text:
User:Egm6341.s11.team4.fields/HW3.6

=Problem 3.6: Prove that qn+1(n+1) =  (n+1)!=

Refer to lecture slide [[media:nm1.s11.mtg16.djvu|16-3]] for the problem statement.

Given

 * {| style="width:70%" border="0" align="center"

(6.1)
 * $$\displaystyle q_{n+1}^{(n+1)} =  (n+1)!$$
 *
 * }
 * }

Objective
Prove the equality given in equation (6.1).

Solution
From lecture [[media:nm1.s11.mtg11.djvu|11-3]] we have

 * {| style="width:70%" border="0" align="center"

(6.2)
 * $$\displaystyle q_{n+1} :=  \prod_{j=0}^n = (x-x_j) = (x-x_0)(x-x_1)\cdots(x-x_n)$$
 *
 * }
 * }

Since (6.2) is a polynomial we can re-write it as:

 * {| style="width:70%" border="0" align="center"

(6.3)
 * $$\displaystyle (x-x_0)(x-x_1)\cdots(x-x_n) = x^{n+1} + c_nx^n + \cdots + c_2x^2 + c_1x + c_0$$
 *
 * }
 * }

Where $$ c_n $$ through $$ c_0 $$ are constants.

We now have to calculate the $$(n+1)^{th}$$ derivative.

The 1st derivative is:

 * {| style="width:70%" border="0" align="center"

(6.4)
 * $$\displaystyle \frac{d}{dx}\big(x^{n+1} + c_nx^n + \cdots + c_2x^2 + c_1x + c_0\big)$$
 *
 * }
 * }

 * {| style="width:70%" border="0" align="center"

 * $$\displaystyle = (n+1)x^{n} + nc_nx^{n-1} + \cdots + 2c_2x + c_1 + 0$$

 * }
 * }

The 2nd derivative:

 * {| style="width:70%" border="0" align="center"

(6.5)
 * $$\displaystyle \frac{d^2}{dx^2}\big(x^{n+1} + c_nx^n + \cdots + c_2x^2 + c_1x + c_0\big)$$
 *
 * }
 * }

 * {| style="width:70%" border="0" align="center"

 * $$\displaystyle = n(n+1)x^{n-1} + (n-1)nc_nx^{n-2} + \cdots + 2c_2 + 0$$

 * }
 * }

As we can see the lower orders of x are being zeroed out as we continue to take each derivative.

The nth derivative:

 * {| style="width:70%" border="0" align="center"

(6.6)
 * $$\displaystyle \frac{d^n}{dx^n}\big(x^{n+1} + c_nx^n + \cdots + c_2x^2 + c_1x + c_0\big)$$
 *
 * }
 * }

 * {| style="width:70%" border="0" align="center"

 * $$\displaystyle = (2)*(3)*\cdots*(n-1)*n*(n+1)x + (1)*(2)*(3)*\cdots*(n-1)*n + 0$$

 * }
 * }

Finally, the $$ (n+1)^{th} $$ derivative:

 * {| style="width:70%" border="0" align="center"

(6.7)
 * $$\displaystyle \frac{d^{n+1}}{dx^{n+1}}\big(x^{n+1} + c_nx^n + \cdots + c_2x^2 + c_1x + c_0\big)$$
 *
 * }
 * }

 * {| style="width:70%" border="0" align="center"

 * $$\displaystyle = (1)*(2)*(3)*\cdots *(n-1)*n*(n+1) + 0 = (n+1)!$$

 * }
 * }

Thus proving the original statement.

title: User:Egm6341.s11.team4.fields/HW3.6


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

title: File:Fe1.s11.team3.HW3.5.fig1.jpg


title: File:Fe1.s11.team3.HW3.5.fig2.jpg


text:
Psycholinguistics/Models of Speech Production

Models of Speech Production
Despite vast amounts of research, so far there is no single, all-inclusive model of speech production. This is largely in part to our limited accessibility to the process of speech production, as it occurs almost entirely without our conscious awareness; you could not explain to someone the steps you took to turn a thought or a feeling into words. It is further complicated by the fact that we are able to produce words at rates as high as 3 words per second (~180 words per minute), while producing less than 1 speech error for every thousand words spoken. Though the speech errors that we do produce provide valuable information about the process, they are relatively rare and difficult to induce experimentally. There is an undeniable breadth of factors that are known to implicate speech production, many of which are not incorporated into most models. Emotion, for example, can modulate word production. During letter searching in image-naming task, participants had longer reaction times when presented with emotionally charged images compared to neutral images. Situational anxiety has also been shown to affect the speech production process by increasing the frequency of speech errors, such as Freudian slips, as well as pausing mid-sentence. In Subjects who were asked to speak about anxiety provoking topics. It is thought that in emotionally charged situations, or situations that cause anxiety, speakers have a harder time accessing the “right” words to accurately express how they are feeling. These two factors, emotion and anxiety, as well as non-verbal components of language or non-verbal languages (i.e. ASL) and second language speech production of are not encompassed within traditional models of speech production. There is no model or set of models that can definitively characterize the production of speech as being entirely holistic (processing a whole phrase at time) or componential (processing components of a phrase separately). Despite their differences however, all models seem to have some common features. Firstly, the main question behind all models concerns how linguistic components are retrieved and assembled during continuous speech. Secondly, the models all agree that linguistic information is represented by distinctive units and on a hierarchy of levels (i.e. distinctive features like voicings, phonemes, morphemes, syllables, words and phrases etc.) and that the order in which these units are retrieved is sequential as they build upon one another. Thirdly, it seems that all models agree that you would need to access semantics and syntax prior to the phonology of an utterance, as the former dictate the latter and thus, all models share in common the following stages and substages in this order: 1)	Conceptualization: deciding upon the message to be conveyed 2)	Sentence formation:

a.	Lexicalization: selecting the appropriate words to convey the message

b.	Syntactic structuring: selecting the appropriate order and grammatical rules that govern the selected words 3)	Articulation: executing the motor movements necessary to properly produce the sounds structure of the phrase and its constituent words

The most objective measures of the process of speech production have been obtained by studying the system in reverse, by studying its breakdown; making inferences about the process by working backwards from the audible output, and analyzing the speech errors contained therein. Looking at how the system breaks down elucidates the independence of the stages of the process. Speech errors occur only within one and never across levels of organization, and are thus excellent markers of the way that the system breaks down. For example, if unit ‘A’ can exchange with ‘B’, then both ‘A’ and ‘B’ are planned at the same stage. Additionally, whatever specific property they share is likely relevant to that level or representation of speech. The fact that speech errors typically occur within and not across clauses is evidence that each clause is produced independent of other clauses. Stages defined by speech errors suggest two polar views: on one end, the view that speech is produced serially, and on the other end the view that the process consists of many, interacting nodes that process levels of representation in parallel. Outlined below are the most influential traditional models of speech production, followed by more modern models.

Serial Processing Models
Serial models of speech production present the process as a series of sequential stages or modules, with earlier stages comprising of the large units (i.e. sentences and phrases), and later stage comprising of their smaller unit constituents (i.e. distinct features like voicing, phonemes, morphemes, syllables). Tacit in these models is that the stages are independent of one another and that there is a unidirectional flow of information. This means that in these models there is no possibility of feedback for the system. The following models are presented in the order that they evolved.

