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LISTEN seventh edition joseph kerman University of California, Berkeley g a ry .. Transparency masters provide material from the textbook in convenient PDF. Listen, 7th Edition by Joseph Kerman and Gary Tomlinson PDF. Jonah Hemphill. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 LibraryPirate. This page intentionally left blank listen seventh edition. For Bedford /St. Martin's Developmental Editor: Caroline Thompson Senior Production.

David Ayers Copyeditor: Viewing History p. Yan-kee doo-dle came to town. We can, however, at least suggest some of these cultural connections to music of the various historical periods. Use the Key Words on page 59 of Wisconsin: Growth And Reform. It is progressively.

An Overview 2 Jazz: The First Fifty Years box Ragtime: Music reaches from urban hip-hop to chanting in indigenous communities that have been isolated for thousands of years, from ring-tones to bone futes dating all the way back to the time of the Neanderthals.

And music like language matters. One can scarcely conceive of any major human event without music: Music becomes part of your selfhood. Yes, opera can have that effect. The effect may not be as common with classical music as with popular music these days, but it can be just as intense.

Which brings us at once to the issue of classical music, as distinct from other kinds. It may help to clear the way for classical music by understanding frst of all what it is not. Think of classic jazz, classical antiquity, Classic Coke, and so on. Classical music extends over more than a thousand years of music as practiced and heard in the upper strata of society in Europe and America. One can hardly overestimate the importance of this development, and it has certainly been widely discussed, by sociologists as well as musicologists, professors of English, Film Studies, and what you will, editorial writers, fanzine hacks, and just plain fans.

Every music class contains at least one member who is an expert on some branch of popular music. Jazz and Beyond. Our Global Perspectives in- serts engage with basic musical issues treated in the chapters around them.

Music and History Classical music continues to fourish today; students are probably being taught composition in the classical tradition somewhere on your campus this very semes- ter.

Yet the great majority of the music we study is much older and, by the way, much less American. Nobody doubts that the great era of classical music is in the past. Some naysayers will tell you the same for poetry, painting, and jazz. Listening to classical music is, mainly, listening to history. And people today listen to it mainly because classical music has stayed the course.

Over history, it has provided generations dozens of generations, to push the point with pleasure, joy, inspiration, and solace. It can do the same for us.

It may be true, as someone has said, that if we do not understand the past, we are doomed to relive its mistakes — in history and politics, that is, not art. There are no mistakes in music, poetry, and painting, only successive manifestations of our humanity. With art, if we do not understand the past, we are only doomed — or shall we say, limited — to the present.

Nonetheless, we relate to them; they are recognizably us — as we can tell from their diaries, poems, and portraits, and what these tell us about their concerns and hopes. At a deeper level, music provides knowledge or, if not exactly knowledge, insight into human experi- ence as it extends over time. How music manages to do this is a long-debated philosophical puzzle. The best short hypothesis is that music, which on a basic level is a strange and wonderful way of flling up time, vividly represents the way time feels as we actually live through it.

Yet the same people know songs as something rather different — by means of performing songs, as distinct from experiencing them. The era of classical music extends over more than a thousand years. Music changed vastly over that time — not only in its sound but also in its function and its institutions in society, its basic support system. In the broadest terms, Western music history can be viewed as falling into three great phases, based on what are es- sentially sociological considerations.

The later phases overlap, as forces underlying the earlier phases decay over long periods of time and others take their place. In the frst millennium c. All musicians or at least all musi- cians that we know about were clerics — priests, monks, or nuns — and all their music was sung in churches, ab- beys, convents, and cathedrals.

The function of this music was to stimulate and enhance worship. Music makes prayer more fervent. It makes religious services and not only Christian ones more solemn and impressive. Around , music manuscripts of a new kind began to appear — often richly illuminated manuscripts, transmitting songs composed for princely courts.

Slowly the church was yielding power to kings and nobles. Courts provided the venue for instrumental and vocal music for many centuries. Music was now entertainment for court circles, and indeed some famous monarchs were enthusiastic musicians who actually composed. Increasingly over time, the func- tion of court music was to glorify kings, queens, and princes. Courts had chapels for worship, as splendid as their palaces.

Even as music praised the Almighty in lav- ish terms, it also celebrated the mighty rulers who could put on such lavish services.

