text:
Introduction to Library and Information Science/Ethics and Values in the Information Professions

After reading this chapter, students should be able to articulate:
 * 1) The importance of defining a profession's values
 * 2) The difference between professional, general, personal, and rival values
 * 3) Ranganathan's Five Laws of Library Science
 * 4) ALA's Library Bill of Rights
 * 5) ALA's Code of Ethics
 * 6) A point of conflict between two different sets of value
 * 7) Their personal values
 * 8) How their personal and professional values will inform their LIS practice

The Values of librarianship
Values are essential to the success and future of librarianship: they highlight what is "important and worthy in the long run," and help to define our profession. In a literature review on professional values in LIS, Lee Finks argues that these values fall into four categories:
 * 1) Professional values are inherent in librarianship and include recognizing the importance of service and stewardship; maintaining philosophical values that reflect wisdom, truth, and neutrality; preserving democratic values; and being passionate about reading and books.
 * 2) General values are "commonly shared by normal, healthy people, whatever their field." Librarians' work, social, and satisfaction values express a commitment to lifelong learning, the importance of tolerance and cooperation, and the need to feel accepted.
 * 3) Personal values specifically belong to library workers and include humanistic, idealistic, conservative, and aesthetic values.
 * 4) Rival values threaten the mission of libraries with bureaucratic, anti-intellectual, and nihilistic ideas. Librarians must have faith in the profession's ability to do good.

This section will mainly discuss professional values, but we will touch on several general, personal, and even rival values throughout the course of this book.

Defining professional values
In 1999, the ALA formed a task force to "to clarify the core values (credo) of the profession". This task force believed "that without common values, we are not a profession," and proposed the following definition of common goals for our field:
 * 1) Connection of people to ideas
 * 2) Assurance of free and open access to recorded knowledge, information and creative works
 * 3) Commitment to literacy and learning
 * 4) Respect for the individuality and the diversity of all peoples
 * 5) Freedom for all people to form, to hold, and to express their own beliefs
 * 6) Preservation of the human record
 * 7) Excellence in professional service to our communities
 * 8) Formation of partnerships to advance these values

Despite the work of this task force, the ALA did not adopt a Core Value Statement until June 2004. This statement represented a compromise between the task force and its critics, and took its 11 core values from ALA policies that were already in effect. While the task force's document positioned these values in relation to our profession (for example, our profession must provide "assurance" that access to recorded knowledge is free and open), the official ALA policy simply lists the values. The ALA's wording also leaves its list open to other values as well, and lists these as examples of core values:
 * 1) Access
 * 2) Confidentiality/privacy
 * 3) Democracy
 * 4) Diversity
 * 5) Education and lifelong learning
 * 6) Intellectual freedom
 * 7) Preservation
 * 8) The Public good
 * 9) Professionalism
 * 10) Service
 * 11) Social responsibility

Ranganathan's five laws
Establishing a core set of values is not the only way to define and provide direction for a field. Many of the natural sciences are based not on values, but on scientific laws. This led mathematician and librarian S.R. Ranganathan to propose Five laws of library science in 1931. Ranganathan envisioned these laws as a set of fundamental laws, analogous to the scientific laws that serve as fundamental principles for natural and some social sciences. Ranganathan's original laws were:
 * Books are for use.
 * Every reader [their] book.
 * Every book its reader.
 * Save the time of the reader.
 * A library is a growing organism.

Michael Gorman respectfully adjusted Ranganathan's laws to better fit the future needs and practices of libraries. Gorman's revised laws are:
 * Libraries serve humanity- They should serve the individual, community and society to a higher quality. When making decisions, librarians should consider how the change will better serve humanity.
 * Respect all forms by which knowledge is communicated- If there is a new means of communication of knowledge, and it is a better carrier, utilize it.
 * Use technology intelligently to enhance service- Technology needs to be integrated so that it is used intelligently in a cost-effective and beneficial way.
 * Protect free access to knowledge- The library is central to freedom. It needs to preserve all records so none are lost, and should be transmitted to all.
 * Honor the past and create the future- Libraries need to combine the past and future in a rational manner. Not clinging to the past but looking forward for the better.

Professional Ethics
Once we have defined goals for our profession, we need to make sure that we meet these goals in ethical ways. Library and Information workers are expected to follow certain ethical standards, typically codified in documents called Codes of Ethics. These codes offer a basis for making ethical decisions and applying ethical solutions to problems in LIS.

In the United States, professional librarian ethics are codified in the ALA's Code of Ethics, which are discussed below. However, there are other codes of ethics that are important to the LIS community, which are discussed later in this chapter.

Highest level of service to all users
We provide the highest level of service to all library users through appropriate and usefully organized resources; equitable service policies; equitable access; and accurate, unbiased, and courteous responses to all requests.

Intellectual freedom
We uphold the principles of intellectual freedom and resist all efforts to censor library resources.

Intellectual freedom is a major area of conflict within libraries. Intellectual freedom is a goal that most library workers can agree on in theory, but situations in everyday library work can complicate this seemingly simple rule.

Challenged materials.

Another issue, brought up by John Swan, is how libraries should represent points of view that are completely wrong. Swan asks if "Truth" should play the pivotal role as the raison d’etre of libraries, or if libraries serve another cause entirely? His topics for discussion include:
 * 1) 	Are libraries committed to "Truth" for legal purposes?
 * 2) 	The role of "Truth", "Untruth" and Libraries.
 * 3) 	"Truth" is necessary for the law, but "Untruths" are a necessary function of libraries.
 * 4) 	Intellectual freedom, not "Truth" should be the driving force for libraries.
 * 5) 	Libraries have a duty to present Untruths".

His conclusions are that libraries exist, by their very nature, as forums for ideas. According to Swan, both "Truth" and "Untruth" are necessary in providing information to the public in these forums. The role of libraries is access to both, and in fact one cannot exist without the other. Swan makes distinctions about the differing roles of the legal system, third party groups, libraries and the role that censorship plays from pressure groups. These distinctions are as real and pertinent today as they were 20 years ago, in fact more so, as there is more "conflicting" information available to the public today due to advances in technology (internet, blogs, etc.).

Privacy and confidentiality
We protect each library user's right to privacy and confidentiality with respect to information sought or received and resources consulted, borrowed, acquired or transmitted.

Intellectual property rights
We recognize and respect intellectual property rights

Intellectual property rights are a difficult issue. While most of the rest of the ALA's Code of Ethics talks about how libraries should provide unrestricted access to information, copyright and other intellectual property rights can sometimes provide restrictions on this flow of information. Libraries have taken an active interest in open licensing, free software, and new publication and distribution models that respect the rights of information creators while allowing more widespread access to ideas.

David Dorman asserts that the Open Source Software movement is akin to librarians' views of information. That is, information is public property and as such anyone should have access to it. OSS furthers this by emphasizing the software that holds the information: if control of the software is eliminated, the information itself is more free and accessible. Thus, the Information Control Wars is the battle between those who believe technology should promote free access to information, and those who believe technology should control it for their economic and political gain. Dorman presents a thoughtful treatise on the philosophical, democratic, and tangible merits of OSS. His analysis sheds light on the legal implications of patent and copyright legislation of which the casual supporter of OSS may not be aware.

The discussion of OSS in context with information belonging to all brings to mind SCO Group’s many lawsuits against companies who allegedly copied source code that, OSS advocates argue, was free to begin with. Little SCO taking on the big, bad corporation of IBM, for example, seems on the surface to underscore democracy. But SCO’s claims run against the intent of OSS, and their attempts to extract monies seem ill-founded at best. The question arises nonetheless: how does one determine when intellectual property has been violated in OSS? If there is a violation in the OSS world, what implications does that have for its future? What are the implications for those who support free information and access?

Respecting fellow library workers
We treat co-workers and other colleagues with respect, fairness and good faith, and advocate conditions of employment that safeguard the rights and welfare of all employees of our institutions.

Non-advancement of private interests
We do not advance private interests at the expense of library users, colleagues, or our employing institutions.

Distinguishing between personal convictions and professional duties
We distinguish between our personal convictions and professional duties and do not allow our personal beliefs to interfere with fair representation of the aims of our institutions or the provision of access to their information resources.