Fromkin's Five Stage Model
Victoria Fromkin was an American linguist who studied speech errors extensively. Based on a critical analysis of her own research on speech errors, she proposed a model of speech production with stages that produced semantics, followed by syntax, and finally by phonological representation as follows: 1)	The intended meaning is generated 2)	Syntactic structures are formulated 3)	Intonation contour and placement of primary stress are determined  4)	Word selection a.	Content words inserted into syntactic frame b.	Function words and affixes added 5)	Phonemic representations added and Phonological rules applied

In the first stage of this model, the message to be conveyed is generated and then the syntactic structure is created, including all the associated semantic features. If the structure were not established prior to word selection, this model would not account for the fact that word switches only occur within and not across clauses. This order of processing, which implies that the syntactic structure is available early on, also accounts for the fact that word exchanges only occur between words of the same grammatical function (i.e. verbs will switch with verbs, but never with nouns). In the third stage of this model, the placement of the primary stress within the syntactic framework is determined, but not which syllable it belongs to. At the fourth stage of this model, words are selected starting with content words. Since the intonation contour of a phrase is maintained despite word exchange errors as seen in the following example, intonation contours must be selected before the words that fit in it. 1)	“The ace of Spades” 2)	“the spade of Aces” Above, even though the words ace and spade have been reversed from the first phrase to the second, the stress remains in the same position. The order of the sub-stages within the fourth stage of the model, content words selected prior to function words, is also supported by word exchange speech errors, as seen in the following example: 1)	“A weekend for maniacs” (/s/) 2)	“A maniac for weekends” (/z/) The above is an example of phonological accommodation, the process by which the errors accommodate themselves to their linguistic environment. In this case the phonological form (with the correct voicing) of the function words (/s/ vs. /z/) follows the phonological rules associated with the content words. Take this second example: 1)	“An apple fell from the tree” 2)	“A tree fell from the apple” In this case, the content words were exchanged, and the feature words “A” and “An” followed the phonological rules of their content words regardless of the switch; that is, the feature word does not move with its misplaced stem. Both of these examples can be taken as evidence that the content words and feature words are not only processed independently, but that the content words are selected prior to the selection of feature words, which explains why the feature words can accommodate for the word exchange. Fromkin’s model accounts for many speech errors, and claims that semantics are processed prior to syntax, which is processed prior to phonology. These postulations have been recently validated using event-related potentials (ERPs) associated with picture-naming tasks. In this experiment, subjects had to make animal-object discriminations (accessing semantic information), and vowel-consonant discriminations (accessing phonological information), and it was found that conceptual processing precedes phonological processing by about 170 ms. The Fromkin Model is limited in that is strictly top-down and does not involve any kind of feedback system, which means that it does not account for the phonological bias or lexical bias, the tendency for phonological speech errors to result in real words more often than in non-words
 * (italicized words indicate the location of the primary stress)

Garrett's Model
Like Fromkin’s model, Garrett’s model also proposes serial processing of speech production, from semantic to phonological, while stressing that content words are selected prior to and independent of the function words. In his model, Garrett proposes three levels of representation: the Message Level, where the intended message is generated, the Sentence Level, where the sentence is formed, and the Articulatory Level, where motor commands instruct speech organs to produce the appropriate audible output. This model is often referred to as Garrett’s Two-stage model, because the Sentence level is further subdivided into two separate levels or stages: the Functional level, wherein the speaker selects the appropriate words to convey the intended message (Lexicalization) as well as the word order and grammatical rules that govern those words (Syntactic planning); and the Positional level, which is concerned with the sound of the output string and is very pronunciation-oriented. *Fig. 1. Adapted from Garrett 1980 Garrett justified the two separate stages by, once again, consulting speech errors. More specifically, she notes that meaning-related errors (word switches of content words with the same grammatical function) occur during the functional stage, and form-related or functional errors (morpheme switches and errors of grammatical sound) occur during the positional stage of processing. He also justified the positional stage as being independent of the functional stage because of phonological accommodation. This can be seen in the following example: In this case, the message (1) was inappropriately articulated, and the word giraffe was replaced with alligator at the functional stage of the model. The fact that the morpheme “a” was replaced with “an” to correctly follow the phonological rules associated with words beginning with vowels can be taken as evidence that morpheme selection occurs after the word and phrase structure have already been selected. This model also accounts for word exchanges that take place across large distances (first/last content-word switches), because the positioning is established after the words are retrieved, while sound exchanges can only occur over short distances because their positioning is established prior to the sounds being specified. Serial models like the Fromkin and the Garrett model fail to account for phrase blends, whereby at least two semantically related phrases are retrieved simultaneously (Example 1 below). Neither model accounts for speech errors where a wrong word is selected that is phonologically similar to the target word in regards to the initial phoneme (Example 2 below). Finally, both models fail to account for cognitive intrusions like those seen in Freudian slips (Example 3 below). The third example is spoken by a student wanting to know when the class before lunch was over. In this case, the student's thoughts about lunch invaded his/her sentence production; they really wanted to know what time the class and not the lunch was over. To account for the types of errors in the above three examples, a model would need to show how two alternative messages can be processed in parallel, not serially.
 * 1) "A giraffe stepped on an alligator"
 * 2) "An alligator stepped on a giraffe"
 * 1) " I Love you more than anything/love you very much" becomes "I love you more much"
 * 2) "Thank you for all of your kind remarks, your feedback is very valuable becomes"Thank you for you king regards..."
 * 3) "What time is this class over?"becomes"What time is this lunch over?"

The Bock and Levelt Model
This model consists of four levels of processing, the first of which is the Message level, where the main idea to be conveyed is generated (Fig. 2). The Functional Level  is subdivided into two stages. The first, the Lexical Selection stage, is where the conceptual representation is turned into a lexical representation, as words are selected to express the intended meaning of the desired message. The lexical representation is often termed the Lemma, which refers to the syntactical, but not phonological, properties of the word. The Function Assignment stage is where the syntactical role of each word is assigned. At the third level of the model, the Positional level, the order and inflection of each morphological slot is determined. Finally, in the Phonological encoding level, sound units and intonation contours are assembled to form lexemes, the embodiment of a word's morphological and phonological properties, which are then sent to the articulatory or output system. Fig. 2 Each level of this model is functionally distinct from the others and this distinction is illustrated by the types of speech errors that occur at each level. For example, substitution errors of words within the same semantic ballpark (i.e. substituting yell> when the target was shout) occur at the Lexical Selection stage, where as speech errors involving syntactic function (i.e. verb tense, number, aspect) only occur at the Function Assignment stage (i.e. saying "I likes candy" instead of "I like candy"). At the Positional level, errors of misallocated and stranded inflection or derivational endings occur. For example, when the sentence “He poured some juice” is accidently pronounced as “He juiced some pour”, the stem morpheme pour is re-allocated to the end of the sentence, stranding its derivational ending ed at the beginning of the sentence. The Bock and Levelt Model can account for most speech errors, and their insertion of a self-monitoring component to the model made it also account for filtering effects, accommodation beyond the level of phonemes, and also provided a functional explanation for hesitations and pauses (the time it takes for the self-monitoring system to accurately filter and accommodate errors). Although this model incorporates bidirectional flow of information, it still involves discrete serial processing in contrast to parallel-processing models, which attempt to account for these errors by means of forward and backward spreading of activation through parallel paths. This brings us to the parallel models of speech production.

