text:
Talk:Guitar

Comments from 2004
I beg to differ on the statement that very few pieces are written specifically for the classical guitar, and that most are originally written for the lute and piano. You are referring mostly to music from the baroque period. There are now many classical works which are written for the guitar, including concertos, such as those by Rodrigo. Villa-Lobos, Barrios, etc, all wrote for the classical guitar.

Title should be more specific, e.g. "Rudimentary Guitar" -- Daniel

Hehe, yeah, I didn't know where I was going with it when I created it. It looks, though, like it's going to (attempt to) be a complete reference from a learner's perspective, rather than be a lesson-oriented book. I haven't settled on a title yet, myself, but of course anybody is welcome to suggest one.

BTW, do you really think we need a chapter on standard notation? The whole idea of standard notation is that it's not limited to guitar (in fact, it was rather designed for piano, IIRC), and very little of it is specific to guitar. Usually standard notation is presented along with tablature in music books for guitar, so the necessary information can probably be presented there. Because standard notation is not trivial to explain, either, I don't think it belongs here. Perhaps somebody could start a music theory book and include it there, and our book can link to it.

--Furrykef 11:14, 1 May 2004 (UTC)

I see your point, but I still think there should be chapter explaining standard notation, even if no further use of it is made in this book. As you say yourself, standard notation applies to all music, not just guitar, which makes it extra useful to learn, not less so; learning guitar means learning about music, and a large proportion of the skills and knowledge here transfer directly to other instruments, which is a good thing. For instance, almost all of this guitar book applies to bass guitar as well (I was considering adding little comments explaining where something does not apply to bass, and pointing out in the intro that this book also teaches bass). Furthermore, even for guitar itself it's extremely useful: you've referred to classical guitar a number of times and that will always require an understanding of standard notation, plus in many contexts outside of pop-rock guitar it's an essential skill. I haven't changed the text back to include the stub for standard notation, I'll wait till we finish discussing it, but I really, really think it belongs here and should be explained.

--Daniel 19:14, 1 May 2004 (UTC)

 * How about we rename the tablature chapter to something like "Music notation", and on the TOC add a note saying "tablature and standard notation"? I agree with you that the learning of standard notation is essential, but it's a bit of a separate problem than learning to play the guitar. Of course, as you pointed out, it's still important regardless, but this leaves us with a dilemma: the inevitable duplication of information. Somebody else might write a book about the violin, and then somebody starts writing about the piano, then yet another person starts writing about music theory. All of these should have some information on standard notation -- but we don't want to say the same things in different places, because it takes more effort for no gain. So I'm saying we should find a common place to put it and then cross-reference it instead of putting it in the guitar book. See what I mean?

 * --Furrykef 00:29, 2 May 2004 (UTC)

 * I'm fine with that. So let's have a "Music notation" chapter, which can be essentially what the tablature chapter is now, and we'll add at the bottom a (very) brief explanation of standard notation with a reference to a more general-purpose lesson on standard notation (which can be created later). Sound good?

 * --Daniel 10:46, 2 May 2004 (UTC)

"Advanced techniques"? I'd classify them all as "beginner" techniques; intermediate at a stretch. -- Jimregan 21:43, 4 May 2004 (UTC)

I started writing the music theory book.

--Furrykef 22:21, 11 May 2004 (UTC)

Im the one who started Guitar:Philosophy thread, mostly as a non-technical idea, to fill in the gaps that the other book does not cover. You can get a sense of that from the outline. Me: Ive been playing guitar for about 20 years, I have perfect pitch, and am more into structured jamming, going into differring styles of play. I dont read notation, but I do well with chord charts, and short notated motifs and phrases.

I have lots of other interests, but the book idea seems like a good one. I didnt mean to imply a replacement for the existing text, I just had some thoughts and insights as to what might be a good way to frame the idea of being a guitar player. -Slide 16:40, 27 May 2004 (UTC)

Lesson oriented book?
Sorry to start a new discussion here, but are there plans for a lesson orientated book? The guitar book in its current form seems like little help to a complete novice. Heres a layout that might make a good start for an absolute beginners book:

The Guitar -> Acoustic -> Electric -> Further Reading (links to History of Guitar, How guitars make noise, Famous Guitarists. etc) Holding the Guitar -> Left Hand Position -> Right Hand Finger Picking Position -> Right Hand Holding the Pick Music Theory: Notes -> Notes -> Notes on the fretboard -> Tips to help eventually memorize all the notes on the fretboard Song Notation -> Tab -> Classic Practice Songs -> Simple songs constructed of notes (this will be hard due to copyrights) -> Suggestions of good tabs on the internet Music Theory: Chords -> Basic Chord theory (should link to Music Theory for more information) copy -> Basic Chords (and how to finger them) -> A maj, C maj, D Maj, G Maj, E Maj, C min, D min, E min, A min Practice Songs -> Simple songs using Chords (again, hard to find good stuff due to copyrights) -> Suggestions of good tabs on the internet Further Learning (reference to a sequal wikibook, Music Theory, Favorite Guitar Books) Conclusions Pep talk closing speech.

Again this would focus on only the very basics, emphasis on trying to get the learning playing some simple songs, without fear that they're method is incorrect. This book would hint at things like scales and chord construction techniques and rythm, without going into detail. These topics would be covered in follow up material.

I haven't started any information because I would hate to 'fork' the guitar book project. What are your opinions on this book layout?

 * I myself like the idea, and do not think that a fork is that bad an idea. I actually was about to do the same thing, when I read your post.  The lesson-oriented book, called "guitar lessons" or something, would more complement this book than fork it.  They would cross-reference each other whenever possible, and though they would unavoidably repeat much of the same information (which isn't a wiki-sin) the lesson book would be much more oriented towards learning and ordered differently.  While there are good lesson sites out there already, none of them are wikis, and many have a slant towards one genre.  Also, it would be nice to have a lesson book, that, if good, would eliminate the need to wade through the "trial/pay lessons" and money shams (there are a lot of them).  The wiki could link to good lessons elsewhere on the net.

 * That said, we would not have to rewrite this book, and we can link to this book whenever it makes sense.

 * Assuming there is decent support for it, I will continue. If someone decides to make one, I will contribute a lot.  But I'd rather someone else started one.

Sameerkale 21:52, 31 January 2007 (UTC)

It exists already a guitar course with complete very detailed and beginner-friendly lessons on the German Wikibooks. I had offered months before already my assistance, but it did not seem to exist any interest. You only would have to transferred these lessons only into the English (by Alta Vista babel fish),  and after this  you need a stylistic revise. I would crib myself from in response with you, as their it makes better, and surly I could brush up my English. on the other hand you could still fill my gaps, and I can copy your ideas for the German.Example1, Example 2 Songs without copyright ... You can contact me, if it are interested in a co-operation with germany. I could likewise use each assistance for the German project. user Mjchael de.wikibooks.org --Mjchael 13:26, 4 April 2007 (UTC)
 * Sounds good to me. I can't read any of it, but it looks detailed and complete.  I haven't checked this place in a while because noone responded.  I can see right now that Babelfish will not help much at all, the page makes no sense, so we will have to write it all over again anyway.  I'll work on it some more now (I'd forgotten about it) and we can fact-swap so that both the English and German versions have all the information in them.  I know about six words in german, so I can't really translate anything, nor can I navigate the page.  But, we can do it somehow.  Soon enough, this book will be on par with all the other lesson sites on the internet, hopefully.
 * Sameer Kale 23:26, 25 April 2007 (UTC)

Guitar woods
I believe there should be some info on specific guitar constructions and materials, because these offer vastly different sounds for the guitar. Guitarists and potential luthiers would both appreciate the addition. --Alexnye 06:42, 17 January 2007 (UTC)

Styles
I added a 'Styles' section to the main page. I thought the book needed one. I put them in alphabetical order. Feel free to add whatever other genres you think could use a page ( as if I needed to tell you that!), but I think it would be best if the categories were kept broad. Sameer Kale 18:07, 19 February 2007 (UTC)

Anatomy of a Guitar
Anatomy of a Guitar page does not load properly (as of 4/26/07).

Fantastic!!
Dear editors!! I'm really looking forward to read this book!!

Thanks! Geir Solerød, Norway

Images
In my opinion, this book seriously lacks images and schemes - how to grab guitar, play certain chords etc. Take a look at German book - they have many graphics. If you like graphics there, please move them to Commons. If you don't know how - no problem, I can help. You can also check some photos already being there on Guitar page and category. --Derbeth talk 20:01, 18 June 2007 (UTC)

 * One step further, find a bilingual german/english Wikipedian and a Wikipedian whose native language is the opposite of this Wikipedian (so a German who speaks English and a native English speaker, or vice versa; two bilinguals of opposing native languages works best) that will volunteer to do an exhaustive quality check. Read the whole of both books, discuss them, eliminate the weaknesses from both and combine their strengths, and make each a direct translation of the other.  Doing this with two bilinguals will actually produce the best results. --Bluefoxicy (talk) 03:52, 19 January 2008 (UTC)

Print version
Can someone make a print version too cuz i can't load the pdf. Icelandic Hurricane 22:58, 20 August 2007 (UTC)

 * Ask and ye shal recieve, your printer friendly version is right here. --NickPenguin 05:45, 21 August 2007 (UTC)
 * tx!! Icelandic Hurricane 23:28, 21 August 2007 (UTC)

Electric guitar mods
I recently started learning to play the guitar and wound up grabbing a large amount of equipment for cheap, including:

 * $150 Epiphone Les Paul Special 2
 * New push-pull pots (500k,500k to replace 300k,500k)
 * New pickups
 * Two capacitors (0.022uF, 0.047uF)
 * New tuning machines (locking)

I have a number of things I can play with now, such as:

 * 1) Cap mod:  Pull tone pot to switch from 0.022uF to 0.047uF
 * 2) Split coil:  Pull vol pot to switch from Humbucker to Single Coil
 * 3) Series mode:  Pull vol pot to place the coils in series instead of parallel
 * 4) Phase switch:  Pull vol pot to switch the phase on one pickup
 * 5) High protection:  Add 560pF cap and 300k resistor in parallel across the hot leads of vol pot

Mod (1) uses the tone pot, and mod (5) stands on its own; mods (2), (3), and (4) use the Vol pot and I can only do one.