Librarians have often taken a politically neutral stance as a way to gain professional status. In this literature review, the author argues that by not defining their political values, librarians will be influenced by those with economic and political power. This will threaten the public’s access to information while corporations profit. The author disagrees with a prediction by Thomas Suprenant and Claudia Perry-Holmes that libraries can enhance their “institutional status” by charging patrons and offering “information stamps” to those who cannot pay. They believe the profession can stay alive if librarians focus on “efficiency, productivity, and quality control” and compete with the private sector. Librarians must lose their neutral viewpoints and publicly fight for equal access to information.

The author’s argument is made stronger with examples of how information traditionally handled by the government was turned over to private vendors during the Reagan administration. Library services based on ability to pay, which the author compares to this country’s health care system, would greatly accelerate the digital divide. Since this article was written, librarians have become more outspoken. Legislation following the September 11, 2001, terrorist attacks prompted the ALA to adopt resolutions opposing attempts to restrict access to government information on the basis of national security issues. Librarians’ concerns about the Patriot Act led to proposed legislation and several ALA policies urging user privacy and open access. Librarians are fighting the government for the public’s sake, but they must act before access is threatened, not after it is denied.

Excellence in the profession
We strive for excellence in the profession by maintaining and enhancing our own knowledge and skills, by encouraging the professional development of co-workers, and by fostering the aspirations of potential members of the profession.

Society of American Archivists Core Values Statement and Code of Ethics
http://www2.archivists.org/statements/saa-core-values-statement-and-code-of-ethics

The Hacker Ethic
Hacker ethic is a term for the moral values and philosophy that are standard in the hacker community. The early hacker culture and resulting philosophy originated at the Massachusetts Institute of Technology (MIT) in the 1950s and 1960s. The term hacker ethic is attributed to journalist Steven Levy as described in his 1984 book titled Hackers: Heroes of the Computer Revolution. The key points within this ethic are access, freedom of information, and improvement to quality of life.

As Levy summarized in the preface of Hackers, the general tenets or principles of hacker ethic are:
 * Sharing
 * Openness
 * Decentralization
 * Free access to computers
 * World Improvement

In addition to those principles, Levy also described more specific hacker ethics and beliefs in chapter 2, The Hacker Ethic:

Access to computers
Access to computers - and anything which might teach you something about the way the world works - should be unlimited and total. Always yield to the Hands-On Imperative!

Information should be free
All information should be free: Linking directly with the principle of access, information needs to be free for hackers to fix, improve, and reinvent systems. A free exchange of information allows for greater overall creativity.

In the hacker viewpoint, almost any system could benefit from an easy flow of information, a concept known as transparency in the social sciences. This is only limited by a concern for maintaining the privacy of certain information, such as medical information. This concept can be seen as roughly analogous to the concept of Intellectual Freedom in the ALA's documents.

The Free Software Foundation notes that "free" refers to unrestricted access; it does not refer to price.

Mistrust authority
Mistrust authority - promote decentralization: The best way to promote the free exchange of information is to have an open system that presents no boundaries between a hacker and a piece of information or an item of equipment that he needs in [their] quest for knowledge, improvement, and time on-line. Hackers believe that bureaucracies, whether corporate, government, or university, are flawed systems.

Meritocracy
Hackers should be judged by their hacking, not criteria such as degrees, age, race, sex, or position: Inherent in the hacker ethic is a meritocratic system where superficiality is disregarded in esteem of skill.

While this is an admirable part of a code of ethics, there is a huge lack of diversity within the hacker community and free culture. The Ada Initiative notes that "[w]omen are one of many groups currently under-represented in several areas of open technology and culture. Recent surveys have shown that around 2-5% of open source developers are women (compared to 20-30% of the larger tech industry), and that women represent just 10-15% of Wikipedia editors." Even though the Hacker Ethic does not place any formal restrictions on participation, it does foster environments in which women are targeted in very specific ways, and attempts to address these issues are seen as censorship.

Art and beauty
You can create art and beauty on a computer: Hackers deeply appreciate innovative techniques which allow programs to perform complicated tasks with few instructions.

Computers can change your life
Computers can change your life for the better Hackers felt that computers had enriched their lives, given their lives focus, and made their lives adventurous.

Sharing
According to Levy's account, sharing was the norm and expected within the non-corporate hacker culture. The principle of sharing stemmed from the open atmosphere and informal access to resources at MIT. During the early days of computers and programming, the hackers at MIT would develop a program and share it with other computer users.

If the hack was particularly good, then the program might be posted on a board somewhere near one of the computers. Other programs that could be built upon it and improved it were saved to tapes and added to a drawer of programs, readily accessible to all the other hackers. At any time, a fellow hacker might reach into the drawer, pick out the program, and begin adding to it or "bumming" it to make it better. Bumming referred to the process of making the code more concise so that more can be done in fewer instructions, saving precious memory for further enhancements.

In the second generation of hackers, sharing was about sharing with the general public in addition to sharing with other hackers. A particular organization of hackers that was concerned with sharing computers with the general public was a group called Community Memory. This group of hackers and idealists put computers in public places for anyone to use. The first community computer was placed outside of Leopold's Records in Berkeley, California.

This second generation practice of sharing contributed to the battles of free and open software. In fact, when Bill Gates' version of BASIC for the Altair was shared among the hacker community, Gates claimed to have lost a considerable sum of money because few users paid for the software. As a result, Gates wrote an Open Letter to Hobbyists. This letter was published by several computer magazines and newsletters, most notably that of the Homebrew Computer Club where much of the sharing occurred.

Hands-On Imperative
Many of the principles and tenets of hacker ethic contribute to a common goal: the Hands-On Imperative. As Levy described in Chapter 2, "Hackers believe that essential lessons can be learned about the systems—about the world—from taking things apart, seeing how they work, and using this knowledge to create new and more interesting things."

Employing the Hands-On Imperative requires free access, open information, and the sharing of knowledge. To a true hacker, if the Hands-On Imperative is restricted, then the ends justify the means to make it unrestricted so that improvements can be made. When these principles are not present, hackers tend to work around them. For example, when the computers at MIT were protected either by physical locks or login programs, the hackers there systematically worked around them in order to have access to the machines. Hackers assumed a "willful blindness" in the pursuit of perfection.

This behavior was not malicious in nature: the MIT hackers did not seek to harm the systems or their users (although occasional practical jokes were played using the computer systems). This deeply contrasts with the modern, media-encouraged image of hackers who crack secure systems in order to steal information or complete an act of cyber-vandalism. Dorothy Denning notes that even hackers who crack secure systems illegally are often motivated by personal morals and beliefs, rather than by malice.

Community and collaboration
Throughout writings about hackers and their work processes, a common value of community and collaboration is present. For example, in Levy's Hackers, each generation of hackers had geographically based communities where collaboration and sharing occurred. For the hackers at MIT, it was the labs where the computers were running. For the hardware hackers (second generation) and the game hackers (third generation) the geographic area was centered in Silicon Valley where the Homebrew Computer Club and the People's Computer Company helped hackers network, collaborate, and share their work.

The concept of community and collaboration is still relevant today, although hackers are no longer limited to collaboration in geographic regions. Now collaboration takes place via the Internet.

Protocols for Native American Archival Materials
The Protocols for Native American Archival Materials is a list of best practices for non-tribal institutions that hold Native American archival materials. The protocols have been pretty controversial, partly because of the cost involved; the archivist at the University of Washington said that he would need to hire at least one full-time staff member whose sole job would be ensuring compliance with the protocols. But the main reason is that it goes against a lot of traditional (European) LIS values, such as Universal Access.

Most of the document is about opportunities to collaborate and consult with tribal leaders about the care of materials in archives. However, the short sections on "Accessibility and Use" and "Culturally Sensitive Materials" state that "For Native American communities the public release of or access to specialized information or knowledge—gathered with and without informed consent—can cause irreparable harm. Instances abound of misrepresentation and exploitation of sacred and secret information." As such, the protocols establish expectations of repatriation of certain materials, and allow Native American communities to restrict access to formerly open collections, stating that "[a]ccess to some knowledge may be restricted as a privilege rather than a right."

Another part that bothered some was in the context section, which suggests cataloging practices for describing materials containing pejorative content. I really liked a lot of the suggestions (e.g. one of their sample notes: "The [tribal name] finds information in this work inaccurate or disrespectful. To learn more contact ...."), which I felt added more information for catalog users. At the same time, I felt challenged by other suggestions that involved removing certain content (i.e. their suggestion that librarians "remove offensive terms from original titles and provide substitute language" in catalog records). I understand where this is coming from -- I wouldn't want to look up a book about a community I belong to, only to find words ridiculing that community and challenging its right to exist -- but it also totally challenges my "accept no censorship! Provide lots of access points!" mindset.


text:
Rosacea/Glossary

B

 * Blushing:
 * A relatively short-term extra redness due to various mental causes such as embarrassment, shame, modesty; often accompanied by warm/hot sensations.