As the aristocracy declined and the middle classes the bourgeoisie gained more power, opera houses and concert halls were opened to the public. They became the new social spaces for music; the frst opera house dates back to around , the frst concert hall to around From then on, concert music was in principle avail- able to all who cared to buy tickets and could afford them. Although courts remained important for some time, music was becoming more generally available. Meanwhile European classical music took a long leap to Latin America and then to North America — frst west to the California missions, and then east to the English colonies.

In the twentieth century it also became a major presence in Japan and other non-European countries. It took a different kind of leap, and a more fundamental one, when it moved away from a live-performance culture to our own situation, in which live performance is often displaced, sometimes overwhelmed by recorded perfor- mance.

His jester Will Sommers grits his teeth. The rest of the time you experience music through recordings — and on re- cordings, virtually all music seems to be available. But this total recall has only been achieved at a price. Never forget that recordings are abstractions, at some distance from the experience of actual live music. Missing, too, is the special push that singers and players always deliver when they can feel the crowd is with them. We probably tend to supply these feelings imaginatively when listening to recordings — by extrapolating them, in a way, from our own experience of live performance occasions.

However that may be, a classroom is not the same thing as a concert site, and recorded music exists to be played again and again. If the abstractness of recordings encourages us to really listen to music, and not treat it as a background to some other activity, some good will have come of it. For often you just hear music — out of the corner of the ear, so to speak.

Real listening means recognizing specifc events in the music as it goes by in time, holding them in the memory, and relat- ing them to one another in the mind. One does the same thing with events in a novel.

Classical music requires full attention if it is to yield its full rewards. Listening to individual pieces again and again is the basic activity that leads to the understanding and love of music; that is why this book is called Listen.

Listening Charts To foster this commitment, Listening Charts that focus listening are an integral feature of this text. The portion of Listening Chart 5 on the facing page shows how they work the complete chart is found on page Identify the icon for the recording set you are using at the top right corner of the chart — six stacked red CDs for the 6-CD set, three black CDs for the 3-CD set, or the play-button icon for streaming music.

The numeral inside the CD icon indicates which disk to choose from the set. The numeral below the icon indicates which track to play on that disk.

For long selections with multiple tracks, small boxes to the left of the vertical line running down the Listening Charts show where each new track begins. In these boxes, track numbers from disks in the 6-CD set are again printed in red, those from the 3-CD set in black. As you listen, follow down this list with the timing fgures.

To the left of the vertical line are the timings that appear on the CD display, start- ing anew with each track. The timings to the right of the line give the total time from the beginning of the composition. All this sounds more complicated than it is; you will fnd it very easy to follow these charts with a little practice. For the beneft of those who are able to read music, the charts also include brief music examples of the main melodies, directly across from the timing indications and the reference to the musical event.

They are an extra; it is not necessary to read music or even follow it in a general way to use these charts or this book. Some of the Listening Charts from the book are available in an interactive format on the Companion Web site at bedfordstmartins. Access to the charts requires an activation code. The Interactive Listening Charts guide you through the listening, highlighting each event in the music on the chart as it plays.

The interactive versions also allow you to play back any section of the chart with a single mouse click so that you can study and compare specifc elements of the piece. Companion DVD The DVD bound in every copy of the textbook contains video clips from performances of three of the operas we study in this book; it also contains all the music for the Listening Exercises in Unit I, which will help xxviii Introduction DVD 1 you practice listening for fundamental elements of music such as rhythm, mel- ody, and form.

Companion Web Site Cross-references in the text like the one shown in the margin will refer you to the companion site for Listen, Seventh Edition. Free resources on this Web site include learning objectives, interactive fashcards, and quizzes for every chapter, an Instruments of the Orchestra demo, guidelines for writing concert reports, and annotated links to recommended Web sites.

Bach, Brandenburg Concerto No. Includes faster rhythms; the soloists play new themes and also play some of the motives from the ritornello. The music is less motivic, and the harmonies change less rapidly than before.

The number in the center tells you which CD to play.

The numbers beneath the icon are track numbers. Track number reminders. The upper number is the track number for this piece in the 6-CD set; the lower number is the track number for the 3-CD set. The left-hand column of timings gives you the time elapsed since the start of the current CD track. The right-hand column of timings gives you the total time elapsed since the start of the piece. We start right away with a piece of music, the Prelude to The Valkyrie by the nineteenth-century composer Richard Wagner.