Mod (1) will allow a mode where the tone pot kills more of the highs, giving a darker sound when pulled.

Mod (2) will give a single-coil sound, but eliminate the noise removal.

Mod (3) will give a mode that produces a brighter sound.

Mod (4) may produce a unique, "nasal" sound; or it may just cancel the sound.

Mod (5) protects high frequencies. When turning up the volume, the higher frequencies sometimes do not increase in volume as fast as the lower frequencies (my pickups specifically cause this situation); the RC circuit here prevents this, so the volume control works more smoothly across all frequencies instead of leaving the highs behind.

After a lot of googling, I will probably go with mods (1), (4), and (5); yet I have not quite determined how mods (2), (3), and (4) will actually affect the instrument. A section of the Wikibook devoted to explaining the guitar's internal electronics and how they affect sound, along with possible modifications controlled by various switches, may prove interesting. Not so much of a list of possible projects, but more a list of more general theory like what phase switching does and how the impedance of multiple coils affects their interaction; what various capacitors do; what changing the vol and tone pots does (500k vol + 1M tone == brighter sound than 500k + 500k, where a 1M + 1M might just cause noise if the pickup won't handle the 1M vol pot...).

I also threw on some locking tuners and some locking strap holders. Not quite sure how this fits in with the above but it's fascinating. --Bluefoxicy (talk) 03:48, 19 January 2008 (UTC)

 * Feel free to create a page about guitar modification, I'm sure other readers would be interested in reading/contributing their knowledge on the subject. --NickPenguin (talk) 02:21, 23 January 2008 (UTC)

Guitar Tablature & Chords, Tabs
If you want you may put my side TAB Theke http://tablatures.buschhausen.eu/ into Guitar Tablature (Tabs) StevieB (talk) 18:10, 18 February 2010 (UTC)StevieB

Just test:

 * TAB Theke A tablatures collection in 4 books: acoustic guitar, e-guitar, e-bass and polyphone tablatures.

StevieB (talk) 18:10, 18 February 2010 (UTC)StevieB

Orphaned page
G'day, Guitar/Different Types of of Guitars appears to have been orphaned from your book. Please see if you can reintegrate it somehow, or request deletion. Webaware talk 15:22, 16 March 2008 (UTC)
 * Thanks, now merged and deleted. Webaware talk 13:27, 17 March 2008 (UTC)

Asking for advice on pedals
I'm trying to decide which kind of pedals I want to buy and wonder what you guys think. I mostly play alternative, punk, pop-punk, soft rock, and other kinds of rock. I know that I want a Boss PH-3 Phase Shifter, a Boss DS-1 Distortion Pedal, and some kind of delay pedal. What else could help me in these genres, especially in pop-punk and punk? Saksjn (talk) 23:41, 11 May 2008 (UTC)

template CRD
I've created a template for guitar chords. Original for the German wikibooks. I've copied it to the English wikibooks, so you can use it for your projects.

It is easy to use:
 * Source code
 * texttext text

 * becomes
 * texttext text

Rock my Soul

 * Verse 1

 * Rock my soul in the bosom of Abraham,Rock my soul in the bosom of Abraham,

 * Rock my soul in the bosom of Abraham,oh rock mysoul.

 * Verse 2

 * Sohigh, you can't get over it, solow, you can't get under it,

 * sowide, you can't get round of it,oh rock mysoul.

You can copy the songs simply for your wikibooks. Certainly these songs have no copyright. Maybe you will start a songbook for yourselves. (And I hope sometime in the future I can copy some of your songs.) much fun thereby and greeting from Germany --Mjchael (talk) 16:34, 16 May 2009 (UTC)
 * more Examples
 * de.wikibooks.org ... Songbook category: Songs in English

How can I play the B chord (Blues)?
I'm sorry, but I can absolutely not spread my fingers so that I could play the a string at the second and the d string at the sixth fret simultaneously (the the section about Blues). Does anyone have tips for me how I could manage it? Which fingers shall I use? The other chords, A and E, are no problem, but this one (B) is very tricky for me... --Jayk (talk) 19:34, 18 May 2009 (UTC)

Your question is old, however: you could take B7. It's no barree chord! On http://chords.buschhausen.eu/vol1/ you can look at the fingering. Barree chords in the I. and II. fret are not easy for beginners. I let my students start barree playing with chords in the V. fret... http://chords.buschhausen.eu/vol2/ sorry, written in my native language but the PDF tablature and the playalong MP3 file are international. StevieB (talk) 12:36, 19 February 2010 (UTC)StevieB

I've done some work on the "barre" page
Hello. I've been replacing the tab/chord templates with images. Since this is a major change, please check it out and post a comment if you have any complaints. --Sluffs (talk) 10:51, 21 July 2009 (UTC)

Just one comment from a nobody...
This book is very very very blues and rock oriented. Leaving aside that rock guitar may not be the best way of teaching guitar to a novice regardless of the guitar style he's aiming at (I'm not a teacher and I don't know nothing about teaching, I personally think that a classic guitar player will easily learn to play rock music whereas a rock player will learn classical pieces with extreme difficulties), it should at least be mentioned at the beginning of the book that what is presented here is at the moment the most popular way of approaching guitar playing, but by no means the best.

lorenzo 29 jan 2010

External Links - Guitar Lessons
If you like feel free to put my page Online Guitar Tuner http://4-ways-to-tune-your-guitar.blogspot.com/ into your link list. I explane 4 tuning methods on my page: 1) Tune your guitar with MP3 comparison tones, 2) Tuning by comparing strings, 3) Tuning with flageolet tones and 4) Tuning by comparing octaves. There are useful MP3 and PDF files.

StevieB (talk) 18:55, 18 February 2010 (UTC)StevieB

You may want to consider updating this book and adding Fret Stickers as a valid aide for teaching guitar notes, chords and scales. They have become very popular over the last few years and recommended by many guitar teachers. 98.155.117.216 (discuss) 09:48, 1 August 2013 (UTC)

The Guitar handbook by Denyer
It would be great if this wikibook can be improved to the level of the book

The-Guitar-Handbook-Ralph-Denyer

.Condmatstrel (discuss • contribs) 04:10, 5 May 2012 (UTC)

 * It is an excellent book and contains a vast amount of information that would be useful to any gutarist . Contains information ranging from stringing and cleaning guitars to scale theory. However I've removed the Amazon link for the simple reason of allowing the student to source the book themselves. E-bay, second-hand bookshops, discount book stores, etc. All of these may prove to be cheaper. I feel it is only fair not to guide any reader to a single "buy site" site regardless of the reason that the editor who provided the original link may have had.

--Sluffs (discuss • contribs) 13:15, 22 August 2012 (UTC)

Having myself thoroughly reviewed over 400 guitar methods, I respectfully disagree that The Guitar Handbook by Ralph Denyer is a good reference here. The current Guitar Wikibook is already similar: a compilation of a bunch of reference topics that would be better left to Wikipedia. What we need is actual pedagogy, and both Denyer's book and 99% of the current Wikibook are atrocious for that. Aside from the German Wikibook mentioned above, another decent resource that is compatibly licensed (it is CC-BY) and could be incorporated here is: the Connexions Guitar Course Backfromquadrangle (discuss • contribs) 00:11, 16 November 2013 (UTC)

External links and Advertising - Analysis
I'm going to use this section to do a comparative study of the featured books. Today I looked at three other featured books and noticed they all had no external links to commercial sites on their main entry page (contents page, cover page or whatever you wish to call it). I have a feeling that the Guitar book may be suffering from commercial interests occupying the front cover. Below is a list of featured books and alongside each title I will detail whether commercial or non-commercial external links are present or not.

I will use a numerical key system:

 * 0 = no external links
 * 1 = external links to commercial sites
 * 2 = external links to non-commercial sites
 * 3 = mixed external links (commercial and non-commercial)

I started and then thought why not just remove all the external links from the front page and see how the community reacts. I cannot see any purpose in having these "adverts" placed on the front of the Guitar book. They are profiteering from this placement and when did all these sites disappear from Google or the net therefore they are already available to readers through search engines. They have an online presence so do we need them to further their internet presence at the expense of the Guitar book.

I'll remove them now and if you feel differently then restore them and leave a reason here. Before you do restore them bear in mind that the argument that "they are resources that help readers" is just another way of saying "why not let Google and these sites profit from our non-profit endeavors as well as profit from our readers". Please note that all Wikibook editors work for nothing and our readers pay nothing.

This action applies only to the sites that carry adverts.

Sluffs (discuss • contribs) 19:58, 10 June 2013 (UTC)

I removed the external links to the chord finder software sites. You know the type where they show you the fingerboard and you have a chord menu and you select the chord you want and the dots appear. These auto-generated chords are terrible and most of the time you wouldn't be able to use them fluently since they are not designed to teach you how to move from chord to chord. There's some exercises in the Jazz section which though advanced should illustrate this point. In Jazz Movement Exercise One your little finger should be on the B note (4th fret G string) and if you follow the exercise you will notice that your little finger stays on that string and just moves one fret out then back in and then back out. You don't need to remove or lift the little finger of the string. This is a Jazz approach (Classical guitar as well) - Jazz guitarists are expected to play at fast tempos and if they were to use all six strings they would soon falter. So from the early days of the guitar they adopted an "economical" movement to their chord changes. Jazz Movement Exercise One in the Jazz section goes G - C (2nd inversion - basically you're keeping the G in the bass for ease of movement) - G7 (the chord finders I've removed from the external links section on the front page of this book will show this chord as a four note chord but notice that in the exercise the 5th, the D note of the G7, is omitted - once again to aid movement). This is why I've removed the links to these auto-chord finders - they just cause problems in positioning and fluency. Why do it the hard way?

