These scorings are the irregular imprints of drills and cutting tools, acquired during the stereotomy process, by which stone is cut and shaped.
|
|
The 4 teams who had the biggest scorings got qualified to the one-match semi-finals. The best two teams played a final match.
|
|
She collaborated with musicians from various genres such as Sri Aksan Sjuman, Jamie Aditya, Slank and Agrikulture among others. She was also involved in numerous film scorings and soundtracks, such as Janji Joni, 9 Naga, Love for Share, Dead Time: Kala, Gara-gara Bola, Quickie Express, and Pintu Terlarang.
|
|
A large phylogenetic analysis performed by Fischer (2013) in his unpublished thesis found Sisteronia to be a member of Platypterygiinae. Even though variants of this analysis have been formally published, the scorings of Sisteronia are based mainly on undescribed referred material currently held in a private collection, and therefore the publication of this cladogram is pending.
|
|
The scoring is experimental and one of the first to use pieces written by Leroy Shield. The Our Gang series was also beginning to use background music but opted to use orchestral scorings initially and began mixing several Shield tunes on the last episode of the 1929-30 season, A Tough Winter. The short was computer-colorized in 1986.
|
|
Raymond Stedman describes Thyer as quiet yet impressive and William Nobles is noted for his sweeping camera work. Raoul Krausharr's musical score is a bridge between the "synthetic fusions" of earlier sound serials and the "creative scorings" of his successors at Republic. According to Cline, The Painted Stallion is an outstanding example of the Western "Covered Wagon" (wagon train based) subgenre.
|
|
The work exists in two different scorings: the original 1909 version for a very large orchestra and the revised version of 1949 which reduces the size of the orchestra to more- or-less normal proportions, "giving up the contrabass clarinet, as well as the four-fold scoring of the other woodwinds and two of the six horns". This version was published posthumously in 1952.
|
|
On the east side of the high peaks the steep slopes form zone like parallel folds, the 'Zonaria'. Even narrower and steeper scorings, the 'Loukia', lead to the peak. Οn the north side, between Stefani and Profitis Ilias, extends the Muses' Plateau, at , while further south, almost in the center of the massif, extends the alpine tundra region of Bara, at an altitude of . Olympus has numerous ravines and gullies.
|
|
Sébastien Ogier took his first points of the season and the very first ones for Volkswagen Motorsport with an eighth place at the Rally Mexico. In Sweden and in Mexico, he had to compose with a superior status compared to the other S2000 drivers and therefore had to sweep the roads for them. This changed at the Rally Portugal and the situation became more equitable. He then scored a series of points scorings and regularly battled against WRC drivers.
|
|
Artificii musicali ne quali si contengono canoni in diverse maniere contrapunti dopii, inventionj curiose, capritii e sonate, Opus 13 (1689) is one of the most comprehensive studies of counterpoint before Bach’s Die Kunst der Fuge and Musicalisches Opfer. The sixty pieces are an impressive display of contrapuntal technique for a variety of scorings, arranged in order of increasing difficulty. The collection contains canons for anything from two to twelve voices, many incorporating additional compositional devices (e.g., canon 25.
|
|
The athletes shoot two series of five shoots, with decimal scorings. When the first two series are done, seventh and eight place are "eliminated, " kicked out of the competition. Then after every shot, the athlete with the lowest score is eliminated, until the best shooter is found. In 2012, the finals were shot under the old format, with the qualification scores carrying over into the final, and only ten shots in the standing position are fired, in decimal scores.
|
|
This composition approach proved to be a quick way of writing large blocks of sound (the temporal order of events being left to the performer) and permitted an exceptionally prolific output. Instead of constituting individual works, his music is more like a musical stream of consciousness (under the headings of Thoughts, Episode and Orchestral Diary Sheet). It also means that there are numerous scorings of the same piece. This method was first used in his 5th String Quartet, the "Lemming Quartet".
|
|
In his first season in Elitserien (1989–90), Patrik ended up second in the scoring race with a total of 54 points, as a rookie. He won Rookie of the year, voted ahead of Mats Sundin. Trailing him in the scorings race were some top notch scoring machines, Håkan Loob (53), Bengt-Åke Gustafsson (46), Peter Gradin (46), Thomas Rundqvist (46), Anders Carlsson (43) and Lars-Gunnar Pettersson (42). The only player to finish ahead of him was AIK's Robert Burakovsky with 57 points.