Chapter 1 presents the most basic aspect of music, its organi zation in time or rhythm, and introduces important features of this organization: Chapter 2 takes up other basic features of musical sound — pitch, dynamics, and tone color — and also the instruments of the modern orchestra.

Then Chapters 3 and 4 delve into some additional complexities of pitch — scales, melody, harmony, and more — and explore how musicians use these to organize pieces of music. Chapter 5 carries the discus- sion one stage further, to include musical form and style.

Listening The basic activity that leads to the love of music and to its understanding is listening to particular pieces of music again and again.

Such, at least, is the premise of this book. Its pages are flled mostly with discussions of musical compositions — symphonies, concertos, operas, and the like — that people have found more and more rewarding as they have listened to them repeatedly. These discussions are meant to introduce you to the contents of these works and their aesthetic qualities: The kind of hands-on knowledge of music necessary for a music pro fes- sional — for a composer or a performer — is of no special use to you as a non- professional listener.

But familiarity with musical concepts and musical terms can be useful, helping you grasp more clearly what you already hear in music.

Analyzing things, pinpointing things, and even simply using the right names for things all make us more actively aware of them. Sometimes, too, this process of analyzing, pinpointing, and naming can actually assist listening.

We become more alert to aspects of music when they have been pointed out. And greater awareness contributes to greater appreciation of music. The Valkyrie comes from a huge cycle of four operas Wagner composed on stories from Norse mythology.

In the following discussion, a few of the musical terms are introduced that will be defned and discussed later and used throughout this book. The idea is not to learn these terms now but to get a feel for their use in the context of a piece of music. So listen to the music in one or, preferably, all of these three ways: The shifting sounds seem to sum- mon up a story before our ears — a story of a general sort, to be sure, as the music is for instruments alone and has no words to make it specifc.

This music is unlikely to conjure up images of a placid spring morning or a lingering sunset over a lake. Instead the music tells of turbulence, storminess, even violence. Is it the natural turmoil of a thunderstorm, or a purely internal, psychological trouble? So the frst thing to notice in listening to this Prelude is that it stamps in our minds a defnite, by no means bashful, expressive character.

Much music does the same, and we value this expressive force. The next thing to note is that the violence of this particular music does not come upon us all at once. Wagner carefully builds up to a big orchestral climax and then falls away from it. It is played by low stringed instruments, or strings, and takes the form of a repetitive melody marching up and down the scale. Lightning theme in horns and woodwinds 0: Lightning theme, extended, in full brass 1: Timpani roll; sporadic lightning strikes; diminuendo 2: Above this repeating theme other strings play, repeating over and over a single note, or pitch, in an anxious, trembling manner.

First Climax Gradually, with much repetition, the scale theme begins to move higher in pitch. When the scale theme reaches its frst highpoint, brass instruments and woodwinds are heard for the frst time. Especially prominent are the French horns, playing a new theme. It is two notes long and sounds like a musical lightning stroke: Second Climax After this frst climax — a brief, preliminary climax with a very short theme — the strings are left alone again, and the scale theme falls back in pitch.

The dynamic level of the music also diminishes diminuendo — but not for long, for the storm is about to break out in all its fury. Now after another quick crescendo all the strings take up the scale theme.

The music swirls up, and the full brass section weighs in with titanic effect. The instruments enter from low to high, frst tubas, then trombones, fnally trumpets, at higher and higher pitch levels. They shout out an extended version of the lightning theme frst played by the horns: Collapse Suddenly, at its loudest moment, the bottom drops out of the or- chestra.

All that is left is a thunderous roll on the kettledrums, or timpani. The full orchestra returns to play, sporadically, the lightning theme. Now its mel- ody has even taken on the jagged shape of a lightning bolt. While the timpani roll continues, this melody is heard four times, each time softer in dynamic level and lower in pitch.

In its wake comes a survivor — the scale theme from the beginning, gradually subsiding and moving lower in pitch. Continuity The Prelude does not truly come to an end; there is no full and clear stopping point, or cadence. Instead it leaves us on an unexpected pitch, one that halts the motion of the scale theme as the curtain rises and the action of the opera begins. The stage shows the inside of a gloomy, rough house in a forest, and sure enough, as the door swings open we see the storm that we have just been hearing about from the orchestra.