E

 * Erythema
 * Abnormal redness of the skin.

F

 * Flushing:
 * A prolonged (extra)redness of the face(and neck) caused by cutaneous vasodilation often due to physical causes, such as cold weather/wind, sunshine, heat etc. Flushing often includes a burning sensation.

I

 * IPL:
 * Intense Pulsed Light — A treatment to remove blood vessels from the skin.

N

 * Nd-YAG
 * Neodymium-doped Yttrium Aluminium Garnet — A compound that is used as the lasing medium for certain solid-state lasers.

 * NRS
 * National Rosacea Society — A U.S. organisation for patients and doctors.

O

 * Ocular / Occular:
 * Of, or relating to the eye, or the sense of sight.

P

 * Pustule:
 * A raised lesion that contains pus and sometimes water.

 * Papule:
 * A small, solid and usually conical elevation of the skin which does not contain pus.

R

 * RRDI
 * Rosacea Research & Development Institute — A worldwide organisation devoted to funding research.

 * RLT
 * Red Light Therapy — A certain phototherapy that improves skin and can be beneficial to rosacea.

 * Rhinophyma:
 * A large, bulbous and ruddy appearance of the nose caused by (advanced)phymatous rosacea.

S

 * SR
 * Skin Rejuvenation — A term used for specific types of Intense Pulsed Light and Laser treatments.

T

 * Telangiectasia:
 * Small dilated blood vessels near the surface of the skin, also known as spider veins.

V

 * VL
 * Vascular Lesions — A term used for specific types of Intense Pulsed Light and Laser treatments that treat vascular lesions.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Rosacea/Glossary


text:
User:MU

de:Benutzer:MU

title: User:MU


text:
Talk:XML - Managing Data Exchange/CSS

TODO list
Merge relavent information from the Wikipedia article on CSS (not yet started)

Merge Programming:CSS (in progress, Divokz 17:23, 21 February 2006 (UTC))
 * I agree that CSS is not a programming language, however XML: Managing Data Exchange sounds very exotic even to me being a web developer. CSS is about Data Presentation (not necessarily Data Exchange). Programming:CSS would probably be more intuitive (but a redirection would do). IanCarter 21:31, 6 June 2006 (UTC)

I'm merging sections of this page that duplicate content from CSS Programming into that book. This module will be left as an overview with links. The interested reader can then refer to the full book for details.

Disadvantages
Under the disadvantages section I would note that when using CSS for layout the way Internet Explorer munges borders (and other CSS properties) is a very real obstacle to adoption by many web developers.

title: Talk:XML - Managing Data Exchange/CSS


text:
Ruby Programming/XML Processing/REXML

REXML is a XML processing API. As of Ruby 1.8, it is included in the Standard API.

REXML can read and write XML documents. Validation against a DTD or a schema is not yet fully implemented.

Strong XML parsing gems exist as well, such as nokogiri and the hpricot gems. They work faster than REXML typically.

Definitions
Using the DOM API, REXML can parse documents and build a tree containing the elements, attributes, and texts.

For example, this might be used to save a wikibook:

In this case, the  is an element. It has an attribute  with the value   and a text with the value "Ruby is a programming language [...]".

The  is also an element. It has an attribute, too, but no text. Instead, it has an element, the  element.

In short, elements can have attributes, text and child elements.

Representation in REXML
When parsing a XML document, an instance of the  class is created. (The  message of   just has to be fed with a   itself, or a , or an  .) This represents the whole document, including the   tag. itself is a subclass of  , an important class.

When using DOM, instances of the  class are representing the elements of the XML document. They might have attributes, accessible using the  message, text, and child elements.

The  is an   itself, but usually, you might be more interested in the root element of the XML document. As defined in the XML specification, any document has only one root element; it can be easily obtained calling.

Once you have obtained the root, you can go down the tree using the   message defined in  , which returns a collection of all child elements, or access attributes or texts, whatever you need.

The tree can be modified, too. In addition, the  methods have been overridden to return the XML code of elements, attributes and text. returns the XML code of the whole element, including attributes, text, and child elements' XML code. You can call that on the, too.

title: Ruby Programming/XML Processing/REXML


text:
False Friends of the Slavist/Map schiene

sina


text:
User:Kalden~enwikibooks

 fr.wikipédia.org - fr.wikibooks.org - en.wikibooks.org - wikicities.org - timebreach.sourceforge.net

Presentation
I'm student in computer science at École supérieure d'informatique, after i was in iut de montpellier.

I like linux. I usegentoo and suse.

I've create Time Breach.

If you have some discussion use my page. thanks.

title: User:Kalden~enwikibooks


text:
Urdu/Basic Urdu

Using Subject and Predicate Logic

I am a student : main student hoon You are a soldier : tum sipahi hoo

Subject here is : Main, tum Predicate here is : student hoon, sipahi hoo

To be (Auxiliary verb)
It is called Hoonaa in Urdu

Auxiliaries with respect to Present Tense
 * hoon: Usage with first person
 * hoo: Usage with second person informal
 * hain: Usage in plural sense

These are our things: Yeh hamari cheezain hain
 * What are you doing ? : Tum kya kar rahay hoo
 * I am in trouble? : Main mushkil main ghira hoon

Auxiliaries with respect to Past Tense
 * thaa : usage with masculine and singular
 * thay : usage with plural and masculine
 * thii : usage with singular and feminine
 * thiin : usage with plural and feminine

Nouns
In Urdu there are only two genders namely Masculine and Feminine. It is very difficult for a new user to differentiate between the two genders easily; instead, the gender of each noun should be memorized. There are some helpful guidelines to determine them:

Masculine Nouns: Nouns ending in aa are normally masculine

 * Dadaa : Grandfather
 * Abaa : Father
 * Bache: boy (child)
 * Bakraa : Male Goat

Feminine Nouns: Nouns ending in ii are normally feminine

 * dadii : grandmother
 * bachii: girl (child)
 * Bakrii: female goat

There may be some exceptions to these rules. For e.g friend or dost could be a girlfriend or boyfriend although the other part of the sentence may disclose the gender (e.g. from adjective or verb agreement).

It it also possible to make a noun out of a verb. All verbs are normally masculine where used as infinitives. Some endings may be used to derive a noun from them

1. ii, n, hat and ''waat' may be used to make a feminine noun of a verb

 * muskaan : muskaraana : muskrarahat

2. oo, 'pan',  may be used to make a masculine noun of a given verb

title: Urdu/Basic Urdu


text: Template:GNU C Compiler Internals/GCC Navigation


text:
Sumerian/Grammar/Lesson One - The Plural Marker

 * Last page: Grammar Contents   ::    This page: Lesson 1    ::    Next page: Lesson 2

= Singular Nouns =

The easiest way to start Sumerian is by looking at some familiar friends: nouns!

Before embarking on a discussion of plurality in Sumerian, first we need some good old fashion singular nouns to work with. Let's take the following vocabulary as a small sampler. These are some really common words in the tablets you might see in museums or books, so we might as well start seeing them early!

Vocabulary

 * lugal [𒈗] = king, master, lord
 * šeš [𒋀] = brother
 * ama [𒂼] = mother
 * nin [𒊩𒆪] = sister; queen, lady
 * dumu [𒌉] = child; son

[A note on pronunciation: remember, we don't really understand how Sumerian was pronounced. You're free to pronounce these words any way you like. In fact, you'll see a lot of words in older Sumerian discussions don't look anything like the words in this grammar, or other recent work. We're still discovering a lot here, so there's plenty of room for contribution.]

Definite vs Indefinite Nouns
The simplest noun phrase in Sumerian is just a plain old noun, like the ones listed just above in the vocabulary. There are no written markers for definiteness or indefiniteness in Sumerian, however, which is a bit different from English. So, in Sumerian, if you see lugal, it can mean a king, the king, or even just king. While you might think this is confusing and ambiguous, in practice there is usually very little room for ambiguity. It's pretty easy from context to figure out what the original author intended. In fact, with a little experience, you won't even notice anything missing!