|
|
Sometimes, at the end of a session or the beginning of a new session, a card or cards will be placed in the board face up. This indicates that the board has not yet been prepared for the new session. The board may also carry a travelling sheet -- a paper form where players enter their scores each time the board is played. The board may contain a dedicated pocket for the travelling sheet (folded so as to hide the entries from view between scorings); otherwise it can be inserted in the slot with the cards for North, the score recorder.
|
|
The following cladogram follows an analysis by Fischer and colleagues in 2017, based on a dataset published by Benson and Druckenmiller in 2014 that was previously modified for the description of Makhaira in 2015. Due to the completeness of Luskhan, its position is based on scorings for 74% of the characteristics listed in the dataset. In the strict consensus of the 20,000 most parsimonious phylogenetic trees recovered, Makhaira forms a polytomy with Pliosaurus species, instead of forming a clade with other brachauchenines; however, in the consensus of the 24 most parsimonious trees, it is the most basal brachauchenine, with Luskhan being the next most basal brachauchenine.
|
|
Unlike other Laurel and Hardy shorts, the technical credits are recited by two girls in usherette outfits at the beginning of the film. Beverly and Betty Mae Crane performed the "talking titles" for several Roach productions during the 1930–31 season as an experimental alternative to standard title cards. This was also the first Laurel and Hardy film to feature the well-known Leroy Shield scorings for background music. A handful of previous Laurel & Hardy "talkie" shorts experimented with music scores; beginning with this film, these tunes would be heard regularly in Laurel & Hardy, Our Gang, Charley Chase, The Boy Friends, and other Hal Roach series and productions.
|
|
The Plant Phenology Ontology (PPO) is a collection of OBO Foundry ontologies that facilitate integration of heterogeneous data about seed plant phenology from various sources. These data sources include observations networks, such as the National Ecological Observatory Network (NEON), the National Phenology Network (NPN), and the Pan-European Phenology Database (PEP725), remote sensing, herbarium specimens, and citizen science observations. The initial focus during ontology development was to capture phenological data about one plant or a population of plants as observed by a person, and this enabled integration of data across disparate observation network sources. Because phenological scorings vary in their methods and reporting, this allows these data to be aggregated and compared.
|
|
Efforts have been made to expand the scope of the ontology to include observations made on herbarium specimens. Because the backbone of the existing PPO is built around the concept of whole plants, new logic had to be added to enable reasoning over data from parts of plants, because this is usually, though not always, what is captured by an herbarium specimen. The concept of 'portion of a plant' was added to the ontology, and a new relationship 'is or was part of' was added to describe how a 'portion of a plant' relates to a 'whole plant'. The new PPO release allows integration of phenology data from herbarium specimens, provided that observations or phenological scorings for the specimens already exist.
|
|
Two further collections, each of six quartets by Telemann and with scorings that differ at least slightly from the quartets associated with Telemann’s 1737–38 visit, were published subsequently in Paris. In approximately 1746 to 1748, Le Clerc issued a collection of Six quatuors ou trios à 2 flûtes traversières ou 2 violons et à 2 violoncells ou 2 bassons, dont le second peut être entierement retranché, ou se joüer sur le clavessin (Six quartets or trios for two flutes or violins and two cellos or bassoon, the second of which may be omitted entirely or replaced with harpsichord). Like the Quadri, these were a reissue of a collection first published in Hamburg in 1733 . This was therefore the third collection of Telemann quartets published in Paris.
|
|
In 2013, "Word Learning Processes in Children with Cochlear Implants" by Elizabeth Walker and others indicated that although there may be a some levels of increased vocabulary acquisition in CI individuals, many post-implantees generally were slower developers of his/her own lexicon. Walker bases her claims on another research study in 2007 (Tomblin et al.) One of the purposes of this study was to note a CI child's ability to comprehend and retain novel words with related referents. When compared with non-deaf children, the CI children had lower success scores in retention. This finding was based on scorings obtained from their test: from 0 to 6 (0 the worst, 6 the best), CI children averaged a score around a 2.0 whereas non-deaf children scored higher (roughly 3.86).