As it calms down, a man Siegmund stumbles exhausted out of the storm and into an unfamiliar home; there he 6 unit I Fundamentals Scale theme Preliminary climax: Lightning theme Scale theme Main climax: Lightning theme extended Scale theme will meet, and fall in love with, Sieglinde. Neither of them knows yet that they are brother and sister, separated when they were young children.

We follow up on this fateful turn of events on page Musical Form This music is certainly stirring in its chaotic climax; Wagner was a master at using his large orchestra to such dramatic effect.

But underneath the chaos his prelude reveals a clear organization, or musical form, built around its two main themes, the scale theme and the lightning-stroke theme: There is a sword in the tree, planted by Wotan, king of the gods. We could simplify this diagram by using letters to represent the main elements of the form, A for the scale theme and B for the climaxes: Throughout this book musical forms will be represented by letter diagrams of this kind.

Its temporal aspect is the most basic place to start understanding music, and this aspect is summed up by the term rhythm. The primacy of rhythm in the experience of music is taken for granted in our culture — and in most other cultures as well. Rhythm is the main driving force in music both popular and classical, music of all ages and all cultures. Of course, the term is also used in other contexts, about quarterbacks, poems, and even paintings.

But no sport and no other art handles rhythm with as much precision and refnement as music. Beat and Accent Beats provide the basic unit of measurement for time in music; if ordinary clock time is measured in seconds, musical time is measured in beats.

When listening to a marching band or a rock band, to take two clear examples, we sense a regular recurrence of short pulses. These serve as a steady, vigorous background for other, more complicated rhythms that we discern at the same time. There is, however, an all-important difference between a clock ticking and a drum beating time.

Mechanically produced ticks all sound exactly the same, but it is virtually impossible for people to beat time without making some beats more emphatic than others. This is called giving certain beats an accent. To beat time, then, is not only to measure time according to a regular pulse but also to organize it, at least into these simple two- and three-beat patterns. Access an interactive tutorial on rhythm, meter, and tempo in the e-book at bedfordstmartins.

It shapes and gives new meaning. Each occurrence of this repeated pattern, consisting of a principal strong beat and one or more weaker beats, is called a measure, or bar. In Western music there are only two basic kinds of meter: Yan-kee doo-dle came to town. In triple meter the beats are grouped in threes one two three one two three. Oh, say can you see. Often the main beats of duple and triple meter are subdivided into quicker pulses.

This usually happens by dividing the main beat into either twos or threes. When the main beats are divided in twos, the meter is called a simple meter. Dividing the main beats in threes creates compound meters with two or three main beats and six or nine quicker ones: Row, row, row your boat gently down the stream, Merrily, merrily, merrily, merrily, 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 one two one two one two one two one two one two second voice: Row, row, row.

Meters with fve beats, seven beats, and so on have never been used widely in Western music, though they are found frequently enough in some other musical cultures. It was an unusual tour de force for nineteenth-century composer Pyotr Ilyich Tchaikovsky to have featured quintuple meter, fve beats to a bar, in his popular Sixth Symphony.

As the rhythm frst coincides with the meter, then cuts across it indepen- dently, then even contradicts it, all kinds of variety, tension, and excitement can result. Meter is background; rhythm is foreground.

Musical notation has developed a conventional system of signs see Appen- dix B to indicate relative durations, or long and short notes; combining various signs is the way of indicating rhythms. Following are examples of well-known tunes in duple and triple meters. Notice from the shading even better, sing the tunes to yourself and hear how the rhythm sometimes corresponds with the pulses of the meter and sometimes departs from them. The shading indicates passages of rhythm-meter correspondence: Often the meter is not explicitly beaten out at all.

It does not need to be, for the listener can almost always sense it under the surface. Naturally, meter is strongly stressed in music designed to stimulate regular body movements, such as marches, dances, and much popular music. At the other extreme, there is nonmetrical music. In such music, the rhythms suggest no underlying pattern of strong and weak beats. For example, the meandering, nonmetrical rhythms of Gregorian chant contribute to the cool, otherworldly, and spiritual quality that devotees of this music cherish.

Syncopation One way of obtaining interesting, striking effects in music is to move the accents in a foreground rhythm away from their normal position on the beats of the background meter. This may seem counterintuitive, but it works. Auden, poet, 10 unit I Fundamentals as it is called, accents can be displaced so they go one two one two weak strong weak strong instead of the normal one two one two strong weak strong weak.