Conjunction
Another way to make a noun phrase is to just put two nouns directly next to each other; say, for instance, the king and queen. This is even simpler in Sumerian. You simply put the two words directly next to each other, with no other markings! So the king and queen becomes just lugal nin. There was originally no word for and in Sumerian, and only much later in the life of the language did scribes start using the word u, which is just a borrowed word from Akkadian. So we will omit the and in Sumerian, and just write it the way the old Sumerians used to.

(You'll see a bunch of borrowings between Akkadian and Sumerian -- the people of Mesopotamia started speaking Sumerian; then the Akkadians took over and Sumerian was used only for formal occasions, state or religious purposes. Similar to ecclesiastical Latin in the middle ages.)

Quick Quiz
Just to test your vocabulary and knowledge of simple noun phrases in Sumerian, I'll toss in some quizzes every now and then. If you see a little dotted underline, that means there's hovertext with the quiz answer. Good luck! Start by translating the following from Sumerian to English:

 * 1) ama [𒂼]
 * 2) šeš nin [𒋀𒊩𒆪]
 * 3) lugal [𒈗]

Also, even though you will never encounter the need to translate from English to Sumerian in actual practice (no one would understand you!), I will also provide "generation" exercises, translating from English into Sumerian. It's good practice. Try it on these simple phrases:

 * 1) the brother
 * 2) a queen
 * 3) mother and child

= The Plural Marker =

In Sumerian, it is very common for a suffix or prefix to be attached to a word. Sumerian does this to modify meaning, or relationships to other words in a sentence. The same happens in English. Consider the two words king and kings. We are all familiar with the plural ending -s in English, and this little -s is called an affix. An affix is basically any part of a language that can't occur just by itself. You'd never see just s in an English sentence, for instance.

ene [𒂊𒉈]
The same goes for Sumerian. In this case, making things plural, we just use the suffix .ene [𒂊𒉈]. That funny dot you see before the ene is just the way linguists like to write things. If you see a dot like this, you know you're looking at a morpheme (a basic unit of language – like a suffix, or a regular word). Plus, it neatly and logically separates the root word from any suffixes for easy analysis. So, for instance, šeš.ene [𒋀𒂊𒉈] could be translated brothers, or perhaps the brothers. (Remember your vocabulary from the first section?)

Using ene with noun phrases
So it's easy to make a noun plural! But what about plurals of more complex phrases, like mother and child? Well, in English, it would be mothers and children, where each element gets pluralized. In Sumerian, however, we treat the two nouns as one logical chunk, and pluralize the whole thing once. For instance:

nin šeš [𒊩𒆪𒋀] = sister and brother

becomes

[nin šeš].ene [𒊩𒆪𒋀𒂊𒉈] = sisters and brothers

See our little friend .ene? There it is again, this time attaching itself to a two-noun phrase, instead of just a simple solo noun.

A little convention
Now, the phrase "nin šešene [𒊩𒆪𒋀𒂊𒉈]" can mean two things: either sister and brothers or sisters and brothers. There is some room for ambiguity here.

One more standard convention linguists use, is to put heavy braces (the "[" and "]" above) around sub-phrases, so you can see everything that is being modified by some other particle. In this case, this convention can help us disambiguate between the two possible meanings; here we see the plural affix (.ene) modifying a two-noun phrase (nin šeš). So we first translate the noun phrase, = sister and brother, and then modify the whole thing with the affix, = sisters and brothers.

It's actually pretty easy! And hopefully not too different from English.

Now, there are quite a few other ways to express plurality in Sumerian, but for now, let's proceed with this common affix and see what else we can learn.

[Thomsen §69, Edzard §5.3.1] - these bibliography references will occur throughout this text, and refer to ML Thomsen's "The Sumerian Language" and D O Edzard's "Sumerian Grammar", respectively.

= Quick Quiz =

Let's see if you remember your nouns!

 * 1) nin.ene [𒊩𒆪𒂊𒉈]
 * 2) lugal.ene [𒈗𒂊𒉈]
 * 3) nin šeš.ene [𒊩𒆪𒋀𒂊𒉈]
 * 4) [nin šeš].ene [𒊩𒆪𒋀𒂊𒉈]

And just for fun, translate from English to Sumerian:

 * 1) the king
 * 2) the king and queen
 * 3) the kings and queens

= History =

(Every now and then I'll put in a History section. My Sumerian history isn't quite up to snuff, so if there are any Mesopotamian historians out there, go nuts!)

In case you're unfamiliar, Sumerian is the language that was spoken and written in many parts of the Fertile Crescent (Mesopotamia,) which includes the land between the Tigris and Euphrates rivers in what is modern-day Iraq. Sumerian as a spoken language probably died out long before the written language became archaic. The reason: Ruling governments of this region (Akkadians) continued to use the written language as a lingua franca for the region, and indeed it remained so for many centuries after the Sumerian decline.

The name "Sumer" was coined and used by the Semitic Akkadians after the Sumerian civilization deteriorated. The Sumerians referred to themselves as "uĝ saĝ'giga" [𒌦𒊕𒈪𒂵], or "the black-headed people" and their area of inhabitance as "ki'en'gir" [𒆠𒂗𒂠], or "Land of the speakers of Sumerian."

= Linguistic Background =

When we talk about nouns in Sumerian, it's important to note that several concepts in English are not present. For instance, instead of dividing nouns into the familiar masculine and feminine genders, Sumerian chooses to divide by "animate" and "inanimate". (In fact, even these terms are a bit of a misnomer, as animals are classed as "inanimate".)

The important thing to remember is that neither of these divisions have any real impact on the meaning of a phrase. It is mostly useful for disambiguation or grammatical redundancy.

Up (Sumerian Grammar - Main Page) - Next (Lesson Two - Possessives)


text:
User:Ingmar Kuhn

Welcome! I am a PhD student in Persian literature and Iranology. I am planning to develope the pages on Persian language.

title: User:Ingmar Kuhn


text:
User:Micah4

I am a farmer in Central Texas who raises sheep and goats for meat, dairy and wool to sell directly to the consumer through Farmer's Markets and Consumer Supported Agriculture. We are currently transitioning to Organic Certification.

We are Mennonites, in our faith practices, and feel that the use of Appropriate Technology to create and maintain Sustainable Community is one of the goals of living our faith.

title: User:Micah4


text:
Georgia Water/External Links/Culture

History

 * Augusta Canal history

 * Gwinnett Environmental and Heritage Center educational facility opened October 5, 2006, with exhibits on Discover H2O (about wastewater), "Blue Planet" theater, Waterways film, Water Wise (water conservation), and exhibits. Facility also has historic mill site, greenway corridors, and wetlands area.

Photography

 * Georgia Photo Gallery, Vinson Institute of Government, University of Georgia

title: Georgia Water/External Links/Culture


text:
User:HenryRat~enwikibooks

Greetings... I am a nineteen year old student majoring in physics at the University of California, Riverside.

title: User:HenryRat~enwikibooks


text:
Apache Ant/XMLwellformed

You can use Apache ant to check a file or group of files for well-formedness. This is different from validation. Checking for well formedness simply checks for the consistency of begin and end tags. No XML Schema file is used.

This is done by using the   task. The xmlvalidate ant task will use a standard ant and go through each file. In the example below, we specify a directory called "in" using a property. We then use the fileset to find all XML files in that directory and all subdirectories of that directory.

This target will run the default XML parser that comes with Ant (usually Xerces) and report any file that is not well-formed.

To test this example, add a folder called "in" and put several XML files in the folder that are malformed. In this case we created a mal-formed file called MyInputBad.xml. When we type "build" at the command line the following was the output:

CheckXML: [xmlvalidate] C:\XMLClass\Ant\in\MyInputBad.xml:5:32: The element type "MyMessag e" must be terminated by the matching end-tag "".

title: Apache Ant/XMLwellformed


text:
Apache Ant/XMLvalidate

Motivation
You want a command-line interface to validate one or more XML files.

Instructors Note: This file is used as a lab exercise for an Apache Ant class that includes extensive use of XML.

Method
You can use Apache ant to check a file or group of files for their validity. This is done by using the   Apache Ant task. The xmlvalidate ant task will use a standard ant and go through and check each file. In the example below, we specify a directory called "in" using a property. We then use the fileset to find all XML files in that directory and all subdirectories of that directory. Each file is successfully checked for validity against an XML schema.