Parallel-Processing Models
In these non-modular models, information can flow in any direction and thus the conceptualization level can receive feedback from the sentence and the articulatory level and vice versa (Fig. 3). In these models, input to any level can therefore be convergent information from several different levels and in this way the levels of these models are considered to have interacting activity. Within a phrase, words that are retrieved initially constrain subsequent lexical selection. For example, if the first word in a phrase is a noun the subsequent words cannot be nouns and still produce a grammatically correct sentence. This property necessitates a model whose output can interact with the initial message and demands parallel processing of speech production.

The Dell Model
Dell’s model of spreading activation of lexical access is also commonly referred to as the Connectionist Model of speech production. Dell’s model claims, unlike the serial models of speech production, that speech is produced by a number of connected nodes representing distinct units of speech (i.e. phonemes, morphemes, syllables, concepts, etc.) that interact with one another in any direction, from the concept level (Semantic level), to the word level (Lexical selection level) and finally to the sound level (Phonological level) of representation (Fig. 3). For example, the node for the phoneme /t/ might be connected in one direction to all morphemes containing that phoneme (i.e.  cat, truck, tick, tock, tap  etc.), and in another direction to the distinct features of that phoneme (i.e. voiced vs. fricative). In this same fashion, words with similar meaning will be connected to a common semantic node. For example, in the words cat and dog, which have several common semantic features (i.e. are both animals, have fur, can be domesticated) would share a common node within the semantic network (Fig. 3). . Figure 3. adapted from Dell and O'Seqghdha (1994)

When a word is selected, all of the nodes representing that word's constituent morphemes, phonemes, semantics and syntax are activated and this activation spreads to the adjacent nodes until one node, the node that is most highly activated is selected for the output string. Since nodes within the same level or representation are competing for activation, the wrong node is often activated. For example, with the sentence “Put your boots on!”, one would certainly think that the speaker meant “Put your boots on your feet!”. As a result, the speaker may have activated the concept nodes that are semantically related to the target word boots, such as the node representing feet. This could result in the activation of the feet node and the production of the incorrect sentence “Put your feet on”. Figure 4 illustrates how this activation could occur the word boots and skates, which share some semantic properties. Both words would activate units with related semantic properties such as footwear, shoe, feet, snow or winter. Fig. 4. Based on similar figures in Dell & O’Seaghdha (1994), Dell's model covers syntactic coding and morphological coding (specification of the words constituent morphemes) but focuses primarily on phonological encoding (specification of morphemes constituent phonemes). In contrast to serial models of speech production, Dell’s model can account for word blends, phrase blends, phonemic slips, and cognitive intrusions. This model explains these errors as the simultaneous activation of nodes that are either semantically or phonetically similar to the target. With phoneme slips, for example, nodes of phonemes that are similar to the target, sharing common distinct features (i.e. voicing vs. fricative), are the ones that will compete with the target node for activation, while non-similar phoneme nodes will not be activated at all. Dell’s model explains the results of a study by Dell and Oppenheim (2007), who exposed subjects to lists of primer phrases, induced phoneme exchanges, and recorded the nature of the output phrases. They found that subjects produced phoneme exchanges resulting in output that was semantically similar to priming phrases more frequently than phoneme exchanges resulting in semantically unrelated output. The Dell model justifies these findings on the basis of semantic priming. Because the model consists of word selection prior to phonological encoding, it accounts for tip of the tongue speech errors, where speakers can often identify the syntactical, and even morphological properties of the intended word, but still not be able to encode the phonology.

What About The Lexical Bias Effect?
Dell’s model can account for the lexical bias effect, which is the tendency for phonological speech errors to create true words more often than non-words. Dell’s model explains it as backward spreading of activation that will favor true words, for which there are morpheme nodes, over non-words, which do not have morpheme nodes. Dell discovered that the lexical bias effect is stronger at slower speech rates than at higher speech rates and accounts for this by saying that backwards spreading takes time, which is not available in fast speech. Garrett argues that this speech-rate effect is due to the time required by the self-monitoring stage of the Garret Model, and that the disparity in the frequency of the effect at low and high speech rates is better explained by the fact that at high speech rates, the speaker's self-monitoring system is unable to monitor output and filter out non-words.

Conclusion
There are many computational models of speech production that could be discussed that exceed the scope of this chapter, and many of them focus on the articulation of sounds, words and phrases rather than Fromkin's “mind to mouth” mystery (1973) that early psycholinguists attempted to model. There are also many models that contrast monolingual and bilingual speech production, gestural vs. verbal and natural vs. artificial speech production (described in separate chapters of this online text) and until there is a computer created that can first think independently, and then learn to produce language with the same generative capacity seen in human languages to express those independent thoughts, there will continue to be no, single, stand-alone model that satisfies all dimensions of the process of speech production.

Critical Thinking
''It may be helpful to quickly review the "Speech Errors" chapter of this textbook. You can find it by clicking on the link below'' [] 1.	What do the following examples of speech errors/phenomena tell us about the process of speech production? What stages and sub-stages of each model do these examples provide evidence for? Though some examples provide evidence of more than one stage, please identify at least one stage per example. It might be helpful to say them out loud to yourself to see how intonation or pronunciation are affected by the error/phenomena in each example. 2. Which of the above speech errors are not accounted for by the Fromkin Model or Garret model? How are these errors better accounted for by the Bock and Levelt Model and by parallel processing models of speech production? 3. a) Using the Dell model as a reference, draw a semantic network that demonstrates how the following speech errors/phenomena might occur (assume error and target nodes are not seperated by more than 3 nodes). Remember that in this model there are nodes for many aspects of the utterance including  phonemes, morphemes, syllables, concepts etc.

b)Using the semantic network below, come up with plausible examples of the following kinds of speech errors/phenomena following the principles of a connectionist model of speech production:   A. Freudian slip  B. Phoneme switch  C. Word switch  D. Morpheme switch  E. Perseveration/anticipation  F. The lexical bias effect

4. How do the parallel and serial models of speech production explain the lexical bias effect differently? How does each type of model justify there being more of an effect at slow speech rates than at high speech rates?

Home Lab
In order to get an idea of how language processing can be assessed, try the following pseudo-experiment. Please read these instructions carefully before opening the video hyperlink. The video contains 40 word-pairs. Your task is to decide how the two words of each pair are related, either semantically (similar in meaning), phonetically (consisting of similar phonetic units) or not related at all. Before pressing the link for the video, please take out a piece of paper and create a tally with the following headings: Semantically Related, Phonetically Related, and Not related. Once you start the video, focus on the cross in the middle of the screen. Word pairs will be presented for a few seconds, followed by the focal point (cross), followed by the next pair; this will continue for 40 word-pairs. Look at the word-pairs quickly and decide how they are related. Put a tick in the appropriate column of your tally sheet. For each word pair, you must choose one answer only, placing one tick on your tally sheet per pair such that you have 40 ticks in total. Once the video is over (it will say "Congratulations You Are Finished. Tally Time!"), tally up each column. Make sure to let the video completely load before pressing play. Take this time, (while it loads), to reread the instructions which are repeated quickly in the video. Because the instructions appear quickly, pause the video and take the time to read them and completely understand them before pressing play. Give it a try! Press the following hyperlink to access the video file    Did you find any difference between the total number of times that you reported semantic compared to phonetic relatedness? What does this tell you about the order in which you process semantics and phonetics? In this case, the word list consisted of 10 semantically related word-pairs, 10 phonetically related word-pairs, 10 semantically and phonetically related word-pairs, and 10 non-related word-pairs to serve as controls. If we do indeed process the semantics prior to the phonetics of a word as all of the above models suggest, the word-pairs that were both semantically and phonetically related would more often be reported as being semantically related than phonetically related. Do not be dismayed if you did not find this result, remember this is simply a pseudo-experiment. In complete studies, the stimuli would be much more extensive (~200 word pairs not 40). Try it with a friend and see what their results indicate. This exercise is also intended to encourage you to think critically about experimental designs. Can you think of a few limitations to the design of this pseudo-experiment? How could you change the experiment to address these issues?