Or syncopation can occur when an accent is placed in between beats one and two, as in this Christmas ballad: The term for the speed of music is tempo; in metrical music, the tempo is the rate at which the basic, regular beats of the meter follow one another. Tempo can be expressed exactly and measured by the metronome, a mechanical or electrical device that ticks out beats at any desired tempo.

When composers give directions for tempo, however, they usually prefer approximate terms. Because all European music looked to Italy when this terminology frst came into use, the conven- tional terms for tempo are Italian: Follow the timings in these Listening Exercises, which are simplifed versions of the Listening Charts provided for complete compositions later in the book.

The charts are explained on page xxviii. For samples of duple, triple, and compound meters, listen to the following tracks on the DVD. Duple meter Count one two one two. Triple meter Count one two three one two three. A clock- work mechanism made the bar swing side to side, ticking at rates controlled by a mov- able weight. Composers often use tempo indications alone as headings for major sections, called movements, in long works. Rhythm, Meter, and Tempo A more advanced exercise: Our excerpt, from the middle of Rhapsody on a Theme by Paganini, for piano and orchestra, by Sergei Rachmaninov, consists of four continuous segments in different meters and tempos, here labeled A, B, C, and D.

If you note a family likeness among the segments, that is because they are all variations on a single theme. See page The loud orchestral interruptions are syncopated. After the interruptions the meter is somewhat obscured, but it gets clearer. The piano seems to be engaged in a meditative improvisation, as if it is dreaming up the music to come.

Not for long. These vibrations are transmitted through the air and picked up by our ears. For the production of sound in general, almost anything will do — the single rusted hinge on a creaky door as well as the great air masses of a thunder storm.

For the production of musical sounds, the usual objects are taut strings and mem- branes and columns of air enclosed in pipes of various kinds. Often the membranes are alive: They are called vocal cords. Sound-producing vibrations are very fast; the range of sound that can be heard extends from around 20 to 20, cycles per second.

The vibrations are also very small. To be heard, they often need to be amplifed, either electronically or with the aid of something physical that echoes or resonates along with the vibrating body. In a guitar or violin, the reso- nator is the hollow box that the strings are stretched across. Musical sounds can be high or low, loud or soft, and can take on different qualities depending on the materials used to produce them. The musical terms for these aspects of sound are pitch, dynamics, and tone color.

On the level of perception, our ears respond differently to sounds of high and low frequencies, and to very fne gradations in between. The musical term for this quality of sound, which is recognized so instinc- tively, is pitch. Low pitches low frequencies result from long vibrating ele- ments, high pitches from short ones — a trombone sounds lower than a fute.

Natural objects can serve as resonators for musical instruments. Your college chorus divides up high and low pitches among four different groups of voices: The totality of musical sounds serves as a kind of quarry from which mu- sicians of every age and every society carve the exact building blocks they want for their music.

We hear this totality in the sliding scale of a siren, starting low and going higher and higher. But musicians never or virtually never use the full range of pitches.

Instead they select a limited number of fxed pitches from the sound continuum. These pitches are calibrated scientifcally European- style orchestras these days tune to a pitch with a frequency of cycles , given names that pitch is labeled A , and collected in scales. Scales are dis- cussed in Chapter 3. As big guitar amplifers attest, very small string vibrations can be amplifed until the energy in the air transmitting them rattles the eardrums.

In musical terminology, the level of sound is called its dynamics. Musicians use subtle dynamic gradations from very soft to very loud, but they have never worked out a calibrated scale of dynamics, as they have for pitch. The terms Pitch and Dynamics High and low pitch and loud and soft dynamics are heard so instinctively that they hardly need illustration. Symphonies usually consist of four separate big segments, called movements; musicologists are still baffed as to why Schubert wrote two superb movements for this work and started but never fnished the rest.

Like the indications for tempo, the terms used for dynamics are in Italian. Tone color is produced in a more complex way and a more astonishing way than pitch and dynamics. Piano strings and other sound-producing bod- ies vibrate not only along their total length but also at the same time in half- lengths, quarters, eighths, and so on.

Musicians call these fractional vibrations overtones. The amount and exact mixture of overtones are what give a sound its characteristic tone color. A fute has few overtones. A trumpet has many. Musicians make no attempt to tally or describe tone colors; about the best one can do is apply impre- cise adjectives such as bright, warm, ringing, hollow, or brassy. Yet tone color is surely the most easily recog- nized of all musical elements. Even people who cannot identify instruments by name can distinguish between the smooth, rich sound of violins playing together; the bright sound of trumpets; and the woody croaking of a bassoon.