Sample Ant Task to Validate All XML Files in a Folder

In the above example, we assume that each XML file has a directive that tells it where to get its XML Schema.

This target will run the default XML parser that comes with Ant (usually Xerces) and report any file that is not well-formed.

Sample XML Schema MyMessages.xsd
To test this you will need a small XML Schema file. The following file read a files of three messages:

         </xs:element> </xs:schema>

Sample Valid Data File
Here is a sample message file:

<?xml version="1.0" encoding="UTF-8"?> <MyMessages xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="MyMessages.xsd"> <MyMessage>Hello World!</MyMessage> <MyMessage>ANT AND XML Schema ROCK</MyMessage> </MyMessages>

Note that the noNamespaceSchemaLocation attribute of the root element tells it to look in the current directory to find the XML schema file (MyMessages.xsd)

Sample Invalid Data File
If you add a fourth message the file should fail validation according to the rules in the XML Schema above.

<?xml version="1.0" encoding="UTF-8"?> <MyMessages xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="MyMessages.xsd"> <MyMessage>Hello From XSLT</MyMessage> <MyMessage>From input: Hi</MyMessage> <MyMessage>ANT AND XSLT ROCK</MyMessage> <MyMessage>I am the fourth message.</MyMessage> </MyMessages>

To test this example, add a folder called "in" and put several XML files in the folder that are not valid. In this case we created a invalid file called MyInputBad.xml. When we type "build" at the command line the following was the output:

Sample Output
ValidateXML: [xmlvalidate] C:\XMLClass\Ant\validate\in\MyInput.xml:6:15: cvc-complex type.2.4.d:     Invalid content was found starting with element 'MyMessage'. No child element is expected at this point.

This is a sample output. Note that the error message does not indicate that you exceed a count of 3 data elements.

Supplying an XML Schema definition file
If you are working in the null namespace add the following attribute:

If your documents have a namespace use the following:

If the XML files do not include their own schema, you can also create an ant task that includes where to find the XML schema. This is done using an special ant property.

<property name="http://apache.org/xml/properties/schema/external-noNamespaceSchemaLocation" value="${xsd.file}"/> <xmlvalidate file="xml/endpiece-noSchema.xml" lenient="false" failonerror="true" warn="true"> <attribute name="http://apache.org/xml/features/validation/schema" value="true"/> <attribute name="http://xml.org/sax/features/namespaces" value="true"/>

Schematron Validate
Apache ant also has an element to validate against a schematron rules file

See http://www.schematron.com/resource/Using_Schematron_for_Ant.pdf for more details.

Navigation
Previous Chapter, Next Chapter

title: Apache Ant/XMLvalidate


text:
Wikibooks:Wikibooks in the media

2009

 * Jimmy Wales Joins Open Textbook Organization. Compares CK-12 to Wikibooks, but writes that Wikibooks is GFDL licensed.

2007

 * Online multimedia textbooks: Follow-up Strong criticism of Wikibooks from the academic community, although mentioning that Wikibooks is a significant alternative to the traditional textbook development community.
 * Searing in Flavor by The Monitor cites Wikibooks' Cookbook twice

2006

 * Bang goes your buck by The Hindu Business Online references Wikibooks materials twice, but credits us as... Wikipedia
 * Digital school books feasibe? by The Washington Times mentions Global Text Project and Wikibooks
 * There have been numerous news reports recently about the Global Text Project, created by Rick Watson (aka User:Rick/User:Rtw), which usually mention the prototype book for the project was "XML: Managing Data Exchange" at Wikibooks. Just one example of the news reports is The Global Text Project at Technology News Daily.
 * Desktop: Free textbooks anyone? by the Jerusalem Post, 31 Aug 2006
 * Wikibooks is mentioned in the second edition of The World Is Flat, Thomas L. Friedman's book on globalization, along with other Wikimedia projects, 18 April 2006
 * Imagine textbooks in a new form by Philadelphia Inquirer, 19 Feb 2006
 * techtarget.com 10 Feb 2006
 * Wikibooks cited as source of publication about computer security
 * Wiki uni gets an online push by Australian IT, 18 Jan 2006

2005

 * All Systems Go: The Newly Emerging Infrastructure to Support Free Books by Ben Crowell, 28 Dec 2005
 * Wikibooks to offer free eTexts for education by eSchool News, 2 Nov 2005
 * Wikibooks offers free text database online by dailyorange, 30 Sep 2005
 * Wikibooks takes on textbook industry by CNET, 28 Sep 2005

2003

 * The Hindu, 27 Oct 2003
 * K-12 Open Source in Schools, 1 Sep 2003

title: Wikibooks:Wikibooks in the media


text:
User:Jesus geek~enwikibooks

Hey, I'm a college freshamn at SUNY Fredonia (Western New York State). I've not declared a major yet, but I plan to major in history or anthropology with possibly a minor in French or Spanish.

title: User:Jesus geek~enwikibooks


text:
Talk:Muggles' Guide to Harry Potter/Characters/Regulus Black

Not Very Unique
I'm just getting familiar with Wikibooks, and I know the Harry Potter guide is under complete construction, but as it appears the Regulus page is definitely not in the style that it should be, and it looks copy and pasted word-for-word from the Harry Potter Lexicon. If you want the Muggles' Guide to be unique, you might as well make the pages distinct from the Lexicon; otherwise, it's just a Wiki version of the Lex. No offense intended, I hope none was taken. Fbv65edel 21:24, 21 February 2006 (UTC)

Occlumency? Not suggested
Regulus must have been relatively skilled in Occlumency to have blocked Voldemort from reading his thoughts regarding the Dark Lord's evil plans. There's nothing that would suggest this. By all suggestions, use of Legilimency requires making an effort to read the thoughts in question. Regulus did not need to use Occlumency when he volunteered Kreacher, as he was then a devoted Death Eater. After Kreacher came back, Regulus was shocked by what Voldemort had done to him - it is suggested everywhere that it was this that turned Regulus over, and there was not any previous conscious espionage. But then he did not need to use Occlumency either, because he did not meet Voldemort at the time, nor did the latter have any grounds for suspicion so that he would make inquiries (even if a skilled wizard can perhaps do these from somewhat afar). As it were, probably made extra sure he would not meet him, and set out to the Cave only a short time afterwards.--131.159.76.230 (discuss) 14:56, 29 March 2017 (UTC)


text:
Harmonica/Why should I Play Harmonica?

The Harmonica is a very versatile wood-wind instrument that use free-reeds to produce sounds. In modern times, it is very likely that your first harmonica is not out of your own money, but rather, a gift given to you by someone who enjoyed harmonica (or, perhaps, just trying to give a cheap gift). So you may wonder: "Why should I even bother learning harmonica, since I prefer guitar/violin/keyboard/drums/saxophone/etc.?" You may even think of it as a mere toy!

Well, the harmonica, is much more than a mere toy; it can produce rich music that is impossible for many other instruments. It is easy to learn; no need to remember any fingerings etc., just remember that the notes ascend in certain way. Furthermore, it can play numerous intervals (two or more notes), which is difficult or impossible for many other wind instruments. It also works very well in the modern musical setting, where one needs to play most music through an amplifier or loudspeaker. A harmonica player can easily adapt to this by cupping a microphone and his harmonica in his hands, without sacrificing any other aspect of playing.

It is also very fundamental to the music of Blues - in order to acquire that soulful sound, unique in soul music and Blues, a harmonica is needed. Thus, most people expect a Blues band to have a harmonica player. However, the harmonica doesn't just stop at the Blues, it also crosses many musical boundaries - the diatonic harmonica is frequently used for rock, country, folk music and Irish jigs and reels and the chromatic harmonica is often associated with Jazz music, and more recently, Classical music. The tremolo harmonica is often used for Japanese folk songs.

Learning the harmonica can improve your breathing, and thus, your health. By forcing you to breath out and in to play melody, the diaphragm muscle will get exercised a lot. This is why, especially in North America, a harmonica is sometimes given to people with breathing difficulties.

The harmonica is also a very portable instrument. The Hohner 270, a 3-octave chromatic harmonica, together with the case, can fit into the inner pocket of an unmodified jacket. Such is the case with the Hohner Super 64 in a tiny daypack. No other acoustic instruments with similar range can accomplish that feat.

title: Harmonica/Why should I Play Harmonica?


text:
Harmonica/Harmonica Purchasing guide

Paraphrasing from the Guitar book: An instrument that doesn't get played is worthless at any price. As such, when buying a harmonica, it is best to buy one that is of good quality, and have plenty of materials for it.