Tip: musicians exploit a very human trait - basically audiences will fill out the missing notes (harmony) if need be - try singing the "Star Spangled Banner" and pay careful attention to what your mind is really creating - when a familiar melody is presented to the mind without chordal accompaniment the mind creates the harmonic framework for understanding the relationship that exists between the melodic notes. As a further example of this - audiences may not know anything about key changes or how to use a pivot chord to change key but they will know you've changed key.

Hopefully you'll agree that these chord finders, though great pieces of software or applets, are not good for positioning and fluency.

Sluffs (discuss • contribs) 22:31, 10 June 2013 (UTC)

Navigational box needs to go
I have recently created a collection out of Guitar, and when it's in print the navigational box is just unnecessary. I'm quite new to Wikis and I have some knowledge of editing, but I would like some help excluding the box at the bottom from print. Thank you. --Browniebear13 (discuss • contribs) 17:30, 11 June 2014 (UTC)

Cover Icon
Unsure if this is warranted, but if a cover icon is desired, this file may help. --Mbrickn (discuss • contribs) 16:04, 7 October 2021 (UTC)

title: Talk:Guitar


text:
XML - Managing Data Exchange/DocBook

Learning objectives
Upon completion of this chapter, you will be able to
 * Learn the basics of DocBook
 * Create a DocBook document by using the DocBook XML DTD
 * Convert a text document to a DocBook document
 * Use XSL Stylesheets to transform a DocBook XML document to multiple formats as HTML, PDF or presentation slides.

Introduction
DocBook is general purpose XML and SGML vocabulary particularly well suited to books, articles, and papers. It has a large, powerful and easy to understand Document Type Definition (DTD), and its main structures correspond to the general concept of what constitutes a book. DocBook is a substantial subject that we can't exactly cover in a few pages. Thus, for the purposes of this chapter, we will talk about creating a simple DocBook document with major elements in the DocBook DTD and the details of publishing the document in order to give you a feel about DocBook. If you would like to study the subject further, we suggest you to have a look at the references provided at the end of the chapter.

What is DocBook?

 * DocBook enables you to author and store document content in a presentation-neutral form that captures the logical structure of the content.
 * It has an easy-to-understand and widely used DTD. The DocBook tags are applied so that they have a certain "common sense" semantic content, at least to English speakers.
 * There are no official versions of the DocBook W3C XML Schema at this time. The DocBook Technical Committee is planning to offer an official Schema in the DocBook V5.0 time frame.  The examples provided in this chapter will use the current official DTD.

DTD vs. Schema:
A DTD is the XML Document Type Definition contains or points to markup declarations that provide a grammar for a class of documents. A Schema is a set of shared vocabularies that allow machines to carry out rules made by people. It provides a means for defining the structure, content and semantics of XML documents. In summary, schemas are a richer and more powerful means of describing information than DTDs.

Table 1: Here is a simple XML document

Table 2: Here is the DTD for this document

Table 3: And here is the SCHEMA

Output formats for DocBook
XSL (Extensible Style Language) stylesheets can transform DocBook XML into the following formats:
 * HTML
 * HTML Help (for Windows Help)
 * Java Help
 * XHTML
 * XSL Formatting Objects (FO)
 * PDF

DSSSL (Document Style Semantics and Specification Language) stylesheets can transform DocBook SGML into the following formats:
 * HTML
 * MIF
 * RTF
 * TeX

A Brief History
DocBook was created around 1991 by HaL Computer Systems and O'Reilly & Associates. It was developed primarily for the purpose of holding the results of troff conversion of UNIX documentation, so that the files could be interchanged. Now it is maintained by OASIS. The official web site for DocBook is http://www.oasis-open.org/docbook/

DocBook is used for:

 * 1) Books for print/trade publication. Many authors are using DocBook for writing books of all kinds, in various print and online formats, worldwide. Some examples include:
 * 2) *Processing XML with Java
 * 3) *Learning XML
 * 4) *DocBook: The Definitive Guide
 * 5) *Installing and Using DocBook
 * 6) *Dive into Python
 * 7) Articles, theses and dissertations
 * 8) Maintaining websites
 * 9) Producing presentation slides, printed handouts, and whitepapers
 * 10) Documentation for commercial software and hardware

DocBook Tools
DocBook is officially available as a DTD for both XML and SGML. You can download both the latest DocBook XML DTD and DocBook SGML DTD from the official DocBook site at OASIS. The examples provided in this chapter will use DocBook XML DTD. Some experimental DocBook schemas are available at sourceforge.net. DocBook is supported by a number of commercial and open source tools. Easily customizable and extensible "standard" DocBookStylesheets are available from the DocBookOpenRepository along with the other free open source tools. See DocBookTools on the DocBook Wiki for a more complete list of commercial and open source tools.

Other Free Tools:

 * 1) XSLTProc: One of the most known and fast processors. Available at http://xmlsoft.org/XSLT/.
 * 2) Apache FOP: XSL-FO implementation. Available at http://xmlgraphics.apache.org/fop/.
 * 3) Xt: One of original XSLT processors. Less frequently used now. Available at www.jclark.com.
 * 4) DocBook2x: Converts DocBook to man and Texinfo pages. Available at Sourceforge.
 * 5) Refdb: Creates reference databases and bibliographies from DocBook. Available at Sourceforge.

Commercial Tools:

 * 1) Arbortext Epic: Comprehensive suite of both editing and processing tools. Available at Arbortext website.
 * 2) RenderX XEP: FO to PDF rendering engine. Available at RenderX website.
 * 3) Antenna House XSL Formatter: FO to PDF rendering engine. Available at Antenna Housewebsite.

SGML vs XML
The syntax of SGML and XML DTD is very similar but not identical. The biggest difference between the DocBook DTD for SGML and the one for XML is that the SGML DTD contains SGML exclusions in some content models.

Example: SGML DTD excludes as a descendent of, because it doesn't make much practical sense to have footnotes within footnotes. XML DTDs can't contain exclusions, so if you're authoring using the DocBook XML DTD, it's possible to produce documents containing some valid-but-not-logical markup like footnotes within footnotes.

Creating a DocBook Document
In order to get started, you will need:
 * An XML editor. Download NetBeans IDE if you haven't done so yet.
 * The DocBook XML DTD. Although it is optional to use one, DTD's are useful when one wants to validate a document to check that it conforms to the DTD to which one claims it conforms.  Hence, the DocBook DTD can be used to validate that a purported DocBook document.  DocBook XML 4.2 is the current version of DocBook DTD. Download at the official DocBook website
 * The DocBook XSL stylesheets are maintained primarily by Norman Walsh. There are two sets of stylesheets: XSL and DSSSL. Download the latest version XSL 1.65.1 at Sourceforge.net
 * An XSLT processor (covered in the further sections)

Table 4: A simple DocBook Book, "book.xml"

Table 5: A simple DocBook article, "article.xml"

Let’s examine the details of a typical DocBook document. Standard header to a DocBook XML file is a DocType declaration:

Standard header <!DOCTYPE name FORMALID "Owner//Keyword Description//Language">

This tells the XML manipulation tools the DTD in use. Name is the name of the root element in the document. FORMALID is replaced with either PUBLIC or SYSTEM identifier or both. PUBLIC identifies the DTD to which the document conforms. SYSTEM explicitly states the location of the DTD used in the document by means of a URI (Uniform Resource Indicator). PUBLIC identifiers are optional in XML documents although SYSTEM Identifiers are mandatory in the DOCTYPE declaration.

Header example  <!DOCTYPE article PUBLIC "-//OASIS//DTD DocBook XML V4.2//EN" "http://www.oasis-open.org/docbook/xml/4.2/docbookx.dtd">

Owner: Oasis Keyword Description: DTD DocBook XML V4.2 Language: EN - English

Caution! If you are not online, you need to change the URL system identifier to path where DTD is installed:  <!DOCTYPE article PUBLIC "-//OASIS//DTD DocBook XML V4.2//EN" "/usr/share/sgml/docbook/xml-dtd-4.2/docbookx.dtd">

Breaking a Document into Physical Portions
Before getting started, here is a useful tip! For the purposes of convenience and performance, you might consider breaking a document into physical chunks and work on each chunk separately. If you have a book that consists of three chapters and two appendixes, you might create a file called book.xml, which looks like this:

Table 6: A physically divided book, “dividedbook.xml”

You can then write the chapters and appendixes conveniently in separate files. This is why DocBook is well suited to large contents. Note that these separate files do not and must not have document type declarations.

For example, Chapter 1 might begin like this:

My First Chapter My first paragraph. … ……………………………………………………………

Breaking a Document into Logical Portions
Here is a quick reference guide for DocBook Elements: http://www.docbook.org/tdg/en/html/ref-elements.html

There are–literally–hundreds of DocBook elements. This is what makes docBook very powerful. We will try to cover the major ones here and let you review the rest on your own. Firstly, a classification; DocBook Elements can be divided broadly into these categories:

Set: A collection of books
Set is the very top of the DocBook structural hierarchy. There's nothing that contains a Set.

Some children elements: Book, SetIndex, SetInfo, Subtitle, Title, TitleAbbrev, ToC(table of contents).

Reference page: http://www.oreilly.com/catalog/docbook/chapter/book/set.html

Table 7: element, "lordoftherings.xml"

Book: A book
A Book is probably the most common top-level element in a document. The DocBook definition of a book is very loose and general. It gives you free rein by not imposing a strict ordering of elements.

Some children elements: Appendix, Article, Bibliography, BookInfo, Chapter, Colophon, Dedication, Glossary, Index, LoT, Part, Preface, Reference, SetIndex, Subtitle, Title, TitleAbbrev, ToC.

Reference page: http://www.oreilly.com/catalog/docbook/chapter/book/book.html

Division: A collection of parts and references (optional)
Divisions are the first hierarchical level below Book.