The most distinctive tone color of all, however, belongs to the frst, most beautiful, and most universal of all the sources of music — the human voice. The singing voice, the most beautiful and universal of all sources of music: Musical Instruments 15 To listen to demonstrations of individual instruments, click on Instru- ments of the Orchestra at bedfordstmartins.

Enormous numbers of devices have been invented for making music over the course of history and across the entire world, and the range of tone colors they can produce is almost endless. This section will discuss and illustrate the instru- ments of Western music that make up the orchestra, and a few others.

Later, in our Global Perspectives sections, we will meet some instruments from other musical traditions. Musical instruments can be categorized into four groups: Musical sound, as we know, is caused by rapid vibrations. Each of the four groups of instru ments produces sound vibrations in its own distinct way.

Stringed Instruments Stringed instruments produce their sound by means of taut strings attached to a sound box, a hollow box con- taining a body of air that resonates that is, vibrates along with the strings to amplify the string sound. The strings themselves can be played with a bow, as with the violin and other orchestral strings; the bow is strung tightly with horsehair, which is coated with a sub- stance called rosin so that the bow grips the strings to produce continuous sound.

With guitars and harps, the strings are plucked or strummed by the fngers or a small pick.

Listen, 7th edition

Strings can be plucked on bowed instruments, too, for special effects. The Violin and Its Family The violin is often called the most beautiful instrument used in Western music.

It is also one of the most versatile of instruments; its large range covers alto and soprano registers and many much higher pitches.

As a solo instrument, it can play forcefully or delicately, and it excels in both brilliant and songlike music. Violinists also play chords by bowing two or more of the four strings at once, or nearly so. As with a guitar, the player stops the four violin strings with a fnger — that is, presses the strings against the neck of the violin — to shorten the string length and get different pitches see the illustrations below.

Unlike a guitar, a violin has no frets, so the player has to feel for the exact places to press. The violin is an excellent ensemble instrument, and it blends especially well with other violins.

An orchestra violin section, made up of ten or more instruments play- ing together, can produce a strong yet sensitive and fex ible tone. Hence the orchestra has traditionally relied on strings as a solid foundation for its composite sound.

Like most instruments, violins come in families, that is, in several sizes with different pitch ranges. Two other members of the violin family are basic to the orchestra. The viola is the tenor-range instrument, larger than a violin by several inches. It has a throaty quality in its lowest range, yet it fts especially smoothly into accom- paniment textures. The cello, short for violoncello, is the bass of the violin family. Cellists play seated, with the instrument propped on the foor between their knees.

Unlike the viola, the Musical Instruments Violin and bow The violin family: It is a favorite solo instrument as well as an indispensable member of the orchestra. Double Bass Also called string bass or just bass, this deep instrument is used to back up the violin family in the orchestra.

However, in various details of construction the bass differs from members of the violin family; the bass actually belongs to another, older stringed instru- ment family, the viol family. Played with a bow, the double bass provides a splen- did deep support for orchestral sound.

It is often in jazz, nearly always plucked to give an especially vibrant kind of accent and to emphasize the meter. Harp Harps are plucked stringed instruments with one string for each pitch available. The modern orchestral harp is a large instrument with forty-seven strings cover- ing a wide range of pitches. In he founded the Silk Road Project, a program of intercultural musical exchange along the Silk Road, the ancient trading route between China and the Mediterranean.

His complete recordings to date fll ninety CDs! Woodwind Instruments As the name suggests, woodwind instruments were once made of wood. Some still are, while others today are made of metal and even plastic. Sound in these instruments is created by setting up vibrations in the column of air in a tube.

A series of precisely spaced holes are bored in the tube, which players open or close with their fngers or with a lever device. This channels the air into columns of different lengths, producing different pitches.

Of the main woodwind instruments, futes, clarinets, and oboes have approximately the same range. All three are used in the orchestra because each has a quite distinct tone color, and composers can obtain a variety of effects from them. It is not hard to learn to recognize and appreciate the different sounds of these woodwinds. The Flute and Its Family The fute is simply a long cylinder, held horizontally; the player sets the air vibrat- ing by blowing across a side hole.