|
|
Of the fourteen publications in Vitali’s output, nine are ‘da camera’ dance collections (Opera 1, 3, 4, 7, 8, 11, 12 and 14), two are sacred vocal (Opera 6 and 10), and three are free or ‘da chiesa’ sonatas (Opera 2, 5 and 9). The remaining set, Opus 13, does not fit comfortably into these categories, being a pedagogical assembly of sixty compositions all concerning contrapuntal techniques. The majority of the da chiesa works (thirty-six sonatas in total) are scored for two violins and organ continuo. Opus 5, however, is unusual in that it contains a variety of scorings: as well as sonatas for two violins and continuo, Vitali includes sonatas for two violins, violone and continuo and as well as sonatas for four and five parts and continuo.
|
|
English and mathematics vary considerably in classroom size from 3-12 students depending on their learning style; these subjects are taught strategy-based and through hands-on learning with manipulatives in place. Other courses taught at the school are history, science, world languages, art, music, computers, swimming instruction, and physical education. Summit administers a schoolwide positive behavior support (PBS) and contingency contracting program that is reinforced through the use of point cards, a daily index card students receive entailing their individualized contract--or behavioral goal--and marked scorings for "On Time", "In Area", "Work", "Homework", "Behavior", and "Contract" during each period. Students who maintain consistently high points receive approval into the school's Honor Code program in which they have the opportunity to participate in specialized day trips and outings.
|
|
"Une barque sur l'océan" and "Alborada del gracioso" were orchestrated by Ravel himself. "La vallée des cloches" has been orchestrated by Roberto Halffter for triple woodwind, four horns, timpani, percussion, two harps, celesta and strings; and Percy Grainger for a typical Grainger ensemble with multiple pianos and percussion, plus strings. "Oiseaux tristes" has been scored by Felix Günther for double woodwind plus piccolo, two horns, two trumpets, percussion, harp, celesta and strings; though aimed at intermediate rather than advanced players, transposed down a semitone and with some of Ravel's rhythms simplified. The earliest known orchestration of "Noctuelles" is by the British pianist Michael Round, an orchestration commissioned by Vladimir Ashkenazy and recorded by him with the NHK Symphony Orchestra (Exxon, 1993) – the recording also includes Round's scorings of the Fugue and Toccata from Le tombeau de Couperin.
|
|
He is now primarily active as a noted multi-instrumentalist, specializing on Franklin glass armonica and the theremin, prominently performing in New York at the Metropolitan Opera, for Hollywood film scorings, and repeat performances at Lincoln Center's Mostly Mozart Festival (debuting in 1991 with Roger Norrington and the London Classical Players) plus performing at the Tanglewood Festival with the Boston Symphony Orchestra performing the intricate glass armonica complete part in the U.S. debut of George Benjamin's opera "Written On Skin.". James has also become active in the preservation and restoration of other historic instruments such as the French Cristal d’ Baschet and Ondes Martenot plus has begun performing early syncopated jazz and mid-century moderne styled period-piano repertoire within a multitude of other specialist musical activities generally considered of marginal cultural impact and predominantly subject to the periodic whims of amateurs and enthusiasts.
|
|
Until 1976, when Michael Tilson Thomas recorded the original jazz band version for the very first time, the 1942 version was the arrangement usually performed and recorded. The 1924 orchestration was developed for solo piano and Whiteman's band, which consists of three woodwind players doubling one oboe, one heckelphone, one clarinet, one sopranino saxophone in E, two soprano saxophones in B, two alto saxophones in E, one tenor saxophone in B, one baritone saxophone in E; two trumpets in B, two French horns in F, two trombones, and one tuba (doubling on double bass); a percussion section that includes a drum set, timpani, and a glockenspiel; one piano; one tenor banjo; and violins. Grofé's familiarity with the Whiteman band's strengths is a key factor in the scoring. This original version, with its unique instrumental requirements, had lain dormant until its revival in reconstructions beginning in the mid-1980s, owing to the popularity and serviceability of the later scorings, described below.
|
|