Children elements: Part (contain components), Reference (contain RefEntrys)

Components: Chapter-like elements of a Book or Part
These are Preface, Chapter, Appendix, Glossary, Bibliography, and Article. Components generally contain block elements -or sections, and some can contain navigational components and RefEntrys.

Table 9:  element, "references.xml"

Sections: Several sectioning elements
a. Sect1…Sect5 elements - the most common sectioning elements that can occur in most component-level elements. These numbered section elements must be properly nested (Sect2s can only occur inside Sect1s, Sect3s can only occur inside Sect2s, and so on).

b. Section element - an alternative to numbered sections Sections are recursive, meaning that you can nest them to any depth desired.

c. SimpleSect element - a terminal section that can occur at any level SimpleSect cannot have any other sectioning element nested within it.

d. BridgeHead element - a section title without any containing section

e. RefSect1…RefSect3 elements - numbered section elements in RefEntrys f. GlossDiv, BiblioDiv, and IndexDiv elements - do not nest

Please see Table 4 and Table 5 for examples.

Reference page: http://www.oreilly.com/catalog/docbook/chapter/book/section.html

Meta-Information Elements – contain bibliographic information
All of the elements at the section level and above include a wrapper for meta-information about the content. Examples of meta-wrappers: BookInfo, ArticleInfo, ChapterInfo, PrefaceInfo, SetInfo, GlossaryInfo.

Table 10: element

Block vs. Inline Elements
There are two classes of paragraph-level elements: block and inline.

Block elements are usually presented with a paragraph break before and after them. Most can contain other block elements, and many can contain character data and inline elements. Examples of block elements are: Paragraphs, lists, sidebars, tables, and block quotations.

Inline elements are generally represented without any obvious breaks. The most common distinguishing mark of inline elements is a font change, but inline elements may present no visual distinction at all. Inline elements contain character data and possibly other inline elements, but they never contain block elements. They are used to mark up data. Some examples are: cross references, filenames, commands, options, subscripts and superscripts, and glossary terms.

Block Elements - paragraph-level elements
The block elements occur immediately below the component and sectioning elements.

Lists
Table 11: element, "statecapital.xml"

Table 12: "statecapital.xml" output

The capitals of the states of the United States of America are:

State Capitals

State: Georgia

Capital: Atlanta

State: Alaska

Capital: Juneau

State: Arkansas

Capital: Little Rock

Table 14: "mashpotatoe.xml" output

I.Preparation A.Chop tomatoes B.Peel onions C.Mash potatoes II.Cooking A.Boil water B.Put tomatoes and onions in    C.Blanch for 5 minutes

Admonitions
There are five types of admonitions: Caution, Important, Note, Tip, and Warning.

Line-specific environments
Line-specific environments preserve whitespace and line breaks.

Table 16: element, "If_by_Kipling.xml"

Common block-level elements
Common block-level elements include Examples, figures, and tables. The distinction between formal and informal elements is that formal elements have titles while informal ones do not.

Example, InformalExample

Table 17: element

Figure, InformalFigure

Table 18: element

Table, InformalTable

Table 19:

Paragraphs
Paragraphs are Para, SimPara (simple paragraphs may not contain other block-level elements), and FormalPara (formal paragraphs have titles). Paragraphs are the most commonly used high-level elements that can contain block elements such as itemizedlist and Mediaobject and can contain almost all inline elements.

Reference page: http://www.docbook.org/tdg/en/html/para.html

Table 20: element, "Nietzsche.xml"

Equations
Equation and InformalEquation (without titles)

Table 21: element inside a element

Graphics
InlineGraphic, MediaObject, InlineMediaObject

These elements may contain video, audio, image, and text data. A single media object can contain several alternative forms from which the presentation system can select the most appropriate object.

Please see Table 18 for example.

Inline Elements – used to mark up running text
In published documents, inline elements often cause a font change or other small change, but they do not cause line or paragraph breaks.

Entities for Special Characters

The following entities are provided for special characters:

Publishing a DocBook Document
DSSSL vs XSL Stylesheets:

Document Style Semantics and Specification Language (DSSSL) is a stylesheet language for both print and online rendering. It is mainly intended to work with SGML.

Extensible Stylesheet Language (XSL) is a language for expressing stylesheets written in XML. It includes the formatting object language, but refers to separate documents for the transformation language and the path language. In this chapter, we will use XSL Stylesheets because they’re more powerful, you are already familiar with them, and they are intended to work with XML.

Step 1: Get the Standard StyleSheets
DocBook strictly separates the content and appearance of a document. A DocBook document only explains the semantics of the document, not its formatting or appearance. In order to publish your DocBook Document, you will need to use a set of DSSSL or XSL Stylesheets describing the formatting and an XSL processor.

If you’re thinking that it would be a lot of work to write your own XSL stylesheets, you’re right. The good news is that you don’t need to. There are a large number of freely available standard XSL stylesheets for DocBook maintained primarily by Norman Walsh.

Make sure that you download the latest version of these stylesheets at Sourceforge.net - Stylesheets Repository. The stylesheet distribution consists of a collection of modular XSL files that are assembled into several complete XSL stylesheets. There is a stylesheet for generating a single HTML file, and one for generating multiple smaller HTML files from a single DocBook document. There are stylesheets for print output, XHTML output, HTML Help output, and JavaHelp output. Since there are XSL processors for all major computer types, you can use DocBook on Unix, Linux, Windows, and Macintosh computers. By using these default stylesheets installed on your system, it is quite easy to create customized stylesheets. But don’t forget to note that the common approach to customize the stylesheets is creating a customization layer rather than editing them directly.

Step 2: Download an XSLT processor
To publish HTML from your XML documents, you will need an XSLT engine. To print, you need an XSLT engine to produce formatting objects (FO), which then must be processed with an FO engine to produce PostScript or PDF output. A variety of XSLT engines are available. Here's a list of some free/open-source ones you might consider. Note that xsltproc and Saxon are currently the only recommended XSLT engines for use with DocBook.

XSLT Engines

 * 1) Xsltproc: A free processor written in C, available as part of the open source libxml2 library from the Gnome development project. It is considered the fastest of the processors, and is highly conformant to the specification.  Download at http://xmlsoft.org/XSLT/
 * 2) Saxon: A free processor written in Java, that can be run on any operating system with a modern Java interpreter. It uses the Aelfred XML parser internally, which has some bugs, so many people substitute the Xerces parser.  Download at http://saxon.sourceforge.net/
 * 3) Xalan: Xalan is part of the Apache XML Project. It has versions written in both Java and C++, both of them free.  The Java version is highly portable and more fully developed.  Generally Xalan is used with the Xerces XML parser (Java or C++), also available from the Apache XML Project.  Download at http://xml.apache.org/

Your choice of an XSLT engine may depend a lot on the environment in which you'll be running the engine. Many DocBook users who need or want a non-Java application use xsltproc. It's very fast and the developers respond very quickly to bug reports and questions. But one current limitation xsltproc has is that it doesn't yet support Norm Walsh's DocBook-specific XSLT extension functions.

Saxon is the most popular one for use in a Java environment. It also supports Norm Walsh's DocBook-specific XSLT extension functions.

NetBeans IDE, the XML editor we’ve been using for other chapters’ exercises, has a built-in XSLT processor using the XALAN parser by default. NetBeans IDE not only lets you validate your XML documents but also does XSL transformations right there in the IDE. It will work for this chapter’s purpose well enough. It doesn’t provide any XSLT debugging though, so you might want to get yourself a decent XSL IDE (e.g.,XML Spy or Xcelerator) for serious XSLT work.

FO Engines
For generating print/PDF output from FO files, there are two free/open-source FO engines:
 * 1) PassiveTeX: available at http://www.tei-c.org.uk/Software/passivetex/index.xml.ID=body.1_div.1. Download and installation information at http://www.tei-c.org.uk/Software/passivetex/index.xml.ID=body.1_div.3.
 * 2) FOP: a Java-based processor from the Apache XML Project, available at http://xml.apache.org/fop/

Output to HTML

 * The main strength of standard stylesheets is that they are easily customizable.
 * Parameters found in params.xsl
 * Call your customization layer instead of the standard stylesheet

Table 22: A customized XSL stylesheet, "myxsl1.xsl"

 * Beyond setting parameters, you can modify XSLT "templates" to override default behavior
 * You need at least a minimal knowledge of XSLT

Table 23: A customized XSL stylesheet, "myxsl2.xsl"

Output to PDF
It generally requires a two-stage process:
 * 1) Generation of FO from XML
 * 2) Generation of PDF from FO

Table 24: An XSL stylesheet to generate FO, "myxsl3.xsl" xsltproc -o sample.fo $DB/fo/docbook.xsl sample.xml fop.sh -fo sample.fo -pdf sample.pdf

Extensions
a. Slides Doctype

 * Creation of presentation slides from DocBook XML
 * You can create HTML (with or without frames) and FO
 * Uses DocBook elements within a specific hierarchical framework
 * Downloadable from DocBook Open Repository at SourceForge

Table 25: "slides.xml"

b. Website Doctype

 * Creation of web sites from a collection of DocBook XML files
 * Uses most DocBook elements within specific framework. It has separate files that control page navigation and hierarchy.
 * Downloadable from DocBook Open Repository at SourceForge.

Table 26: "website.xml"

Why use DocBook?
This certainly looks like too much work, doesn’t it? You’re not wrong. Why do we bother to use DocBook then?

 * It is portable! A document written in DocBook markup can be converted into HTML, PostScript, PDF, RTF, DVI, plain ASCII text easily and quickly without any expensive tools.

 * It is flexible! It enables output to multiple formats, including HTML, PDF, Slides, and many others.

 * It separates the content from format! DocBook is only concerned with the structure of a document. It frees the author from worrying about the formatting and layout of a document.

 * It is easy to understand! Most of DocBook elements are self explanatory.