The fute is the most agile of the woodwind instruments and also the gentlest. It nonetheless stands out clearly in the orchestra when played in its high register.

Musical Instruments 17 The piccolo, the smallest, highest member of the fute family, adds special sparkle to band and orchestral music. The alto fute and bass fute — larger and deeper futes — are less frequently employed. The recorder, a different variety of fute, is blown not at the side of the tube but through a special mouthpiece at the end. Used in older orchestral music, the recorder was superseded by the horizontal, or transverse, fute because the latter was stronger and more agile.

In the late twentieth century recorders made a comeback for modern perfor- mances of old music using reconstructed period instru- ments. The instrument is also popular in various family sizes among musical amateurs today. The recorder is easy to learn and fun to play. Clarinet The clarinet is a slightly conical tube made, usually, of ebony a dark wood. The air column is not made to vibrate directly by blowing into the tube, as with the fute.

The player gets sound by blowing on a reed — a small piece of cane fxed at one end — in much the same way as one can blow on a blade of grass held taut be- tween the fngers.

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American History Textbook The Americans. The History of Personality Theory and Assessment 4 Eduard Spranger, a German philosopher, theorized four attitudes towards ethical values. Define the following terms. When scoring responses, you can either assign a score to the response or mark it with a condition code. Alabama History- Chapter 4 Study Guide. Chapter questions Chapter 7 Why environmental health issues are important in global health, the most important and rationale Environmental health issues are important to global health because they are the major risk factors to diseases and infections.

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Assessment of Student Performance April Lauren is a 13 year old who comes to clinic with a 4-day history of cough, low grade fever, and rhinorrhea.

Chapter 4 "Middle-Eastern Empires, B. Start studying Chapter 4 U. He named those attitudes as artistic, religious, theoretic and economic. After mastering this chapter, you should be able to: As part of a continuous effort to provide you with the most relevant and up-to-date content and services we have recently retired many of our older copyrights.

What group of terms do you associate with the network of safe houses that aided runaway slaves to freedom in Chapter Objective 2.

Do — Period 5 — Quick Assessment For Videos they answered for the first 15 minutes of class. Send to Friend. Start studying Section 4 assessment history. The gastrointestinal GI system performs the functions of ingestion, digestion, and elimination.

Learn assessment history chapter 4 with free interactive flashcards. Medicine Hands: Massage for People with Cancer, 3rd Ed. Source 2: History Alive! The Ancient World is probably unlike any other history program you have ever encountered. Honors World History. Simply type in the the last name and password and the grade sheet will appear. To provide an opportunity for interaction between the patient and the nurse b. Test, Reviews, Answer Keys, Chapter volcano. Saunders, Scan; Browse upper level math high school math science social sciences literature and Section 4 Assessment: Today we looked at the background and events of the French and Indian War that ultimately put Britain in debt.

Our history question and answer board features hundreds of history experts waiting to provide answers to your questions. An employer may not discriminate against a person who has a history of drug addiction but who is not currently using drugs and who has been rehabilitated. History Framework, which describes the specific knowledge and skills that should be assessed. European History. Compare the arguments of Northerners with Southerners who opposedabolitionism.

Armenia Export 10 Competitiveness. Start studying H. November 6, by shaahid Chapter 4 is describes the development of student learning outcomes and includes a checklist and a preparation form to aid those involved in the assessment process.

World History: Bellisario and Hearty. Was so concerned about controlling ideas in the Qin state that he proposed the burning of all books other than Legalist tracts and a few other official volumes4.

Chapter 4 assessment history

Activity 1: Think About It! Activity 2: Map Study: Explorations of the New World: Assessment, Diagnosis, and Treatment flashcards from 's class online, Flashcards in Chapter 4: Assessment, Diagnosis, and Treatment Deck We have to create a shield on paper with 5 sections representing the five section in our textbook.

Admission Procedures and Initial Evaluation. Step-by-step solutions to all your Us History homework questions - Slader. The key to assessment is determining where on the continuum an individual falls. Chapters 17 - In this Chapter This chapter contains the following topics. Bouchard's class. Want to show what you know? Use the Internet and the preselected Web sites provided below to gather additional information, broaden your knowledge, and complete the end-of-chapter Internet activity.

