based documents associated with my monthly mystery spectrograms (http://www.umanitoba.ca/linguistics/robh/), and believe others might find it useful as well. The SIL fonts are available as freeware from SIL (Summer Institute of Linguistics, 2002). They are True Type fonts and, once installed, can be used like any standard font in computer word processing and similar applications. For word processing SIL encourages the use of a standard keyboard, but provides a table of codes which allow typing in an individual character by using the Alt key (or Option key on Macs). The typist holds down the Alt key and enters (using the number pad) a four-digit code. The Unicode standard is an international character-coding standard that is useful for Generalized Markup Language kinds of applications, such as HyperText Markup Language (HTML) for web pages. Each IPA character (indeed, just about every alphabetic character in just about every language) has been assigned a unique code, which can be referred to as a symbol in an HTML document. The codes may be entered as either a decimal or a hexadecimal number. In HTML, symbol codes start with an ampersand identifier “&” followed by a number sign “#”, and end with a semi-colon “;”.
    [Show full text]
  • Unicode Latin and IPA Characters Version 0.41, February 17, 2011 / by Pim Rietbroek
    Alphabetic List of Unicode Latin and IPA Characters Version 0.41, February 17, 2011 / By Pim Rietbroek Instruments for Authors 1) Purpose of this document With the implementation of Unicode on practically every computer sold today we have gained access to a huge character set, which is also robust in that it transfers very well across computer programs and platforms. But finding a way to input a specific character carrying an accent or a diacritic, ḥ for instance, is sometimes not so easy. The character charts found on the Unicode website are for the most part not arranged alphabetically. And computer manufacturers have at the moment of this writing not supplied a generic input method or keyboard file that gives easy access to all Latin and IPA characters which are to be found in the Unicode Standard. In the absence of such solutions I have compiled an alphabetic list of Latin and IPA characters encoded in the Unicode Standard with their corresponding hexadecimal code point value (hexadecimal – or ‘base-16’ – numbers run from 0 to 9 and then up from A to F). 2) Accents and Diacritics: ‘Precomposed’ versus ‘Decomposed’ In the previous paragraph the word ‘character’ was used loosely to mean both a single letter like a and an accented letter like á. Without going into the details of the Unicode Standard it is important to note that while many accented letters are encoded as separate so-called ‘precomposed’ characters (like á) they are just as validly encoded in an analytic way (‘decomposed’) as ‘base letter plus combining diacritic(s)’, like a plus ◌́ (the latter character being ‘combining acute accent’, Unicode hexadecimal 0301; the dotted circle is only displayed here to show that the accent will be combined with the previous character).
    [Show full text]
  • The Unicode Cookbook for Linguists
    The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran Michael Cysouw language Translation and Multilingual Natural science press Language Processing 10 Translation and Multilingual Natural Language Processing Editors: Oliver Czulo (Universität Leipzig), Silvia Hansen-Schirra (Johannes Gutenberg-Universität Mainz), Reinhard Rapp (Johannes Gutenberg-Universität Mainz) In this series: 1. Fantinuoli, Claudio & Federico Zanettin (eds.). New directions in corpus-based translation studies. 2. Hansen-Schirra, Silvia & Sambor Grucza (eds.). Eyetracking and Applied Linguistics. 3. Neumann, Stella, Oliver Čulo & Silvia Hansen-Schirra (eds.). Annotation, exploitation and evaluation of parallel corpora: TC3 I. 4. Czulo, Oliver & Silvia Hansen-Schirra (eds.). Crossroads between Contrastive Linguistics, Translation Studies and Machine Translation: TC3 II. 5. Rehm, Georg, Felix Sasaki, Daniel Stein & Andreas Witt (eds.). Language technologies for a multilingual Europe: TC3 III. 6. Menzel, Katrin, Ekaterina Lapshinova-Koltunski & Kerstin Anna Kunz (eds.). New perspectives on cohesion and coherence: Implications for translation. 7. Hansen-Schirra, Silvia, Oliver Czulo & Sascha Hofmann (eds). Empirical modelling of translation and interpreting. 8. Svoboda, Tomáš, Łucja Biel & Krzysztof Łoboda (eds.). Quality aspects in institutional translation. 9. Fox, Wendy. Can integrated titles improve the viewing experience? Investigating the impact of subtitling on the reception and enjoyment of film using eye tracking and questionnaire data. 10. Moran, Steven & Michael Cysouw. The Unicode cookbook for linguists: Managing writing systems using orthography profiles ISSN: 2364-8899 The Unicode Cookbook for Linguists Managing writing systems using orthography profiles Steven Moran Michael Cysouw language science press Steven Moran & Michael Cysouw. 2018. The Unicode Cookbook for Linguists: Managing writing systems using orthography profiles (Translation and Multilingual Natural Language Processing 10).
    [Show full text]