text:
University of Florida/Egm6321/F10.TEAM1.WILKS/Mtg3

Mtg 3: Thur, 27 Aug 09

[[media: Egm6321.f09.mtg3.djvu | Page 3-1]]
To find class homepage, go to Wikiversity: Main Page (http://en.wikiversity.org/wiki/Wikiversity:Main_Page) and search for--> user:egm6321.f09

My Wiki address is: http://clesm.mae.ufl.edu/wiki.vq/index.php/Main_Page

From [[media: Egm6321.f09.mtg2.djvu | Eq.(1)p.2-3]]: If $$ P(x)\ne \ 0 \ \forall x$$, divide throughout by $$ P(x) \ $$ to get: Where: $$\forall \ $$ is defined as "for all" $$ a_2(x)=1 \ $$,

$$ a_1(x)=\frac{Q}{P} $$,

$$ a_0(x)=\frac{R}{P} $$, and

$$ f(x)=\frac{F}{P} $$ $$ \forall x_0 \ $$ such that $$ P(x_0) \ne\ 0 \ $$ then $$ x_0 \ $$ is a regular point Any $$ x_0 \ $$ such that $$ P(x_0)=0 \ $$ is a regular point

[[media: Egm6321.f09.mtg3.djvu | Page 3-2]]
2nd order--> need 2 conditions to solve for 2 constraints Boundary Value Problem (BVP) Prescribe: where $$ \alpha\ \ $$ and $$ \beta\ \ $$ are known values Initial Value Problem (IVP) Prescribe:

where $$ \alpha\ \ $$ and $$ \beta\ \ $$ are known values Solve IVP by ODE from p3-1 Eq(1) or initial condition p3-2 Eq(2) Two points: 1) Existence and uniqueness of solution

[[media: Egm6321.f09.mtg3.djvu | Page 3-3]]
2) Superposition based on linearity of differential operation L(.)

Where the 2 in $$ L_2(y) \ $$ is defined as 2nd order $$ \forall u,v \ $$ in a function of x and $$ \forall \alpha\, \beta\ \ $$ belonging to $$ \mathbb R \ $$ (scalars, real numbers); $$ L( \alpha\ u+ \beta\ v)= \alpha\ L(u)+ \beta\ L(v) \ $$ Where $$ \mathbb R \ $$ is defined as a set of real numbers Example: Matrix Algebra $$ \mathbf{A} \epsilon\ \mathbb R \ ^{nxm} $$ matrix with n rows and m columns of real numbers $$\forall \mathbf{u}, \mathbf{v} \epsilon\ \mathbb R \ ^{mx1} \ $$ is a column matrix $$ \forall \alpha\, \beta\, \epsilon\ \mathbb R \ \ $$

[[media: Egm6321.f09.mtg3.djvu | Page 3-4]]
Clearly: $$ \mathbf{A}(\alpha\ \mathbf{u} + \beta\ \mathbf{v}) = \alpha\ \mathbf{A}\mathbf{u} + \beta\ \mathbf{A} \mathbf{v} $$ Example: $$ \frac{d}{dx}(.) \ $$ is a linear operation $$ (\alpha\ u+ \beta\ v)'= \alpha\ u'+\beta\ v' \ $$ linearity allows the use of superposition $$ y=y_H+y_P \ $$ $$ L(y) = L(y_H) + L(y_P) \ $$, where the subscripts H and P stand for homogeneous and particular in respective order.


text:
User:Geofferybard

Bienvenue - Willkommen - Bienvenidos - Dobrodošli - Welcome - Добро пожаловать - 歡迎

Courses spearheaded

 * Fiddlers Green Beyond Violin

 * Ethnography of Fiddle

 * California Government and Citizen Participation

Details...
California Government and Citizen Participation: A Self-Paced Webinar for Activists, Advocates and Assorted Wingnuts, Visionaries and Mavericks It has a corresponding book at Wikibooks RESEARCH PROPOSAL:

Vulnerability Indexes: Origin, Development, Deployment and Efficacy

alternate title Vulnerability Indexes: Origin and Evolution of the Concept

COMMENTS ON EDITOR RETENTION AND ADMINISTRATIVE HOSPITALITY

JUST A LOT OF WORDS

http://en.wikibooks.org/wiki/User:Geofferybard Bienvenue - Willkommen - Bienvenidos - Dobrodošli - Welcome - Добро пожаловать - 歡迎'

WMF userpages (primary):

 * [SimpleWiki Brothersun]
 * w:User:Brothercanyouspareadime

Did you know about...
 * Feedback request service

Music related Wikipedia Articles originated and primarily or exclusively written by Geof Bard

 * Monastic silence
 * American fiddle
 * Old time fiddle
 * Rock violin
 * Blues fiddle
 * Canadian fiddle
 * African fiddle
 * Noise Khanyile
 * Township Jive
 * Metis fiddle
 * Turlutte Translated from fr.wikipedia
 * Cajun fiddle
 * Western swing fiddle
 * Bluegrass fiddle
 * Quebec fiddle
 * Flowers of Edinburgh

Four Book Series on Nuclear Power Plants in the USA

 * [|Fukushima Aftermath: Diablo Nuclear Redux?]
 * [Fukushima Aftermath]
 * [Aftermath: Wither Indian Point Nuke?]
 * [Aftermath Last Dance for SONGS?] about San Onofre Nuclear Generating Station

Other Public Policy Books Originated

 * [|California Public Policy and Citizen Participation]

Wikipedia articles in development
In process:
 * w:User:Geofferybard/otherworlds
 * w:User:Geofferybard/Nothingness
 * w:User:Geofferybard/Vandalism typology

 * User:Geofferybard/Cultures of silence
 * w:User:Geofferybard/Culture(s) of silence - Archival

WMF
http://strategy.wikimedia.org/wiki/User:Geofferybard

http://en.wikibooks.org/wiki/User:Geofferybard

http://en.wikibooks.org/wiki/California_Public_Policy_and_Citizen_Participation

http://en.wiktionary.org/wiki/User:Geofferybard

http://en.wikiversity.org/wiki/User:Geofferybard

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'''Working on breaking news? Please follow these suggestions:'''

=Working on breaking news?=

Develop an accurate picture of what's going on, and do not be swayed by conflicting advice and rumors from "experts" with their own agendas.--->

Don't become a conduit for every rumor and accusation.

And once you have an accurate picture, share it with the public so they can make a decision on what to do. http://www.npr.org/2011/03/16/134573800/nuclear-information-gap-spreads-doubt-fear

To Do list
==Vandals are not a tribe of Germanic warriors=

Favorite links
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[|Favorite templates]

Vandalism in progress How to Search for Guidelines One of the hardest parts of being a new editor is learning wikipedia policies and guidelines. What is even harder is FINDING them! If you click on the magnifying glass on the upper left hand side of any wikipedia page, you'll be taken to an advanced search page. To search for policies and guidelines, add your key words, and then uncheck Articles, Users, and Talk Pages. You want to search "Wikipedia". This is completely counter-intuitive, but that is how you search for the policies, guidelines, and manuals of style which are so important. http://en.wikipedia.org/wiki/Wikipedia:Reference_desk/ Thank you for your contributions to Wikipedia. Before saving your changes to an article, please provide an edit summary for your edits. Doing so helps everyone understand the intention of your edit (and prevents legitimate edits from being mistaken for vandalism). It is also helpful to users reading the edit history of the page. Thank you.