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The Modern Era" is found in the textbook, which is available for purchase at several websites. Connection to Today. Learn us history chapter 4 with free interactive flashcards. Share via Email Report Story Send. Interruptions of any of these functions can quickly affect the patient nutritionally and cause acid-base imbalances. World History Online Textbook. Welcome to my 7th grade World History website. I noticed that every student did not know at least Chapter Ashiq Khan.

The personnel in all areas were co-operative in providing all information requested by the auditor. Dharmamoorthy, S. Chapter 3 presents twelve operational principles for good pharmaceutical procurement, grouped into four categories management; selection andSloan School of Management Chandrasekaran The prime objective of any pharmaceutical plant is to manufacture products of requisite the same size as the intended Industrial scale batches.

Hazard management in pharmaceuticals sector: Revision questions are given at the end of each Chapter. Identify the risks 2. The PMP defines how the project is executed, monitored and controlled, and closed. Sanitation and hygiene 91 4.

Pharmaceutical industrial management 1. Pharmaceutical Facility Design Course Notes. The explanations given on page four corresponding to each step contain important information that will help ensure correct evaluation and proper management.

She decides upon a number of things like — how to decorate the house in terms of furniture, curtains, bed sheets, sofa covers, crockery , cooking utensils etc. View and download it now! Introduction These guidelines outline the rationale, processes and requirements for the evaluation of capital projects in the Queensland Public Sector. Updated to meet Standards for Training Packages Changes to packaging rules, core and elective units: Organic and inorganic chemicals are raw materials, serving as reactants, reagents, catalysts and solvents.

These notes are duplications of the presentations These notes are duplications of the presentations used in class. Industrial chemicals are used in researching and developing active drug substances and manufacturing bulk substances and finished pharmaceutical products. Honeywell solutions are found on virtually every commercial, defense and space aircraft in service today.

These methods became popular, because they represented the first approaches for unraveling DNA nucleotide sequences. Learning from collaboration: Lecture Notes in Pharmacy Practice is a comprehensive study guide with clear, bulleted information on the basic principles in pharmacy practice. Setty Pharmaceutical production management, first Edition vallabh prakashan New Delhi Pharmaceutical Marketing is an independent publication and has not been authorized, sponsored, or otherwise approved by the owners of the trademarks or service marks referenced in this product.

Overview 1 2. Notes Full Name. Before discussing the principles of management it is to explain that all industrial or business activities can be classified as follows: Quality Management.

This guide provides additional explanatory notes to: Lecture notes of Industrial management: Textbook of Pharmaceutical Industrial Management. Supply Chain Management in healthcare should ensure complete end-to-end visibility of information among suppliers, manufacturers, distributors and customers.

Pharma Q. The purpose of presentation is to. Data protection 3 6. He is a editorial board member of Pharma Times journal. How to report safety information 4 7.

Recent high profile product recalls associated with mold contamination has resulted in more attention from the FDA to fungal isolation in environmental monitoring and product testing in the pharmaceutical industry. Learn how silicones can benefit your industry. It is designed as a textbook for students enrolled in colleges and universities, who are studying engineering, statistics, management, and related fields and are taking a first course in statistical quality control.

It could have happened in any large organization, and it probably has in one way or the other. She is the person who manages all the household work. Carson] VRG. The course is about industrial projects and investments.

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Sarojrani Pattnaik Dr. The Risk and Issue Management Plan also provides tables to be used when categorizing and evaluating the risks and problems. Guidance notes on collection of drug safety information by employees and agents of pharmaceutical companies 2. List reasons for the incorporation of drugs into various dosage forms 2. Risk Management for the Pharmaceutical Industry Learning about and interpreting a products benefits and risks Risk and Issue Management Strategy industrial grade material to pharmaceutical grade quality based only on analytical results found in NOTES 1.

Total quality management TQM is an integrated organizational effort designed to improve quality at every level. Study notes Medicine and Pharma. Study notes. Some images in this book feature models. It is a hands-on endeavor by people who care about their work and strive to improve themselves and their productivity every day.

Ask a question. The paper is organized as follows. Thaimma J. Push vs. Discussions will include the role of quality, major elements of pharmaceutical quality, the impact of management practices, the features of an effective quality organization, quality management throughout the product life cycle, and the role of corporate quality. The research and development team have unique responsibilities to develop new drugs, vaccines, medical devices, technologies, and so on, to improve patient compliance worldwide.