 * It can handle large quantities of content. You can physically divide the document into different files and work on them separately and conveniently.

 * It is free! There a lot of freely available open source tools used to work with DocBook.

DocBook is well suited to any collection of technical documentation that is regularly maintained and published. Multiple authors can contribute to a single document, and their content can easily be merged because all the authors are using a highly structured, standard markup language. Just one little point to keep in mind; because the formatting for DocBook documents is strictly accomplished by stylesheets, DocBook is not well matched to highly designed layout-driven content like magazines.

Setting up a DocBook system will certainly take some time and effort. The payoff will be an efficient, flexible, and inexpensive publishing system that is iterative and that can grow with your needs. Therefore, it is worth the effort!

DocBook Filters - Reading and Writing DocBook XML Using OpenOffice.org
The goal of the project is to use OpenOffice.org as a WYSIWYG editor of XML content to edit structured documents using styles. When exported, these styles are then transformed to XML tags. This section shows you how to enable and use DocBook filters. Below are some links to stylesheets that can be download to use the latest transformations.

Enabling the DocBook XSLT's in OpenOffice.org 1.1 Beta 2/RC
There are three different ways to enable the DocBook filters. The most recent stylesheets support the import and export of DocBook documents with article or chapter as the top-level tag. The different stylesheets required for each of these operation are listed below:
 * 1) Download the DocBook XSLT Stylesheets and OpenOffice.org Style Template
 * 2) *Using this method will make certain that the most recent stylesheets and OpenOffice.org style template will be used for import and export. It is required to download the following to import, export and modify DocBook documents in OpenOffice.org:
 * 3) *The relevant XSLT stylesheets for the XML transformations (All available here)
 * 4) *An OpenOffice.org style template that contains custom styles corresponding to DocBook tags (Available here)

 * Stylesheets required for import Article docbooktosoffheadings.xsl
 * Stylesheets required for import Chapter docbooktosoffheadings.xsl
 * Stylesheets required for export Article sofftodocbookheadings_article.xsl
 * Stylesheets required for export Chapter sofftodocbookheadings_chapter.xsl

OpenOffice.org Template required for Article and Chapter documents:
 * DocBookTemplate.stw

Creating a new DocBook filter
 * Go to Tools -> XML Filter Settings...
 * Set Filter Name and Name of File Type to DocBook (Chapter)
 * Go to the Transformation tab
 * Set DocType to
 * For XSLT for Export browse to the chapter export stylesheet (docbooktosoffheadings.xsl).
 * For XSLT for Import browse to the chapter import stylesheet (sofftodocbookheadings_chapter.xsl).
 * For Template for Import browse to the style template (DocBookTemplate.stw).
 * Click OK and close the XSLT Filter Setting dialog

To create a DocBook Article filter, the above steps can be repeated with article replacing chapter This method is more convenient, however there is no guarantee that the most recent stylesheets and OpenOffice.org template will be used. The DocBook UNO component adds filter support for the retention of unresolved XML entities.
 * 1) Download the DocBook XSLT Jar Packages for Article or Chapter
 * 1) Download the DocBook UNO component for Article only
 * Download the DocBookFilter
 * Unzip it to the /
 * Run pkgchk in the /program dir
 * The DocBook Article filter will now import DocBook unresolved entities as OpenOffice.org set variables

How to Import a DocBook document
A DocBook article or chapter document can now be opened using the File -> Open dialog. The DocBook XSLT filter should automatically determine the root element of the document and import it with the matching XSLT filter. Alternatively, it is possible to browse manually to the desired DocBook filter in the File Type combo-box in the File -> Open dialog.
 * Go to File -> Open...
 * Browse to the DocBook document.
 * Click OK

How to Export a DocBook document
The DocBook document can also be exported using the File -> Save As dialog.

Again, the DocBook XSLT filter should automatically determine the file type and export with the matching XSLT filter. Alternatively, it is possible to browse manually to the desired DocBook filter in the File Type combo-box in the File -> Save As dialog.
 * Go to File -> Save As...
 * Browse to the location where the document is to be saved
 * Click Save

Using OpenOffice.org Headings and Styles for different DocBook tags
Using OpenOffice.org styles to represent DocBook tags The style template supplies all of the custom styles that are currently supported. Once a DocBook document has been imported to OpenOffice.org, the available DocBook specific styles can be viewed using the Stylist. On import, each of the supported DocBook tags will be mapped to formatted OpenOffice.org content. Similarly, to modify the imported DocBook document, OpenOffice.org text styles can be used to represent the DocBook tags marking-up the text. NOTE: A new DocBook document can be created in OpenOffice.org by opening the DocBookTemplate.stw. The document can then be saved as a DocBook document, and the new content will be represented as DocBook mark-up. How to create new DocBook content: How to create DocBook sections: Initially the DocBook project used OpenOffice.org sections to enforce the nesting of DocBook sections. Feedback has shown that authors wish to use the common word processing styles such as Heading1, Heading2, etc. The following instructions describe how to create a that contains a Navigating through the document: If you wish to see how DocBook sections are nested as OpenOffice.org headings, use the F5 key to Display the Navigator window. Expand the headings tag, to display the layout of the headings within the document. You can skip to the start of a given DocBook section/OpenOffice.org heading, by double-clicking on it.
 * Press F11 to display the Stylist
 * Select Custom Styles in the Stylist combo-box
 * Click the Character Styles icon (second from left on the Stylist)
 * Double-click the SubScript style
 * Enter text in the OpenOffice.org document
 * On exporting as DocBook, the text formatted as the SubScript custom style will be marked-up with the DocBook tag
 * Press F11 to display the Stylist
 * Select All Styles in the Stylist combo-box
 * Click the Paragraph Styles icon (first in the left on the Stylist)
 * Double-click the Heading 1 style
 * Enter the text to be the title
 * All the text below this heading will now be the content of the DocBook
 * Enter other DocBook styles, tables, etc.
 * Enter other DocBook styles, tables, etc. to be included in
 * 1) Double-click the Heading 2 style
 * 2) Enter the text to be the title
 * 3) All the text below this heading will now be the content of the DocBook
 * 4) Enter other DocBook styles, tables, etc. to be included in
 * This nesting of DocBook sect's using OpenOffice headings can go as far as / Heading 4

Exercises

 * 1) Download the latest DocBook DTD at http://www.oasis-open.org/docbook/xml/. Convert the Learning Objectives part of Chapter 2 of this textbook into a DocBook document.  Check that it is well-formed and valid.
 * 2) Download the DocBook XSL Stylesheets at Sourceforge.net. Transform the DocBook document you created in the first exercise into an HTML file by using the docbook.xsl stylesheet in the HTML folder.

References and Useful Links

 * 1) DocBook Official Website
 * 2) DocBook: The Definitive Guide, by Norman Walsh and Leonard Muellner, published by O'Reilly & Associates, October 1999 http://www.docbook.org/
 * 3) Sourceforge - DocBook Open Repository
 * 4) Installing and Using DocBook - Copyright 2002, The University Of Birmingham
 * 5) Using the DocBook XSL Stylesheets - http://www.sagehill.net/docbookxsl/index.html
 * 6) Setting Up A Free XML/SGML DocBook Editing Suite For Windows And Unix
 * 7) http://lists.oasis-open.org/archives/docbook-apps/
 * 8) http://www.dulug.duke.edu/~mark/docbookmarks/
 * 9) http://www.linuxdoc.org/LDP/LDP-Author-Guide/
 * 10) http://www.nwalsh.com/docs/
 * 11) http://www.e-smith.org/docs/docprocess.html
 * 12) http://www.lodestar2.com/people/dyork/talks/docbook/
 * 13) DocBook mailing list: mailto:docbook@lists.oasis-open.org
 * 14) http://xml.openoffice.org/xmerge/docbook/

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

title: XML - Managing Data Exchange/DocBook


text:
Basic Electrical Generation and Distribution

This is a document for everyday use of electricity in a household. Many circuits are a mixture of electrical, mechanical, and electronic components, which interact in different ways to produce strange and useful effects. Topics include commercially generated AC as well as AC generated from inverters for alternative power use (such as off-the-grid homes, cabins or recreational vehicles.) Electricity has become an integral part of life and difficult to imagine to be without it.

Distribution and Domestic Power Supply
Alternating Current is used for electric power distribution because it can easily be transformed to a higher or lower voltage. Electrical energy losses are dependent on current flow. By using transformers, the voltage can be stepped up so that the same amount of power may be distributed over long distances at lower currents and hence lower losses due to the resistance of the conductors. The voltage can also be stepped down again so it is safe for domestic supply.

Three-phase electrical generation and transmission is common and is an efficient use of conductors as the current-rating of each conductor can be fully utilized in transporting power from generation through transmission and distribution to final use. Three-phase electricity is supplied only in industrial premises and many industrial electric motors are designed for it. Three voltage waveforms are generated that are 120 degrees out of phase with each other. At the load end of the circuit the return legs of the three phase circuits can be coupled together at a 'neutral point', where the three currents sum to zero if supplied to a balanced load. This means that all the current can be carried using only three cables, rather than the six that would otherwise be needed. Three phase power is a type of polyphase system.

In most situations only a single phase is needed to supply street lights or residential consumers. When distributing three-phase electric power, a fourth or neutral cable is run in the street distribution to provide one complete circuit to each house. Different houses in the street are placed on different phases of the supply so that the load is balanced, or spread evenly, across the three phases when consumers are connected. Thus the supply cable to each house can consist of a live and neutral conductor with possibly an earthed armoured sheath. In North America, the most common technique is to use a transformer to convert one distribution phase to a center-tapped 'split-phase' 240 V winding; the connection to the consumer is typically two 120-volt power lines out of phase with each other, and a grounded 'neutral' wire, which also acts as the physical support wire. In India there is a recent trend of providing a High Voltage line up to the residence & then stepping it down to domestic power on premises to avoid pilferage of the Energy. Although this method has certain advantages, there are obvious potential dangers associated with it.