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title: User:Geofferybard


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User talk:Geofferybard

Archive
Archived Talk from Wikiversity is User_talk:Geofferybard/Archive.

You may wish to read the [w:Edit notice] on my Wikipedia Talk Page here...note the Pyramid of Communication!

Edit Notice from WP
Bienvenue - Willkommen - Bienvenidos - Dobrodošli - Welcome - Добро пожаловать - 歡迎 Thank you for visiting,, your insights will be much appreciated. Please remain mindful of our common goals of sharing the benefits of collaborative media and advancing intelligence for the benefit of all sentient beings... If you have an issue with which we are not yet harmonized, please bear in mind the following point based upon Getting to Yes:
 * Separate the people from the problem
 * Focus on Interests, Not Positions
 * Invent Options for Mutual Gain
 * Use Objective criteria.

Edited linkback to JT

 * [[Image:Crystal Clear app ktip.svg|48px|left]]
 * Thanks for the comments you've been adding to the wiki. Keep up the great work! -- Jtneill - Talk - c 03:50, 14 February 2011 (UTC)
 * }

Textbooks
I like the idea of your course being practical and based on case studies. You could have two tracks - for those with access to a textbook and those who don't. Ideally (from an open education point of view), the book content could eventually be available at someplace like Wikibooks. This is a long-term ambition for me - I'm still significantly reliant on commercial textbooks, but I am also teaching on-campus students who access the textbooks through the bookshop or the library. -- Jtneill - Talk - c 04:12, 16 February 2011 (UTC)

Help! Music needs overhaul
RE:

and others I will collate them here!Geofferybard 19:52, 9 July 2011 (UTC)

Leuthel
Thank you for answering my plea and for your thoughtful edits. Please note the changes and add yourself to faculty list if you would please so do. I love the Blake quote and know that we will probably be on the same wavelength because Blake is IMHO sacred. !Geofferybard 02:35, 11 July 2011 (UTC)

Violin
Hello, I am new here and I am writing in response to your comment on the page " the Split of music and dance schools" ( Response )

Perhaps music and dance are simply expressions originating from the human capability of recognizing and creating Melody. Both of these schools could be in the criteria for "The School of Melodic Expression". It is a distillation of complicated matters, simplifying them into the core essence of their origination, which is the facultys of human intelligence. (ie.. Music and Dance are expressions of Human Melodic capabilities and Creation. )

Kind Regards, Feed back welcomed Gaon Yincang Abhinava 15:18, 23 July 2011 (UTC) 15:24, 22 July 2011 (UTC) 7/22/2011 10:11am

 * Well yeah maybe sort of yes but really it is not so terrible the way it is. The idea in traditional music is not to get too novel. To stay true to the ancients. Not sure don't know, I was looking at this combination of music and dance and starting to wonder if the existing title is so bad:

Nice to see you working on that article
I'd love to see us develop an overall intro to musical instruments and eras/types of music over time. There is also this Musopen introduction to music that you can draw from. [NTS: this deserves a WV entry!] –SJ + > 04:55, 13 July 2011 (UTC)

Documenting crony capitalism?
Might you find the time to help create a research project on Documenting crony capitalism? I hope to build this into a platform for crowdsourcing research and investigative journalism on crony capitalism. I have two specific questions at the moment:

 * 1) What categories (and topics?) would you suggest I create to facilitate this?
 * 2) More generally, how would you suggest we organize different instances of this general issue?  For example, suppose we want to study "immigrant rights in California".  An article by that title might be created with a category of "crony capitalism" or "documenting crony capitalism".  The article would include a brainstormed list of individuals and organizations concerned about this issue along with estimates of how much money they've spent each year on political campaign contributions and lobbying plus advertising and what they have wanted and have received from government in the past with an estimate of the dollar value and return on investment (ROI) of those governmental decisions.

Thanks. DavidMCEddy (discuss • contribs) 19:05, 4 February 2013 (UTC)

Welcome template produces this:
{| style="border-spacing:8px;margin:0px -8px" width="100%"
 * class="MainPageBG" style="width: 55%; border:1px solid #084080; background-color:#F5FFFA; vertical-align:top;color:#000000;font-size: 85%"|

pagemove

 * To see what is in your userspace click here

Here are two wikitext scripts that you can use to keep track of subpages in your userspace.

creates a page called My subpages

creates a list of all subpages in your userspace.

Keep in mind that these two scripts here on this talk page, and on your user page User:. They won't work on most Wikiversity pages.--Guy vandegrift (discuss • contribs) 15:54, 3 March 2024 (UTC)

title: User talk:Geofferybard


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California Government and Citizen Participation

California Government and Citizen Empowerment: The WikiWay
Wikibooks Textbook now in progress at http://en.wikibooks.org/wiki/California_Public_Policy_and_Citizen_Participation

A highly condensed, "take no prisoners" approach to winning public policy conflict using the power of collaborative media. This course is anticipated to be ready for classroom use for Spring of 2012 and will feature a case study on Diablo Canyon Power Plant relicensing issues. See also at Wikibooks Aftermath: Diablo Nuclear Redux?

Pragmatic * Non-partisan * Non-ideological
GROUND RULES: While this is entirely non-partisan, there is no obligation on the part of anyone to assist anyhone else with any project, agenda or political issue.What this means is that anyone grinding a political axe, pushing an agenda or a POV, may not find much support here unless they free their mind of fixed ideas, develop empathic listening skills and open their mind to re-examine the assumptions which constrain their creativity and imagination.

Please follow the very best Wikimedia Foundation etiquette at all times.

How to use this class
Identify what issue concerns you. Create a draft chapter for California Public Policy and Citizen Participation. Identify the key constituencies on both sides of the issue. Identify the decisionmakers: members of Congress, your Board of Supervisors, City Council or the state assembly.
 * Who is the staff person assigned to that issue?
 * What citizen boards, commissions and committees exist which are concerned with that issue?
 * When and where do public meetings of those bodies occur? Where is their agenda posted?
 * Are there current or pending vacancies on those bodies? How and when are those vacancies filled
 * Identify pending legislation which affects your issue.
 * Determine which committees are concerned with that legislation, even if the members of the committee are from outside of your district.
 * Identify allies who are in their district and connect with them.

Online text
California Public Policy and Citizen Participation|California Public Policy and Citizen Participation|California Public Policy and Citizen Participation]http://en.wikibooks.org/wiki/California_Public_Policy_and_Citizen_Participation

Tobacco war: Inside the California Battles
By Stanton A. Glantz, Edith D. Balbach Using selections currently available on Google Books.