Unless you get a harmonica from someone you know very well or have found a very special variety, and are willing to go through the process of sanitizing the harmonica, you should never buy it off of someone else—especially not on eBay. Unlike other instruments, harmonicas have much more contact with the mouth, and also are seldom cleaned; the end result is numerous gunks on the harmonica. "My own harmonica has plenty of skin cells on the mouthpiece, so who knows what's inside the body of the harmonica," says a Wikibooks contributor.

That being said, a harmonica is not an expensive instrument, so you do not have much reason to go for a second hand, unless, as stated, you need a special variety. For example, a good quality diatonic, such as Hohner's Big River Harp, is about $20 (£20) with tax, while a low quality one is even less, such as Hohner's Bluesband ($3.50, £9) and Hot Metal ($7.00). The problem, of course, is the quality; Bluesband, for example, is not polished, just completely machine made. Also, a good quality harmonica will always come with a hard plastic case, with the higher end offer cushioned linings and a certain degree of protection (that being said, don't expect your harmonica within to survive a two-storey drop).

Comb Material Recommendation
While comb materials do not come into play in terms of sound (especially to the general audience), they do matter in terms of maintenance. There are four kinds of materials:

 * Wood: The famous Hohner "Marine Band" and "Chromonica 270" harmonica have wooden combs, and some say it has a better, more "warm" sound than any other material. This, however, remains to be proven. A wooden comb has the marked disadvantage of swelling with moisture, as well as being prone to other problems (humidity-related change of size, splintering, warping, and so on). Sometimes, the swelling of a wooden comb can cause it to jut out and cut into your lips as you play the harmonica, although, this rarely happens on newer wooden combed harmonicas. The new deluxe version of the Hohner Marine Band avoids this with specially re-engineered and sealed pearwood, but it is still relatively moisture-sensitive when compared with plastic or metal.
 * Plastic (ABS): Easy to maintain, and is becoming the most-used material for the comb. It is also very easy on the lips.
 * Plexiglass: Common in high-end models. As a plastic variant, it is easy to maintain, but many say it can crack easily.
 * Metal: Usually a thick Aluminium billet, but sometimes stainless steel is used. Sounds the same as plastic, but less prone to wear and tear due to screws. However, watch out for the aluminium oxide powder that may form, since it is abrasive. Expensive.

For a beginner, I'd recommend picking one of the two plastic combs (or a metal comb, if you do not care about the price), since it has almost no disadvantages.

Cover Recommendation
For all kinds of harmonicas, the cover (or more correctly, the resonating chamber the covers formed) is what actually create the acoustics of a harmonica. There are two basic kinds:
 * Traditional cover This appears in the cheap to normally priced harmonicas, such as Hohner 270, 280, and Big River. The back of the covers are more open, delivering a bright and clear tone of the instrument. This makes playing amplified through a bullet mic better, as it basically delivered all the sounds; thus Is preferred by Blues players. Note that both Marine band and Big River have holes on the side too, which makes the sound even brighter.
 * Cover-all This design is especially common in most high-end harmonicas, such as Hohner Meisterklass and Hohner Super 64. It slightly muffled the harmonica but resonate it more, which produce a warm, mellow tone that is much fuller (aka "a fat tone"); this is essential for playing in a more acoustic nature, such as playing Mississippi blues, Bluegrass, Jazz, and classical music. In fact, due to the tight requirements of classical music, many classical players prefer cover-all designs.

Lastly, there's the cover material. Traditionally, cover is made of metal, which provides a brighter sound. Plastic (e.g. CX-12) produces a softer sound in what some players have described as a displeasing "plasticy" timbre. Many players, however find the CX-12 to have a loud Rock, R&B and Jazzy tone suitable for those genres of music and in sound test after sound test no listener described the CX-12 as "plasticy". In fact the CX-12 sound is considered bright and loud compared to many other chromatics and the instrument is growing steadily in popularity. Suzuki Pureharp is one of the tiny production models that use wood as a cover, which produces a pleasantly soft sound.

Note: What is a good tonal quality is heavily dependent on the music you're playing and the audience.

Choice of key
There are many keys available for the harmonica; chromatic come in all twelve keys.
 * C major: This is known as the standard key, especially for diatonic. Most special edition chromatics (e.g.: hard-bopper, 16-holes) are only available in this key.
 * B major: This is a common key used to play Irish music. In terms of a chromatic, it's slide-in position is exactly the same as the slide-out position of a chromatic in the key of C. One can acquire an Irish-tuned C major chromatic by reversing the slide (flipping the slide upside down), so that the slide out position is in the key of C, while slide in will flatten the notes (B major). Note that for the CX-12, you can not flip the slide upside-down.
 * G major and F major: Another common alternative key, since there is only one sharp/flat to address.
 * E-flat major and B-flat major: Allows one to play any music written for Bb clarinet or Saxophone. E-flat enables one to play E-flat in straight harp and B-flat in crossharp, while Bb enables playing Bb in straight harp and F in crossharp.

For beginners, it is best to get a harmonica tuned to the key of C as you can play most songs with that key. Also, for some higher-end models (especially 16-hole chromatics), the stock version only comes in the key of C, so players should just get used to playing in the key of C until they gain more experience. It is possible to play in D Dorian or G Mixolydian on a C Major harmonica without the use of bending.

First harmonica
Some claim that diatonic harmonicas are easier to learn than chromatic harmonicas, and this may be true for some people. However, it is best to choose which type you want to learn and focus on it, rather than buy a harmonica just because it may be easier to learn. Here is a list of which music genres each type is used in, if it helps you decide which type of harmonica is right for you:
 * Chromatic: Used mainly in Jazz and Classical music, but it can cross-over into Blues music sometimes.
 * Diatonic: Used mainly for Blues music, but sometimes for Rock, Country, Bluegrass, Folk, Celtic and Gospel music.
 * Tremolo: Mainly used in Folk music, especially Asian folk music.
 * Other types: If you are an absolute beginner, do not bother with any type other than the ones listed above. The other types (Bass, Chord and Octave) are quite hard to learn, and there is little learning material available for them. The Horn, Bass and Chord harmonicas are used in Classical music and also in harmonica-only ensembles. Octaves are mainly used for Folk music.

Listed below are recommendations for each type of harmonica, apart from the Bass, Chord and Octave harmonicas.

Note: If the place you buy from does not have a harmonica tester (a device with a bellow that blow and draw air), do not buy it; for all you know, the harmonica is busted, and it's very often you cannot return/replace/refund a harmonica.

Diatonic
In North America, a good quality 10-hole diatonic is a good starter. I would recommend the following, in the following order:

(As a former national champion, I offer this wisdom: Harmonicas are not pricey like pianos and pedal harps. If you want to be discouraged and quit prematurely, get a cheap, hard to play instrument. If, however, you want to give yourself a good chance to master and enjoy these fine instruments, get a high-quality, easy to play and easy to bend instrument. The difference in price is akin to a family meal at McDonalds.)

 * Seydel Session: This harp is all German made with high quality and sleek design. An amazing array of tunings are offered and replacement reedplates are easy to obtain.
 * Seydel Solist Pro: Sealed wood comb and bolted assembly.
 * Suzuki Bluesmaster: Overall cover and high-quality construction.
 * Hering Vintage 1923: Brazilian made with a sealed wood comb. Tuned in "Just Intonation" like the early Marine Bands.
 * Lee Oskar Major: Completely airtight and has large chambers. It is also tuned slightly sharp for a bright single-note sound. Replacement reed plates are available for it.
 * Hohner Special 20: One of the most popular diatonic models. Completely airtight.It has plastic comb and hence resistant to moisture.
 * Hohner Pro Harp: The ProHarp is part of Hohner's new Modular System. The harmonica is airtight, and replacement reed plates can be bought for it.
 * Hohner Blues Harp: This is also part of Hohner's new Modular System. The wood resists swelling, and replacement reed plates are available for it.
 * Hohner Marine Band: One of the most famous harmonicas, and is the oldest model among the others listed here. Its covered slots help towards a more bluesy sound and the new Deluxe Edition of it is made of wood which is resistant to swelling.
 * Hohner Big River: The Big River, cheapest among these choices, also uses the Modular System. The harmonica is airtight, and replacement reed plates can be bought for it. Uses Marine Band style covers.
 * Hohner Silver Star: The Silver Star is cheapest harmonica then others.It comes in all keys. An okay harp if you want to test the waters but not for professionals.