The use of "split phase" power, two 120-volt power lines out of phase with each other, as described above, allows high-powered appliances to be run on 240 V, thus decreasing the amount of current required per phase, while allowing the rest of the residence to be wired for the safer 120 V. For example, a clothes dryer may need 3600 W of power, which translates to a circuit rating of 30 A at 120 V. If the dryer can instead be run on 240 V, the service required is only 15 A. Granted, you would then need two 15 A circuit breakers, one for each side of the circuit, and you would need to provide two 'hot' lines, one neutral, and a ground in the distribution wiring, but that is offset by the lower cost of the wires for the lower current. Houses are generally wired so that the two phases are loaded about equally; connecting the high-power appliances such as clothes dryers, kitchen ranges, and built-in space heaters across both phases helps to ensure that the loads will remain balanced across the two phases.

For safety, a third wire is often connected between the individual electrical appliances in the house and the main electric switchboard or fusebox. The third wire is known in Britain and most other English-speaking countries as the earth wire, whereas in North America it is the ground wire. At the main switchboard the earth wire is connected to the neutral wire and also connected to an earth stake or other convenient earthing point (to Americans, the grounding point) such as a water pipe. In the event of a fault, the earth wire can carry enough current to blow a fuse and isolate the faulty circuit. The earth connection also means that the surrounding building is at the same voltage as the neutral point. The most common form of electrical shock occurs when a person accidentally forms a circuit between a live conductor and ground. A residual-current circuit breaker (also called a Ground Fault Interrupter, GFI, or Ground Fault Circuit Interrupter, GFCI) is designed to detect such a problem and break the circuit before electric shock causes death. As many parts of the neutral system are connected to the earth, balancing currents, known as earth currents, may flow between the distribution transformer and the consumer and other parts of the system, which are also earthed, this acts to keep the neutral voltage at a safe level. This system of earthing the neutral points to balance the current flows for safety reasons is known as a multiple earth neutral system.

Overcurrent protection
In households circuit breakers or fuses are used to switch off the supply of electricity quickly if the current is too large, for example there is a limit of 15 amperes in a normal 115/120 volt circuit.

 * In distribution systems automatic protection is used for the same purpose. There may be two stages:

 * A very fast disconnection if the problem causing the overcurrent condition is nearby, and
 * A time-delayed backup operation if the overcurrent originates outside the local area.

Unfortunately in some cases this 'protection' can have a cascading effect, because the switching-off of one circuit can lead to an overload of adjacent circuits that may switch off later. "Blackouts" can be the result if further failures occur.

 * There is also the problem of a power source thereby becoming disconnected from its load, causing disruption to generation and altering the balance between the amount of power needed and the amount of power available in many parts of, or the entire system.

The amount of time taken to restore generation and reestablish that balance depends on the type of generation (thermal, hydroelectric. nuclear or other) available, - after a "blackout" it can take many hours to restore the system.

Single phase electric power
The generation of AC electric power is commonly three phase, in which the waveforms of three supply conductors are offset from one another by 120°. The design of the power generators has three sets of coils placed 120 degrees apart rotating in a magnetic field. This creates three separate sine waves of electricity that are displaced from each other in time by 120 degrees of rotation (1/3 of a circle). Standard frequencies of rotation are either 50 Hertz (cycles per second) in Europe or 60 Hertz in North America. The voltage across any pair of these three conductors, or between a single conductor and ground (in a grounded system) is what is known as "single phase" electric power. Single phase power is what is commonly available to residential and light-commercial consumers in most distribution power grids. In North America, the single phase that is supplied is developed across a transformer coil at the utility pole (for aerial drop) or transformer pad (for underground) distribution. This single coil is center tapped and the tap is grounded. This creates a 120/240 volt system that is delivered to the customer. The voltage from either side of the coil to the center tap (ground) is 120 volts whereas the voltage between the two conductors on either end of the coil develops the full voltage of 240 volts.

Inverters and Battery Based AC
An inverter is a circuit for converting direct current to alternating current. An inverter can have one or two switched-mode power supplies (SMPS).

Early inverters consisted of an oscillator driving a transistor as an on/off switch, that is used to interrupt the incoming direct current to create a square wave. This is then fed through a transformer to smooth the square wave into a sine wave and to produce the required output voltage.

More efficient inverters use various methods to produce an approximate sine wave at the transformer input rather than relying on the transformer to smooth it. Capacitors can be used to smooth the flow of current into and out of the transformer. It is also possible to produce a more sinusoidal wave by having split-rail direct current inputs at two voltages, (positive and negative inputs with a central ground). By connecting the transformer input terminals in a timed sequence between the positive rail and ground, the positive rail and the negative rail, the ground rail and the negative rail, then both to the ground rail, a 'stepped sinusoid' is generated at the transformer input and the current drain on the direct current supply is less variable.

Modified Sine Wave inverters convert the (usually 12 V DC) battery voltage to high frequency (20 kHz) AC, so that a smaller transformer can be used for stepping up to a higher voltage (say 160 V) AC. This output is converted to DC at the same voltage, and then inverted again to a quasi sine wave output (about 120 V RMS). A disadvantage of the modified sine wave inverters is that the output voltage depends on the battery voltage.

It is quite difficult to obtain a good sine wave from an inverter. The quoted accuracy (harmonic distortion) for most is less than 60%, and will have an effect on the appliances connected to the output of the inverter. This might mean noisy operation in some appliances and/or damaged electric motors, because they will run less efficiently and could overheat. High end inverters (> $2,000) produce waveforms which are closer to the sine wave produced by a utility.

Batteries
Most home systems use conventional lead acid batteries for storage. They are cheap, and are deep cycle batteries, i.e., they can be discharged completely and charged again many times. You cannot use automobile batteries in inverters, as they are only used to provide a large starting current, and are not meant to be discharged completely. The lead acid batteries have the disadvantage that they have to be replenished with distilled water every few months, and if it dries out, it cannot be repaired. However, they can provide the large surge currents which are required by many loads (such as induction motors) which may be connected to the system.

Switched Mode Power Supply
A switched-mode power supply, or SMPS or switching regulator, is an electronic power supply circuit that attempts to produce a smoothed, constant-voltage, output from a varying input voltage.

Switched-mode power supplies may be designed to convert from alternating current or direct current, or both. They generally output direct current, although an inverter is technically a switched-mode power supply.

Switched-mode power supplies operate by using an inverter to convert the input direct current supply to alternating current, usually at around 20 kHz. If the input is alternating current but at a lower frequency (such as 50 Hz or 60 Hz line power) then an inverter is still used to bump the frequency up.

This high frequency means that the output transformer of the inverter will operate more efficiently than if it were run at 50 Hz or 60 Hz, due to hysteresis in the transformer core, and the transformer will not need to be as large or heavy. This high-frequency output is then fed through a rectifier to produce the output direct current.

Regulation is achieved through feedback. The output voltage is compared to a reference voltage and the result used to alter the switching frequency or duty cycle of the inverter oscillator, which affects its output voltage.

Switched-mode PSUs in domestic products such as personal computers often have universal inputs, meaning that they can accept power from most mains supplies throughout the world, with frequencies from 50 Hz to 60 Hz and voltages from 100 V to 240 V.

Unlike most other appliances, switched mode power supplies tend to be constant power devices, drawing more current as the line voltage reduces. This may cause stability problems in some situations such as emergency generator systems.

Also, maximum current draw occurs at the peaks of the waveform cycle. This means that basic switched mode power supplies tend to produce more harmonics and have a worse power factor than other types of appliances. However, higher-quality switched-mode power supplies with power-factor correction (PFC) are available, which are designed to present close to a resistive load to the mains.

The term power factor with respect to switched-mode supplies is misleading as it doesn't have much to do with leading or lagging voltage, but the way in which it loads the circuit (i.e. only at certain points in the cycle).

There are several types of switched-mode power supplies, classified according to the circuit topology.

 * 1) buck regulator (single inductor; output voltage < input voltage)
 * 2) boost regulator (single inductor; output voltage > input voltage)
 * 3) buckboost regulator (single inductor; output voltage can be more or less than the input voltage)
 * 4) flyback regulator (uses output transformer; allows multiple outputs and input-to-output isolation)
 * 5) forward regulator (uses output transformer; allows multiple outputs and input-to-output isolation)
 * 6) Cuk converter (uses a capacitor for energy storage; produces negative voltage for positive input)

Single-Phase AC motors
The most common single-phase motor is the shaded-pole synchronous motor, which is most commonly used in devices requiring lower torque such as electric fans, microwave ovens and other small household appliances.

Another common single-phase AC motor is the induction motor, commonly used in major appliances such as washing machines and clothes dryers. These motors can generally provide greater starting torque by using a special startup winding in conjunction with a starting capacitor and a centrifugal switch. When starting, the capacitor and special winding are temporarily connected to the power source and provide starting torque. Once the motor reaches speed, the centrifugal switch disconnects the capacitor and startup winding.

Shaded-pole synchronous motor
Shaded-pole synchronous motors are a class of AC motor that uses single phase electric power to convert electric power to mechanical energy. They work by using a squirrel-cage rotor and a split stator that has copper shorting rings placed on it so as to shade a portion of the stator's magnetic field enough to provide starting torque.

The number of poles in an induction motor is an important factor in its interaction with non sine wave input. As a rule of thumb, motors with larger number of poles are more sensitive to harmonic distortion.

Incandescent Lamps
Early applications of lighting was using lamps which used a heated filament to provide light. The filament was made of tungsten and was placed inside a near vacuum glass enclosure. While it was cheap, it produced a lot of heat, so that it was inefficient too. Note that the incandescent bulb is a purely resistive load (power factor 1).