Course Curriculum
Cluster I: Unique Aspects of California

 * Lesson 1: /What makes California Different for Community Activists/?
 * Lesson 2: /The Brown Act: Your Right to Know, Your Right to Speak Truth to Power/
 * Lesson 3: /Initiatives: The Good the Bad and the Ugly/

Cluster II: Public Agencies and Citizen Participation

 * Lesson 4: /Agency Agendas and Public Comment: Taking Back Government for the People/
 * Lesson 5: /Case Study:  Establishment of Marine Protection Areas/
 * Lesson 6: /Case Study: Proposition 99 - Tobacco 1988/ (Check first for examples)
 * Lesson 7:  /California Coastal Commission/


text:
California Government and Citizen Participation/The Brown Act: Your Right to Know, Your Right to Speak Truth to Power

Lesson 1: Overview Summarized: The Brown Act requires government agencies to allow citizen participation. You have a right to speak at public comment on agenda items and the agenda must be posted in advance. You also have the right to speak on items not listed on the agenda as long as they are within the scope of the jurisdiction of the agency.

Lesson 2: Passage of the Act - Legislative history, intent

Lesson 3: Court cases interpreting the Act


text:
Talk:California Government and Citizen Participation/The Brown Act: Your Right to Know, Your Right to Speak Truth to Power

what is the full name of the act it is not from Jerry!


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California Government and Citizen Participation/Initiatives: The Good the Bad and the Ugly

California is unusually reliant on the initiative process. However, the initiatives are usually written without an appreciation of the outcome and how the initiatives will interact with existing law. Only another initiative can modify them unless they are thrown out in court.


text:
Talk:California Government and Citizen Participation

The course needs to follow the book so the rule of action is to edit accordingly. Lessons need to conform to chapters, etc. Geofferybard 06:54, 13 March 2011 (UTC)


text:
California Government and Citizen Participation/What makes California Different for Community Activists

Lesson 1: History of California Lesson 2: Population and demographics Lesson 3: Initiatives and the Brown Act


text:
California Government and Citizen Participation/Case Study: Establishment of Marine Protection Areas

Introduction: This was an action by the Fish and Game Commission which was mandated by law.

It involved several years of public hearings and development of a Blue Ribbon Committee which was itself very controversial. There was nevertheless a huge amount of public input in hearings which were massively attended.


text:
California Government and Citizen Participation/Case Study: Proposition 99 - Tobacco 1988

How to operate in an adverse legislative environment? Go to the cities and counties.

There is a reading at

Glantz was a consistent "maximalist"opponent of various shenanigans which the tobacco companies tried to and often did put over. They enlisted even the California Medical Association into various sell-out schemes designed to funnel money out of tobacco control and into the payment of medical bills. The American Lung Association emerged as the heroic principled opposition as the CMA crumbled. The Cancer and Heart Association were much less upright compared to ALA.

Questions for discussion:

1. What caused ALA to stand up when ACA and AHA folded? 2. What can be done to promote more ALA style heroism? 3. What were the major compromises that even ALA had to go along with? 4. Were the trade offs worthwhile?


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Wiki ecosystem

The wiki ecosystem represents the culture of using wikis to collaboratively develop content and context for small and large groups on many topics both specific and general. The first wiki was created by Ward Cunningham and friends toward the end of the Twentieth Century. Since then, the use of wikis has catalyzed the development of large bodies of Internet content through massive collaboration and self-organization within communities of interest and practice.

From Wiki: Ward Cunningham and co-author Bo Leuf, in their book The Wiki Way: Quick Collaboration on the Web, described the essence of the Wiki concept as follows:

 * A wiki invites all users to edit any page or to create new pages within the wiki Web site, using only a plain-vanilla Web browser without any extra add-ons.
 * Wiki promotes meaningful topic associations between different pages by making page link creation almost intuitively easy and showing whether an intended target page exists or not.
 * A wiki is not a carefully crafted site for casual visitors. Instead, it seeks to involve the visitor in an ongoing process of creation and collaboration that constantly changes the Web site landscape.

A wiki enables communities to write documents collaboratively, using a simple markup language and a web browser. A single page in a wiki website is referred to as a "wiki page", while the entire collection of pages, which are usually well interconnected by hyperlinks, is "the wiki". A wiki is essentially a database for creating, browsing, and searching through information. A wiki allows for non-linear, evolving, complex and networked text, argument and interaction.

In the context of wiki culture as an ecosystem, Wikipedia represents a milestone result of the Open Source Movement toward what is needed to bring us together and coalesce efforts toward the common good. Wikipedia was built (and continuously improved) using an advanced wiki software called MediaWiki which, by the way, is also the software upon which the Wikiversity is being built. (See the very bottom of this page) Other wiki engines include ''... list goes here''

title: Wiki ecosystem


text:
User:U5280392

The best computer specs:

Operating Systems Genuine Windows® 7 Ultimate 64-Bit

Processor Intel® CoreTM i7X 980X (4GHz/12MB cache)

Optical Drives 6X Dual Layer Blu-ray Disc™ Burner (BD-RE, DVD±RW, CD-RW)

Memory 12GB2 Tri-Channel DDR3 SDRAM at 1600Mhz - 3 DIMMS Hard Drives 1TB6 - SATA-II, 3Gb/s, 7,200RPM, 32MB Cache HDD

Video Cards 2048 (MB) ATI HD6950 RadeonTM

Sound Card Integrated 7.1 Channel Audio

source:http://www.dell.com/us/p/alienware-area51-alx/pd?refid=alienware-area-51-alx

3 Specifications

 Blackberry

Display •3.2” HVGA+ touch screen (480x360) Voice Input & Output •3.5mm stereo headset capable

Bluetooth •Bluetooth v2.1 + EDR; Headset, Handsfree, Serial Port Profile, Stereo Audio (A2DP/AVCRP), SIM Access Profile, Dial-up Networking and Messaging Access Profile.

Memory •512 MB flash memory / 512 MB SDRAM •4 GB eMMC + 4 GB media card included •Expandable memory – support for microSD card up to 32 GB

Wi-Fi •802.11 b/g/n •WPA / WPA2 Personal and Enterprise

Camera & Video Recording •5 MP camera •11 scene modes •2X digital zoom •VGA (640x480) video recording

 I-phone4

Capacity •16GB or 32GB flash drive

Display •3.5-inch (diagonal) widescreen Multi-Touch display •960-by-640-pixel resolution at 326 ppi •Fingerprint-resistant oleophobic coating on front and back

Cellular and wireless •802.11b/g/n Wi-Fi (802.11n 2.4GHz only) •Bluetooth 2.1 + EDR wireless technology

Camera, photos, and video •Video recording, HD (720p) up to 30 frames per second with audio •5-megapixel still camera •VGA-quality photos and video at up to 30 frames per second with the front camera

 Nokia C7

Display •360 x 640 pixels, 3.5 inches

Memory •Internal: 8 GB storage, 256 MB RAM, 1 GB ROM •Card slot: microSD, up to 32GB,

Data •3G: HSDPA, 10.2 Mbps; HSUPA, 2 Mbps •WLAN: Wi-Fi 802.11 b/g/n •Bluetooth: Yes, v3.0 with A2DP •USB: Yes, microUSB v2.0, USB On-the-go support

Camera •Primary: 8 MP, 3264x2448 pixels, fixed focus, dual-LED flash, •Video :Yes, 720p@25fps, video stabilization

The best one

I choose I-phone4 because it has highest pixel resolution,960-by-640 which is higher than Blackberry and Nokia C7 and it has 3.5 inch of widescreen which is bigger than Blackberry. Also I-phone has fingerprint-resistant oleophobic coating on front and back but Blackberry and C7 don't have. I-phone4 has front and back cameras but the other two don't have a front camera. I-phone4 has a Face-Time program which is a video calling over Wi-Fi and it's more special than BB and C7 because with a front camera, you can see your face and the person you're talking with at the same time. Also it can use the back camera and you still see the person you're talking with as well. Moreover Nokia C7's video recording has 25 frames per second but I-phone has 30 frames per second which is more than C7.

title: User:U5280392


text:
Survey design/Types of surveys

==Types of surveys== What are the strengths and weaknesses of the following modes of administration?

title: Survey design/Types of surveys


text:
Damped oscillation

An oscillator is anything that has a rhythmic periodic response. A damped oscillation means an oscillation that fades away with time. Examples include a swinging pendulum, a weight on a spring, and also a resistor - inductor - capacitor (RLC) circuit.