Hohner XB-40
Once you learn your diatonic skills (particularly bending) it would be a good idea to consider the Hohner XB-40, especially for Blues and Jazz music. The ease of bending is especially suited to play chromatically.

Unlike a valved diatonic, the XB-40 allows true chromatic notes to be played with ease, since it has a total of forty reeds, as well as separated chambers for blow and draw notes. This can also be considered as a very expensive first harmonica, but it is still possible to learn on it like a normal diatonic; only thing to keep in mind is that there was no material made specifically to take advantage XB-40's ability yet.

The advantage of the XB-40 is that it does not need a slide to play chromatically, thus it can be good for playing with a rack and another instrument. Also, since it uses bending a lot, it can be a good approximation to trumpets and saxophones, which often used to produce the wailing sounds that's needed in blues and jazz.

Chromatic
For chromatics, always get at least 12 holes (3 octaves). The price goes from $89.00 for Hohner's Chrometta 12, to $138.00 for Hohner Chromonica 270, and $192.00 for Hohner CX-12. When you buy a chromatic, you will have to decide if you prefer a straight-tuned or cross-tuned slide:

'The wonderful 16 hole Chromonica is too large to fit completely in the hands. The 12 hole is better for effects, such as muffled or vibrato tones. If getting a C chromatic, get the Tenor variety, which contains the lower three octaves found on the 16 hole instrument. Most 12 holers are tuned to the upper three octaves.'

You can find 10 hole chromatics. The top notes are tuned rather like a diatonic instrument with the slide out, and with each notes sharped by pushing the slide in.

 * Straight-tuned: having smaller holes, thus less air get through, making notes playing difficult due to air restriction. However the slide travels a shorter distant.
 * Cross-tuned: having bigger holes, thus more air goes through; especially helpful for lower octaves. However, the slides travel a longer distance; and thus, the slide sticks out from the body a bit more. This in turn makes the slide more susceptible to damage. So just keep it in its box!

In the end, it depends on your playing style. Many professional players may prefer straight-tuned, but even when they have to use the cross-tuned harps, (usually 16 holes, as most larger brands use cross-tuning now for the 16-holes) their virtuosities are rarely hindered.

Recommendations
 * Hering 7148 Special 48: This is a great chromatic for Jazz and Blues. Formerly known as the "Charlie Musselwhite."
 * Hering 5148: Hering's standard 48 is a great all around chromatic with a bolted assembly and an ABS comb.
 * Hering 1148 Velvet Voice: This is similar to the 5148 but features an unusual cover design and a mellower tone. It is very reasonably priced.
 * Seydel Chromatic Deluxe: German made alternative to the Hohner 270 that is tighter. It is very similar in design to the 270 but bolted together. It comes in both wood and acrylic combs.
 * Seydel Saxony: The Saxony features stainless steel reeds and is the only chromatic that does. The comb is aluminum and the reed covers come in stainless steel or brushed chrome. this is a top chromatic and the price reflects that as well.
 * Huang 1248: The Huangs were Hohner designers. This is a good quality chromatic for a low price and similar to the Suzuki SCX series in design.
 * Hohner Chrometta 12: Not recommended unless you are on a budget, or looking for a cheap chromatic with plastic comb; its mouth piece is thick, leaky, and the hole separators are so thin that it can be difficult to isolate a single note. While earlier models fastened the reedplates to the comb with drift pins, current models are held together with machine screws.
 * Hohner 270 (Super Chromonica): The 270 has the disadvantage of a wooden comb and using nails, and thus making repairing extremely difficult. However, it has a straight-tuned slide, and its mouthpiece is thin, making lip-blocking easy. Some also swear by the sound of the wooden comb, but in reality it makes very little difference in sound. Many old pro players use this model and still buy this model after their old one breaks down. It is also cheaper. If one really enjoys or prefers the lower octave's sound, but wants to cup the entire harmonica, get a 12-hole in Tenor C.
 * To address these issues, Hohner released the Chromonica 270 Deluxe, which uses the screw only assembly, as well as allow slides to change for both right and left hand player. Speculation is that it's cost is just a little bit more expensive than the old version but still cheaper than CX-12. It still retains the straight tune, making it a good choice. The only problem, of course, is the environment sensitive wooden comb.

 * Hohner CX-12: This has the advantage of a plastic comb, and very easy to disassemble: no screwdriver needed to disassemble it into the slide, the cover-mouth piece, the backplate, and the comb with screwed on reedplates, making cleaning easy. Its crosstuning does not have much disadvantage, since its new version of spring create an equally fast response as a straight tuned comb, and the slide button covered the exposed part, protecting it. However, its mouthpiece is thick, making octaves almost impossible and tongue-block difficult. Additionally, its tension based parts (especially backplate-spring, which holds the comb in place) easily create more wear and tear. It's also more expensive; in Vancouver, it is just five bucks cheaper than a Super 64.
 * Hohner 280, Super 64, or Super 64X (4 octaves): Assuming you had played a diatonic, and realise harmonica is the right instrument for you, then perhaps you may want to jump straight to the 16 holes, since it gives to much versatility in playing music. While the prices for both are about twice the amount cost of 270, it was about the same price of CX-12, (or even less for 280). In exchange for the ease of disassembly, both 16 holes allow the player to play on on octave lower, and when used in conjunction with special tongue-block techniques, it allows the harmonicist to utilize certain techniques and play songs unavailable on a 12-holes' range. However, do keep in mind that it is more difficult to play the bottom octaves regardless of slide tuning (though straight-tuned harp are harder to play than cross-tuned harp), and it's more difficult to cup the larger harmonica. The 280 comes in a traditional cover, and the Super 64 and Super 64X comes in an overall cover (although, the 64X's cover is easily cracked and hard to repair).
 * Suzuki SCX models (48, 56, 64): In East Asia, Suzuki's model is easier to buy. Most players who play in North America stated that the SCX model has lots of air-leakage, while many in Asia found that the Hohner model has more air leakage. In my region (Vancouver, B.C.), the SCX is much more expensive then its Hohner counterpart for a similar product, so I recommend Hohner's chromatic for those also in the Lower Mainland. Its overall performance is comparable to Hohner, however, the SCX-48 is the only 12-hole chromatic that has the coverall cover (aside from CX-12), which enhances the tonal and volume of the sound.
 * Hering 5164, 6164, 7164 (4 octaves): Brazilian made 16 holers favored by many chromatic players.
 * Renaissance: Probably one of the best chromatics, now made by Seydel. Its slider arrangement allow holes that are even larger than cross-tuned chromatics, but have the same short distance movement of a straight-tune harp. It is expensive, but well worth it if you are dedicated to playing chromatics.

Though it may sometimes be hard to find Seydel, Hering, Suzuki or Huang chromatics in a normal music store, they can be found online and on Ebay. They are of high quality and they rarely have any air-leak problems while having straight-tuned slides (unless you prefer cross-tuned slides).

So ultimately, it depends on the price and ease of maintenance.

Tremolo
If you live in Asia, chances are your first diatonic would be a tremolo harmonica, since there are more materials for those. In that case, only get a Tremolo made in East Asia (such as Tombo and Suzuki), since most materials in East Asia are designed for the Tremolo with the "missing" notes added back (Fa and La in lower octave, Ti for upper octave), which are taken out in the European designs for ease of chord construction. You do not need to spend the extra money to buy your C# harmonica yet, unless you got a special deal. In Taiwan, Harmonica Heaven and Yellow Stone are a few good places to start.

Once you have learned your tremolo skill, if you want to progress; getting a chromatic would be a good idea.

Bass
This is an all-blow instrument that consumes a fair amount of air. Each hole has two reeds, tuned an octave apart, for a full, rich sound. You can make it sound much like an organ or even an electric or string bass, but the sound is fuller. It's a relatively expensive instrument. Hohner makes a great one, but I actually prefer my Hueng's resonant sound.

It's very easy to learn, if you know another instrument. Once when our bass player suddenly ate a bad taco before a concert, I drafted my teenage daughter to fill in for him. She practiced about five minutes before the curtain rose and nobody said a word, except to ask how long she'd been playing. She looked at her watch and told them.