Inrush Current
The incandescent bulb is designed to operate at high temperatures. At normal operating temperatures, a tungsten filament has a resistance nearly 20 times its room-temperature resistance. So when a bulb is turned on, it draws a current nearly 20 times the normal current until it warms up. This current surge is called the inrush current, which lasts for 30-100 milliseconds. Again, something different from the "dumb load" point of view. Thus, 5 100 W bulbs in parallel, which would consume just 500 W in normal circumstances, will have a inrush load of more than 10000 W. More importantly, a huge current flows, and it is important that all components on the line can carry the current. For larger lamps, a small current flows to keep it at a reasonable temperature, called the "keep alive".

Evaporation
Another factor often overlooked in lamps is the resistance vs. time values. For an incandescent lamp, the power is proportional to the area. The tungsten slowly evaporates as the bulb ages, so that the power (and hence the light) produced by the lamp drops. Further, the light drops at about 5 times the rate of the power drop, so that the lamp becomes very inefficient with age.

After running for 75% of its rated life, an incandescent lamp must produce more than 93% of its initial light output in order to pass the standard test described in IEC Publication 60064.

Voltage and Efficiency
The efficiency of an incandescent lamp is measured in terms of the amount of light produced per watt of power consumed. As the temperature of the lamp decreases, the light output per watt decreases. Thus, at a lower voltage (brownout), the efficiency of the lamp is very low.

 * saying that the efficiency is "very low" is purely subjective - "very low" compared to what?

The tungsten filament normal operating temperature is selected to minimize the net cost of running lighting fixtures, balancing efficiency and lifetime. Hotter filament temperatures cost more because they wear out the filament faster and require more frequent replacements. Colder filament temperatures cost more because they require more electrical power for a given amount of visible light.

The luminous efficiency of any black-body radiator increases with temperature up to 6300 °C (6600 K or 11,500 °F). Tungsten melts at 3695 K (6192°F), where it, like any black-body radiator, would theoretically have a luminous efficiency of 52 lumens per watt.

A 50-hour-life projection bulb is designed to operate at 50 °C (90 °F) below that melting point, where it may achieve up to 22 lumens/watt.

A 1000 hour lifespan general service bulb typically operates at 2000 K to 3300 K (about 3100-5400°F), achieving 10 to 17 lumens/watt. As you increase the voltage V of an incandescent light bulb, the incandescent bulb puts out more light -- proportional to the fourth power of V -- but the life of the incandescent bulb is then decreased by the eighth power of V.

Fluorescent Lamps
The tungsten lamp has been replaced in most applications by fluorescent lamps. Fluorescent lamps have a power factor close to 0.25. Fluorescent lamps typically rate about 40 W, and they provide much more (about 5 times) light compared to an incandescent lamp of the same wattage. They also give out less heat.

Passive Control
Early fluorescent lamps used a ballast (also called a choke coil), which was essentially an inductor to control the current in the lamp. Also, the lamp was started by using a starter, which is essentially a neon thermistor which heats up and closes a circuit. With the choke coil in series with it, the lamp has a relatively small voltage drop across it so that the starter doesn't close again. As the starter is in parallel with the lamp, the same starter can be used to start several lamps. One particularly annoying aspect of the electromagnetic ballast is the 60 Hz flicker produced. While it does not bother most people, some find it extremely irritating. Also, the electromagnetic ballast increases power consumption by about 25% when on utility power.

Active (Electronic) Control
Modern lamps use electronic circuits to control the current, so that both the starter and the choke coil are redundant, and they behave much better on both inverter based and utility power. Many electronic ballasts will boost the frequency to something in the range of 20 kHz, so that there is no flicker problem.

CRT Based Appliances
The other major source of power consumption are CRTs (Cathode Ray Tubes) like computer monitors and televisions.

Computer Towers
The towers of a modern computer draw their power from a SMPS, which has been detailed below. The most popular computers today (running P4s and 3D cards) consume several hundred watts of power.

Other Electronic Loads
Other electronic items in a household draw their power from the mains using a wall wart. The steady state power consumed by each component is pretty low, and in many cases (like printers, scanners etc.), they don't work continuously.

Control Elements
Control elements are the switches, dimmers, and regulators which are connected to the circuit. They are, by their very nature non linear elements and their behavior is quite complicated, and not quite well represented by their simple schematic symbols.

Light Dimmers
Light dimmers work by cutting off parts of the input sine wave. While this works for resistive loads, even here it has side effects.

Energy Meters
Most households are on the grid, i.e. their electricity comes from a utility, which installs an energy meter on the premises. The meter is then read either manually or by phone line connection to the utility offices.

The utility wants your power factor to be as close to 1 as possible, and businesses are penalized if they cannot achieve a target set by the utility, as the transmission losses are nearly the same for both active and reactive power consumed. For home users no such rule exists, and it is interesting to see the changes in the power consumption patterns now that most of the home electricity use is not lighting, and even the lighting is by fluorescent lamps which are not resistive in nature. The utility only charges the home uses for active power, so that a low power factor is not an issue from an economic perspective, and transmission losses within the household are negligible.

Mechanical Energy Meters
Mechanical energy meters are discussed in high school physics books as applications of Lenz's law, viz., the generation of eddy currents which oppose the change that caused it. The number of revolutions of a metal disc between the poles of an electromagnet represents the amount of energy consumed. They are more accurately described as electro-mechanical meters, as they use mechanical components like a spinning disc to measure the energy consumed.

Electronic Energy Meters
Electronic meters work by measuring the current flowing through the resistors in it at any time. The unit of measurement in the meter is the number of pulses, which is the smallest unit of energy measured by the meter. The pulses are calibrated in terms of kilowatt-hours of electricity, typically 3200 pulses per unit. Apart from the numbered wheel display found in mechanical meters, the energy consumed is also noted inside chips in the meter, so tampering can be detected.

Lightning
Lightning is a very major cause for concern for a home user. Lightning consists of an immense current source which discharges itself through anything it can find. Proper lightning control and defense is very tricky, and improper methods can increase the risk to man and machine.

A simple lightning arrestor consists of a choke which is in series with the loads. A spark gap which is grounded runs parallel. When lightning strikes, the pulse is almost a square wave, and the choke acts as a large resistance. At the same time, the large voltage generated causes the air to break down across the spark gap, and it acts as a short,


text:
User talk:Daniel USURPED

I noticed your revisions to the guitar book I started...I just want you to know that so far I think you're doing a good job and I'm glad I'm not entirely alone in this anymore. :)

--Furrykef 11:25, 1 May 2004 (UTC)

 * I think the guitar book's a great idea, and you've written it quite well. I'm glad I can help out a bit with editing, etc.!

 * --Daniel 19:04, 1 May 2004 (UTC)

title: User talk:Daniel USURPED


text:
Guitar/Lead Guitar and Rhythm Guitar

The terms lead guitar and rhythm guitar are mildly confusing, especially to the beginner. Of course, a guitar should almost always follow some sort of rhythm, whether loose or tight. Plus, many times, guitars are very prominent in a song, where it drives the music, but it's not quite lead. Plus, the lead guitarist doesn't even play a lead part, and that happens almost all the time! How can we untangle this mess?

The distinction is somewhat arbitrary. Many bands in contemporary music have two guitarists, where usually one would specialize in "lead" and the other in "rhythm". The Beatles, Dethklok, and Metallica are examples of bands who use this combination. Lead guitar means melody guitar, meaning that the lead guitarist must specialize in playing the melody of the song, so any guitar playing a solo is not a lead. Sure, a lead guitarist may get to solo, but someone cannot be called a lead guitarist simply because he/she plays a solo in a song. A lead part contributes entirely to melody (as lead guitar means melody guitar), instead of to the foundation, which is carried by the rhythm guitar. This means the rhythm guitarist is the driving source. Lead guitar uses few or no chords, although sometimes it can be following a chord structure, while rhythm guitar uses the chords to drive the music.

It is important to realize that lead guitar and rhythm guitar fit into two different parts of a band, but it just happens that they are played on the same instrument. Lead guitar provides a solo voice, and is grouped with the lead vocals, lead piano, etc. Rhythm guitar is part of the underlying rhythm section, along with instruments like bass, drums, sometimes piano, background vocals, etc. Generally speaking, the rhythm provides the groove of the song, while lead provides the melody.

However, these distinctions get fuzzy, especially when the so-called lead guitarists play chords and double-stops in their riffs. In some cases, a single guitar part provides both the melody and accompaniment (especially power chord riffs, commonly found in rock and metal, and finger picking, found in folk guitar).

Some bands (often three piece bands) feature a single guitarist who can act as either, by either assuming one role at a time or, in a recording studio, recording a lead track over their own rhythm track. For example, the band Dire Straits has been in both situations: in the early days, David Knopfler played rhythm while Mark Knopfler played lead. When David left, Mark usually played both parts on studio albums, and hired another guitarist to play rhythm for live shows. Some guitarists reached such technical proficiency that they were able to play both parts "simultaneously". A famous example of this technique is Dimebag Darrell, particularly on songs such like Walk or Breathing New Life (using an harmonizing effect pedal). The bass plays a big part like in songs such as Seven Nation Army by The White Stripes (even though there is no bass guitar in the song, it's an electric acoustic) to set the speed and tone for the song and that the lead guitarist (otherwise known as melody guitarist) in the chorus follows the bass and drums not, the bass follow the chorus player.

Playing Lead Guitar
Very often, a lead guitar part is played on an electric guitar, using moderate to heavy distortion (also known as drive or gain). For this reason, many amplifier manufacturers refer to their distortion channel as a lead channel. Distortion provides a more powerful sustain than a clean channel, and this is often best represented in extreme techniques like shredding and tapping, which some guitarists feel can only properly be done with distortion. Of course, lead guitar can be played on an acoustic guitar, but some techniques may not be as pronounced as on an electric.

The most common techniques for creating lead parts are bending, vibrato and slides. These provide the basic means of emphasizing notes, and allow for greater expression in the melody. Often the lead guitarists may employ arpeggios or sweep picking to add depth, and the progression of the solo often mirrors the underlying rhythm guitar part.