Suppose we have an RLC circuit, which has a resistor + inductor + capacitor in series.When the switch closes at time t=0 the capacitor will discharge into a series resistor and inductor.

Now, the voltages and current in this circuit can be given by

$$\begin{align}I(t)&=\frac{V_0}{\beta L}e^{-at}\sin(\beta t)\\ V_c(t)&=V_0 e^{-at}\cos(\beta t)\end{align}$$

where

$$\begin{align}\beta&=\sqrt{\frac{1}{LC}-\frac{R^2}{4L^2}}\\ a&=\frac{R}{2L}\end{align}$$

and V= initial voltage C = capacitance (farads) R = resistance (ohms) L = inductance (henrys) e = base of natural log (2.71828...)

The above equation is the current for a damped sine wave. It represents a sine wave of maximum amplitude (V/BL) multiplied by a damping factor of an exponential decay. The resulting time variation is an oscillation bounded by a decaying envelope.

Critical Damping

We can use these equations to discover when the energy fades out smoothly (over-damped) or rings (under-damped).

Look at the term under the square root sign, which can be simplified to: R2C2-4LC

The circuit response shows a narrow peak followed by an exponential decay.
 * When R2C2-4LC is positive, then α and β are real numbers and the oscillator is over-damped. The circuit does not show oscillation
 * When R2C2-4LC is negative, then α and β are imaginary numbers and the oscillations are under-damped. The circuit responds with a sine wave in an exponential decay envelope.
 * When R2C2-4LC is zero, then α and β are zero and oscillations are critically damped.

title: Damped oscillation


text: Template:Concede

title: Template:Concede


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User talk:SB Johnny/4 options

 * Pictogram voting question.svg Perplexed - I am reluctant to concede that 4 = 5. —Moulton 13:34, 14 February 2011 (UTC)
 * . --SB_Johnny talk 23:11, 14 February 2011 (UTC)

Not bad for now. But getting more complicated.
Not bad. There needs to be process for discussing amendments. We allow a lot by allowing complex comments in a voting process. It mixes discussion (deliberation) with amalgamation (estimation of consensus). There are some knotty problems, which is why I think that ultimately we will go to an elected executive committee, and there is a way to do that which accomplishes proportional representation, and flexibility with ad hoc participation. The executive committee will hold "hearings" at which anyone may testify, ordinarily, but controlling results will be decided by executive committee members, informed by the community. If the EC strays too far, safe process would allow rapid revision of Committee membership.

There could even be direct voting, but balanced by representative power. There is a fascinating voting system that was developed by Lewis Carroll, in the 1880s.

For later. The goal of a good system is the optimization of consensus, real consensus, deep consensus, which tends to be self- enforcing, with efficiency. --Abd 23:51, 14 February 2011 (UTC)

title: User talk:SB Johnny/4 options


text: File:WRPlot n=2 case.jpg

title: File:WRPlot n=2 case.jpg


text: File:WRPlot n=4 case.jpg

title: File:WRPlot n=4 case.jpg


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Talk:Wisdom

Humanity, Humility, and Compassion
There seems to be some confusion over the best path to Wisdom.

Is it Humanity? Is it Humility? Is it Compassion?

It occurs to me that Compassion and Humanity are deeper and more difficult goals than Humility.

How do others feel about this?

Moulton 14:07, 14 February 2011 (UTC)

 * What the author intended the sentence to mean is the only source of confusion on my part. The words "Humanity" and "Humility" are only different by two letters ("an" vs "il"). An accidental slip of the fingers causing a different word to be typed than the one intended seems conceivable to me. Now that you bring it up, it is also conceivable the author intended the sentence to mean "Wisdom is choosing to do good". -- dark lama  14:23, 14 February 2011 (UTC)

 * In this referenced resource, what is the deepest objective for emotional development? —Moulton 14:35, 14 February 2011 (UTC)
 * I mean humanity, I am actively working on this course and expect to make substantial additions over the next few days and weeks. I appreciate your attention, participation, and patience as I construct and refine this. Regarding emotional development, the wise path shows the deepest development as "compassion" Thanks! --Lbeaumont 15:57, 14 February 2011 (UTC)
 * Now, if we can just get Darklama to concur, we'll have a consensus on what the referenced sources suggest. —Moulton 16:17, 14 February 2011 (UTC)
 * Now that Lbeaumont has confirmed no mistake was made, I choose to assume that students in Lbeaumont's class may know what "choosing humanity" means even though I do not from the current context. -- dark lama  16:42, 14 February 2011 (UTC)

The First Paragraph
The first paragraph is from a stub created in 2006. I left it there as a tribute to the stub-creator, but don't really like it. What do you think? Thanks--Lbeaumont 16:07, 14 February 2011 (UTC)

 * Yeah, that's atrocious. Let's rewrite it from scratch.  —Moulton 16:23, 14 February 2011 (UTC)
 * Ok I worked on it, what do you think. As I mentioned I have ambitious plans for this course and will be adding substantial material over the next days and weeks. I hope the material will quickly become clear and useful. If you are interested, perhaps you can take a look at my recently "(more nearly) competed" course on Dignity and let me know your comments on that. Thanks--Lbeaumont 18:08, 14 February 2011 (UTC)

Current version now reads:

That's better. Should it mention that Wisdom is the opposite of Foolishness? Or is that a foolish thing to say?

Moulton 20:57, 14 February 2011 (UTC)

Illustrating Wisdom
I am searching for an image illustrating the concept of wisdom. I appreciate your ideas and suggestions. Ideas include a labyrinth, or spiral instead of the present Ouroboros image. --Lbeaumont 13:38, 16 February 2011 (UTC)

Potential Source
Consider integrating material from the John Vervaeke video - "The Cognitive Science of Wisdom" into the course. --Lbeaumont (talk) 11:34, 14 September 2012 (UTC)
 * For example: As the child matures by studying and internalizing the adult’s perspective, the adult can progress toward wisdom by internalizing the sage’s perspective.

The Components of Wisdom: A Survey of Expert Opinions
Yes, there is a paper titled "The Components of Wisdom: A Survey of Expert Opinions" that was co-authored by Monika Ardelt, Judith Glück, and Jacqui Smith, which includes input from Robert Meeks and Ursula Staudinger. Lbeaumont (discuss • contribs) 16:36, 19 April 2023 (UTC)

title: Talk:Wisdom


text:
User:Pitcharee

Processor:High-end Processor Intel 3.33GHz Core i7 980x Processor:Intel 3.4GHz Core i7-2600K Motherboard: Core i7 (LGA1366) Motherboard Asus Rampage III Extreme Case:Full-Tower Case Corsair Obsidian 800D Video Card:EVGA GeForce GTX 580 SC Hard Drive:(Performance)OCZ Vertex 2 100GB Monitor: HP ZR30W Keyboard: Microsoft Natural Keyboard 4000 Sound card: Creative Sound Blaster X-Fi XtremeGamer Fatal1ty Professional Series Mouse: Logitech Performance Mouse MX Modem: Netgear DGN3500 modem Floppy drive: HP 1.44MB Internal Floppy Drive Optical drive: ASUS BC-1205PT Optical Drive AGP: HIS Radeon HD 4670 IceQ 1GB Graphics Card

title: User:Pitcharee


text:
Computer Architecture Lab/SS2011/Leros

An FPGA optimized tiny processor core for utility functions (e.g., SW UART). The challenge is to get the resources below 500 LC and use just 2 RAM blocks. The processor is named after the Greek island Leros where the architecture was designed.