The instrument is comprised of two full harmonicas, one in the key of C-Major, white keys on the piano. You blow for C and you blow for D and E and F, etc. It has another harmonica hinged above it, in the key of C#-Major. When playing it, if you're used to a slide chromatic, the upper harmonica is tuned like the lower would be with a slide pushed in, except of course there is no drawing, just blowing.

Chord
'Peg O My Heart' by the Harmonicats is the magnificent song that made the Chord famous. Please be advised that 'Peg' has sold a lot of chord harmonicas but only a few players have mastered that difficult song on it.

This instrument is a full two-feet long. It's complex in manufacture, and it's expensive. I love my wood-combed Hohner Chord. Other makers produce chords.

Like the Bass, this is a dual harmonica, but unlike the Bass' tuning, it has an entirely set of blow and draw chords on the top and bottom. It's designed as an accompaniment instrument with each set of four holes playing one chord. It plays all major and minor chords in all keys, plus dominant 7ths, as well as most of the augmented and diminished ones.

It lacks a few of the major-7th and major-9th chords but I've found that by playing two adjacent chords at once, and tongue-blocking certain holes, most of those missing chords are available.

Chord+Bass
The Chordette by Hering has bass notes (single-reed) and their chords, side by side, with a plastic comb. Like the Chord and Bass, it is two harps, one on top of another. You can do accompaniment things on it that are impossible otherwise. It's missing a host of chords, but it's a first-class instrument.

If you want to experiment, I made one better harp out of two. On one harp only, I filed each reed 1/2 step sharp (support the reeds on a razor blade and gently thin the tips with a jewelry file) on one harmonica. (If you file a bit too much, lightly scratch - don't file - the root of a reed to flatten its note. Be gentle.) I epoxied it to the right of the other harp, so I have almost all chords in a 20" long Chord+Bass. I use it when missing a chord or bass player, or on fast, intricate songs like 'Ghost Riders in the Sky.'

Learning material
"When my uncle gave me my harmonica, he also gave me some learning material", says a Wikibooks contributor. "I gave up within one month. While the harmonica is good (it's actually a Suzuki ProMaster, a very good quality harmonica) the material, with many errors and so little help, told me nothing and I gave it up for two years. It was only when I had gone out and bought my own instruction book did I actually find the harmonica is not a bad instrument."

Obviously, this textbook is convenient; but let's say you are giving a gift and you believe giving them a physical book will be better.

So what is required?
 * Appropriate materials – While it is debatable whether one should start with chromatic, diatonic or tremolo (again, it depends on the teacher and region), make sure the material matches the type of harmonica given, especially beginner books. The best book will be able to cover two types (usually diatonic and chromatic). Furthermore, to play well, you will have to learn more than tabs, which can only tell you which notes to play but do not teach you HOW to play them. You will have to learn standard music notation (sheet music).
 * Tabulature – Harmonica tabulature, or simply tab, is much better for a beginner to learn from, as it shows them the breath direction and hole to play at, and it is much simpler than sheet music. The tab should be clear, and moderately spaced, such that it is very similar between the spacing used in traditional music notation. Also, see if you can understand the tab notation without looking at any other references.
 * Traditional music notation – A player will never excel until they can also read traditional music notation since it teaches them to read music as well as showing the rhythm, accidentals, etc. Furthermore, there are many things that can only be shown through traditional format. I personally find playing directly from traditional notation is easier, but this comes with practice.
 * Techniques – Obviously, the more techniques that are taught, the better. However, the buyer should see if it touches upon bending. Unless the book is for Tremolo or Chromatic, this is required for a harmonica player. If the instruction on bending is not clear enough, do not buy it!
 * Basic Music theory – In order to truly establish the fact that it is more than a noise maker, some musical theory is required. This is not as hard as some may think, but it is akin to learning a second language. (Stretch those brain cells!)
 * Structure of Blues – A good way to pique their interest is to show that Blues is actually the foundation of modern music and then show them how to construct the 12-bar blues, chord progression, etc.
 * CD – Some CDs actually contain verbal lessons from the author while some have special software in it. However, even just some song samples and backing tracks are good.

When you buy material, do not just look at the author; actually read through the content. Some may be good players but horrid writers. It can also be hard to judge what is the "appropriate level", even if both players are novices on the same kind of harp. For example, a book of introduction to playing blues on the chromatic can be easy for one beginner but too advanced for another. While a tab-only book can produce an opposite situation. Some may not even have any of the above, but for an advanced player they are all invaluable, as they provide many insights into playing. Conversely, it is possible that some books are overly beginner-orientated for an advanced player.

Once your ear training gets better, it can be very beneficial to try learning songs only by ear. Find recordings of songs that you think you can play and then try and dissect them into each note and rhythm. This takes practice and is a skill in itself, however, it can be very rewarding.

Books
As an alternative to this Wikibook, one should also consider purchasing any of the following:
 * Harmonica For Dummies: A comprehensive guide that starts at the beginning but includes material progressing to the intermediate level. Clearly written in the step-by-step, modular style that is the hallmark of the Dummies approach, the book includes an audio CD with all the musical examples and exercises in the book. In addition to progressive playing instruction in several styles, the book also offers information on choosing an instrument, care and maintenance, forming a band, choosing repertoire, amplification, and performing for audiences. However, the book focuses on the diatonic harmonica, with minimal discussion of other types of harmonica.
 * Details: By Winslow Yerxa, published by John Wiley and Sons, Inc.

 * The Complete Idiot's Guide to: Playing the Harmonica: A very comprehensive book, with easy-to-follow instructions. It should be noted that this book is orientated towards absolute beginners and thus, does not cover more advanced techniques, such as overblowing. It also focuses primarily on the diatonic harmonica, leaving out all of the other types.
 * Details: By William Melton and Randy Weinstein, published by Alpha Publications. ISBN: 0-02-864241-4.

 * The Harp Handbook: Written by Steve Baker, a famous harmonica player. This is arguably one of the best harmonica guide-books as it covers not only the basic techniques, but also the more advanced techniques. It also teaches two types of harmonica – the diatonic and the chromatic.
 * Details: By Steve Baker, published by Wise Publications.

 * The Encyclopedia of the Harmonica: A very informative book.
 * Details: Written by Peter Krampert, published by Tatanka Publishing.

Videos and CDs
As informative as this Wikibook or any of the other books which are listed are, nothing compares to a DVD or play-along CD; watching and hearing someone play the harmonica will help you to play it better. Recommended CDs and DVDs:
 * Harmonica Masterclass: This is one of the best harmonica DVDs. It is a multibook and DVD series, covering absolute beginners and those at more advanced levels. Highly recommended.
 * Details: By David Barret, published by Mel Bay Publications.

 * Harmonica Power: Norton Buffalo's Bag of Tricks: A very informative DVD, easy to follow.
 * Details: By Norton Buffalo, published by Homespun Video.

 * New Directions for Harmonica – Expanding Your Technique: For those at more advanced levels, not recommended for beginners.
 * Details: By Howard Levy, published by Homespun Video.

 * Blues Harmonica Playalongs: Made by the famous harmonicist, Steve Baker. Excellent for beginners and also those at more advanced levels.
 * Details: By Steve Baker, published by Mel Bay Publications

 * Harmonica Jam Trax: Also great for beginners, but it may bore some advanced players.
 * Details: By Ralph Agresta, published by Amsco Music.

title: Harmonica/Harmonica Purchasing guide


text:
Talk:C Programming/Obtaining a compiler

I tried using Cygwin to run the exe, but an error prevented it. I then put the code into Dev-C++ and a very brief window came up which I couldn't read. I suggest playing with the Dev-C++ examples to start.

--- You can run the exe in Cygwin by using the ./ operator, ie "./hello.exe"

There are only examples on this page for Windows. Should instructions for Linux and Mac be here as well, or did I miss it? 67.188.17.114 00:56, 9 June 2006 (UTC)

How can i learn how to actually code c++
i have searched every where and even now i havent find how exactly what to do you only tell me about c++ and coding.....where do i actually start learning some thing
 * You really should start by the beginning of the book: C Programming/Why learn C?. JackPotte (discuss • contribs) 13:09, 5 August 2017 (UTC)

another c compiler for Windows
another compiler for Windows add MSYS2 for source of getting gcc C compiler for Windows, and gdb site https://www.msys2.org/ project has different goals than cygwin. --Retow324 (discuss • contribs) 18:45, 25 May 2020 (UTC)

title: Talk:C Programming/Obtaining a compiler


text: Template:Harmonica

title: Template:Harmonica