Playing Rhythm Guitar
Rhythm guitar is characterized mostly by playing chords in patterns. Some players criticize rhythm guitar as sounding "chordy", or not being as interesting as the lead part. Although rhythm guitar does not "express" as much as the lead guitar, there is so much to be learned about chords, chord progressions and rhythm patterns, and a player is limited only by their imagination.

Rhythm guitar is just as easily played on electric or acoustic, clean or distorted. The technique is less about expressing individual notes, and more about choosing chords or chord voicings that enrich the overall sound, which may add its own expressive tone to the music.

title: Guitar/Lead Guitar and Rhythm Guitar


text:
Visual Language Interpreting/Introduction

A few assumptions
Visual Language interpreters may be found in nearly every part of public life, and so it is expected that those who look as this text will hardly be approaching without some opinion and background knowledge. Opinions and backgrounds vary widely, however, so it makes sense to outline the assumptions made by the authors of this book with respect to its readership.

What this book is for
This book is written for those with a strong interest in interpreting where at least one of the languages is visual (more on that below). Many of the readers will probably be on the cusp or in the process of formal education to become an interpreter. Others may be consumers of interpreting services who wish to have a greater appreciation and understanding of the interpreter's task.

The expectation is that most readers will know at least one visual language, in addition to a spoken language. For those wishing to become interpreters, it is expected that command of the spoken and visual languages will approach that of an educated native speaker; if there are any deficiencies in either language, it is vital for potential interpreters to make the necessary effort to ameliorate any problems.

What this book is not for
There was a time in the not-too-distant past when there were no courses on interpreting, no textbooks, no linguistic research. But there were still interpreters. So it is possible to be an interpreter and a skilled one without any hint of formal training. But what is possible is not always what is best, and in this case it is possible to be an interpreter without training in the way that it is possible to row a small boat across an ocean. The benefits of formal training outweigh any cost, and the cost of avoiding formal training are not paid for by any benefit.

Neither this nor any other book can be used as a substitute for a serious multi-year course of instruction by experts skilled both in the art interpretation and in the art of of teaching the art. Interpreting is not a "teach-it-yourself" occupation; the more experienced eyes are on you, the more feedback and instruction you receive, the greater the chanced that you will excel.

This is also not a textbook on a visual language. Although many examples of proper translations of sentences into visual languages (notably American Sign Language (ASL) are given, these are given in the context of the interpreting process. Natural conversation in a language is a qualitatively different cognitive task, and the two should not be confused.

There are setting when communication occurs in a visual medium, such as underwater among SCUBA divers or in a military/police operation. This is not a book about interpreting those situations.

Why "Visual Language?"
Given the fact that interpreters typically work between a spoken and a signed language, the term visual language may seem unnecessarily convoluted. Why not "sign language interpreting" or "interpreting for the deaf?"

The short answer (which will be elaborated on in the following chapters) is that such interpreting is not simply for those who are deaf (Note: following common convention, Deaf is capitalized when referring to members of a linguistic and cultural group which uses a signed language as the first language). Not only does this piece of verbal legerdemain place the deaf in the position of being helpless, it ignores the fact that in situations where there are deaf and hearing consumers of interpreting services, both sides are in need of such services. In fact, there are situations in which both consumers are hearing, but one may have a disorder such as an aphasia which necessitates the use of a visual language.

Furthermore, not all visual languages are signed languages. There are systems such as Cued Speech which, although they do not qualify as signed languages, are used under same circumstances as those encountered by sign language interpreters. For this reason, this book uses visual language, a decision which mirrors that of bodies such as the Association of Visual Language Interpreters of Canada.

"Field" or "Profession?"
It is often said that visual language interpreting is a profession, and many interpreters, when discussing professional practices compare interpreting to law, medicine, or another field of endeavor within the same societal rank.

Others agree that while that is a worthy goal, a profession has a complicated body of knowledge which takes years to master. Interpreting certainly is a complex and demanding task which is acquired on the order of years; the best interpreters are still learning. Still, there is no broad agreement on how that knowledge is to be effectively transmitted. Furthermore, the level of education is still a matter hotly debated within the profession. The Registry of Interpreters for the Deaf (RID) has recently passed a motion phasing in a degree requirement in the coming decade: first an associate's degree then a bachelor's degree will be required. There are also indications of growing pains in other areas which, the argument goes, are signs that visual language interpreting is not yet a profession in the strict sense.

Still others assert that aspiring to professional status is elitist, and that visual language interpreting has done fine without being in such highfalutin' company as the learned professions. Furthermore, they would argue, formal education is no guarantee of quality, and to pretend to do so ignores current facts on the ground. Many interpreters are "home-grown", and provide superior service. To them, interpreting is a trade, learned by long apprenticeship, but not necessarily in a college classroom.

Each of these viewpoints (and others) have powerful arguments both for and against them, and many of the authors of this text will hold to one or another of these views. In the interests of harmony, and while the debate is still far from concluded, this textbook will use the more neutral term field, which may be applied equally to medicine and cosmetology.

Conventions Used in this Book
Since sections of this book will be concerned with a particular brand of visual language, namely ASL, there are times when it will be necessary to represent utterances in that language. To that end, every effort will be made to include videos and illustrations as needed. However, sometimes the use of glosses will suffice, and standard glossing conventions as found in most standard ASL textbooks and research journals will be used. The glosses will be written in the format given below:

_cond_______________________________________________ _[smiling]__ SUPPOSE IX.2 READ IX."glossing on screen" UNDERSTAND, NONE PROBLEM.


text:
Introduction to Psychology/Child and Adolescent Psychology

Child psychology is a field of study in which researchers work to understand and describe changes that take place as children grow. Some sections within this wikibook are translations from a French wikibook.

Introduction

 * /Summary/
 * /Introduction/

Childhood: a concept at the crossroads of science

 * 1) /Childhood and History/
 * 2) /Childhood and Sociology/
 * 3) /Childhood and the Law/
 * 4) /Childhood and Theories of Communication/

Childhood through history and the methodology of psychology

 * 1) /Experimental Psychology/
 * 2) /Clinical Psychology/
 * 3) /Research Methods/

Psychological approaches to children

 * 1) /Observation of Children/
 * 2) /Children and Games/
 * 3) /Psychoanalytic Reconstruction/

Heredity and environment - development throughout the lifespan

 * 1) /Common Issues/
 * 2) Push and Pull Factors
 * 3) Separation and Individuation
 * 4) /Genes/
 * 5) /Conception/
 * 6) /Prenatal Environment/
 * 7) /Birth/
 * 8) /Infants and Toddlers/ (0-2 years)
 * 9) /Early Childhood/ (3-6 years)
 * 10) /Middle Childhood/ (7-11 years)
 * 11) /Adolescence/ (12 years +)

Understanding development: cognitive and psychoanalytic theories throughout the lifespan

 * 1) /Contributions of Wallon/
 * 2) /Contributions of Piaget/
 * 3) /Contributions of Freud/
 * 4) /Contributions of Erikson/
 * 5) /Behavioral and Social Learning Theories/
 * 6) /Biological Theories/
 * 7) /Psychoanalytic reactions to research/
 * 8) /Current developments in psychological research/
 * 9) /Adolescence - a period of transition/

Psychology in everyday life

 * 1) Emotional Disturbances
 * 2) Disorders of Childhood and Adolescence
 * 3) Special Education
 * 4) /Psychological Therapies/

Miscellaneous pages

 * /Question Key/
 * /Conclusion/
 * /About the Contributors/
 * /Glossary/
 * /Bibliography/
 * /Index/


text:
Introduction to Psychology/Child and Adolescent Psychology/Introduction

Introduction
This work is addressed to all students who aim to practice in the fields - both vast and closed - of social psychology, psychological education, pedagogy, or other psychologies; that is to say, in any domain where the "rules of psychology" hold sway. Hence, this work will also interest a neophyte with any interest in psychology.

De nombreux métiers, surtout récents, cherchent à se distinguer par un hermétisme de leur code linguistique, et c'est largement le cas dans le champ professionnel désigné ci-dessus. Le langage «psy» est l'apanage des professionnels « initiés» et les démarque des autres interlocuteurs pourtant de plus en plus nombreux dans ce domaine. Si l'on souhaite que « le fait psychologique » soit considéré comme un outil, et comme l'outil le plus efficace dont nous disposions dans notre domaine professionnel, il faut lui ôter son côté hermétique et expliquer clairement ce que nous savons avec certitude, ce que nous savons par intuition et ce que nous devons soumettre à des études plus approfondies pour intégrer tel ou tel fait dans le corpus des connaissances établies.

The goal of this work is twofold: on the one hand, to describe as clearly as possible the present state of our knowledge in the field of child and adolescent psychology, and on the other, to allow future teachers, educators of young children, psychiatric teaching assistants[?aides médico-pédagogiques], etc., to further[?faire le point sur] their knowledge.

This book comprises three parts:

 * The first part, dedicated to the introduction, details the history of child psychology (and situates it with respect to several related and descendant fields);

 * The second part presents the content matter of the subject, in the form of questions that announce the discussion of an important point or that permit the recapitulation of a subchapter. The key terms and the important names in psychoanalysis and psychology are written in the margin in order to help the reader in his studies;

 * The third part comprises:

 * 1) a bibliography of reference works;
 * 2) the assembled questions, by chapter;
 * 3) the biographies of several authors;
 * 4) a lexicon;
 * 5) [?des annales (avec des propositions de corrigés).]

With this book, the reader can always find:
 * the exact point he wants to study;
 * the theory of a particular psychologist;
 * the answer to a question he has;
 * practice for his exam.

If this book manages to accomplish these goals and, moreover, to transmit even a little of [?un tant soit peu] the pleasure of understanding, for example, what goes on when a child plays in front of our eyes or seeks to grasp a kind of reasoning up to that time unknown, if the reader (in addition to everything mentioned above) could sense the complexity - under the apparent simplicity - of these "human adventures," the goal of this work would be achieved.