 * Leros is available at GitHub https://github.com/schoeberl/leros
 * A paper describing the basic architecture https://github.com/schoeberl/leros/blob/master/doc/leros.pdf?raw=true

Target

 * 1) Tiny design (less than 500 LC and maximum 2 RAM blocks)
 * 2) Run 100 on the DE2-70 board

Design Blog
A blog on the Leros implementation. Let's record how long it actually takes to get it running. The design has already been done (on a paper notebook) during a nice vacation in Greece in 2010. However, some details (most prominent the ISA definition) still needs to be flashed out.

 * 2011-02-20 2h: Start with the project setup. Trying to understand the library concept of VHDL, but gave up. Everything goes into work and the components are named leros_xxx to avoid name clashes.
 * 2011-02-20 4h: First VHDL files and setup Quartus to get an idea of fmax. Maximum clock frequency in a Cyclon 1 for a fully registered on-chip RAM is 255 MHz. Without output register and a small adder (ALU) towards the accu it is down to 148 MHz. Still a nice fmax ;-)
 * 2011-02-21 1.5h: Some decode, add ModelSim scripts plus test bench, load/add/sub immediate seems to work. Fmax is still at 145 MHz. LC count at 128. Can we do it below 3oo LC?
 * 2011-02-22 2.5h: Sketch the ISA (in a Bodega)- don't be too picky as 16 bit instructions for an accu machine as it has a lot of freedom in the ISA coding. Add more on the decoding. The LC count goes up to 142, but fmax is still at 145 MHz.
 * 2011-02-23 1h: Start with a conditional branch.
 * 2011-02-25 2h: Continue on conditional branch, add output port, adapt Makefile for the real FPGA compilation and download. The embedded "Hello World" - a blinking LED runs in the FPGA :-) (Just a little bit of cheating with the clock frequency as only simple 16 bit subtraction is supported).
 * 2011-03-04 2h: After a funding application writing break the next steps: start with an assembler (with a lot of copy from Jopa). Leros is now hosted on GitHub: https://github.com/schoeberl/leros
 * 2011-03-05 4h: Assembler knows most instructions and generates the ROM table. Instructions for load/store of variables added. Blinking LED now runs without frequency cheating.
 * 2011-03-07 2.5h: Optional work: add support for the Xilinx based Nexys2 board.
 * 2011-03-14 5h: Add Altera DE2-70 board, change instruction encoding. Add a minimalistic IO interface, shr instruction.
 * 2011-03-29 2h: Rewrite the assembler with a grammar for ANTLR.
 * 2011-05-29 2h: Add indirect load and store.
 * 2011-05-29 1.5h: Complete branches (unconditional and 4 conditional).
 * 2011-05-29 1h: Add jump and link instruction. Leros should now be complete and I stop counting the hours.

Sum: 31.5h (+2.5h)

title: Computer Architecture Lab/SS2011/Leros


text:
User talk:Vivek Kumar Singh

 Hello Vivek Kumar Singh, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

To get started, you may

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You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! --Ottava Rima (talk) 15:01, 14 February 2011 (UTC)

title: User talk:Vivek Kumar Singh


text: File:Eml5526.s11.team4.simko.h3.problem1.fig3.gif


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User:Asravaksayabhijna

Once born, what questions propel us towards the end? What motivation do we have at the birth of each new moment to search after that which makes us happy? Even if we seek after that which makes us sad, it is because that the state of being sad is something that satisfies us. That is what we all seem to seek upon entering this world; satisfaction. However, how can you describe such a state? In a world of temporal existence, relying on the passing of time to take us where we wish to go, what sort of satisfaction is worth pursuing, if not that of eternal contentment? Why look for happiness in anything other than the state of being at peace with the world? If we grow attached to moments of greater happiness, the moments of lesser happiness will make us ill at ease. If we grow attached to moments of lesser happiness, the moments of greater happiness leave us ill at ease. Therefore, we must construct our ship wisely, and flow eternally in the direction which compassion provides. Each of us exist in a reality of our own; to seek anything within this reality is like a king searching for a servant far away; While he is traveling, he abandons his kingdom, and leaves them in darkness. We then should call our servants towards us, through our own reality. We must also see the realities of others, and understand that they are the rulers of theirs, and that they are no less off than us. We must be equal. We must become aware of the greater reality that does not exist in the reality of anyone else, for this is the reality of God. One man sees a tree, another man sees the same tree. Just because both men see the same tree does not mean that the tree exists; it is the existence of the tree itself that permits its existence, but it does not exist individually. From this perspective, existence permeates all things, moment to moment, ever-changing. Take this example: (God's Reality) Every letter within the previous parentheses represent an individuals world. The parentheses represent God's world, which encompasses everything. The very existence of everything proves his existence, as his perception is our perception; yet, how exactly would we act if we had eyes as numerous as the particles in the universe? How would we act as a whole? as an individual? In this life, are we not both the individual and the whole, condensed and placed in the company of others like us to give us an appreciation of ourself, and the only self transcending Identity? The true name of God lies in his purpose; everything. Once we became afflicted by karma (the fruit of the knowledge of good and evil) we became placed in the midst of what could only be described as a chaotic war for power between what was once, but what could now be anything. We became afflicted by our fears, and our desires, and the chaos resulting from the infinite number of processes going on that we took no notice of before. We became afflicted by the knowledge that wisdom was evil, and compassion was good, but we also became afflicted with the knowledge that God is everything. Knowing this, what could we be except parts of God? What could we be but pieces of him, trying to see who he is? Too much wisdom and we go astray by distorting the truth inherent in everything to fit our perspective; too much compassion and we go astray by serving the wise. We must find a balance between the two, where karma does not exist, allowing us to float on the currents of the universe, and take advantage of things we can only hope to comprehend, but doing it so quickly that from the outsiders perspective, we seem omniscient. Not through hatred, not through love, not through wisdom, nor through compassion does this balanced state exist. Where else may it lie but outside of our own reality, both penetrating and recieving us?

title: User:Asravaksayabhijna


text:
User talk:Asravaksayabhijna

Argue with me, so that we may both refine our ideals.

title: User talk:Asravaksayabhijna


text:
Paideia High School/Heliganstadt Testament; Symphony No. 9, op. 125, IV

Heliganstadt Testament; Symphony No. 9, op. 125, IV is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 * Instructor will read the "Heliganstadt Testament." Students will also be expected to read, memorize and recite portions of the English text. Students will also learn to sing portions of Op. 125, IV in German.
 * A recording of Symphony No. 9, Op. 125, I-IV will be used
 * Video recording of a live performance of Op. 125, IV will be used, taken from "Copying Beethoven."

Written Presentation
Heliganstadt Testament, English Translation

Heliganstadt Testament, German text

Ninth" by Richard Taruskin, Oxford History of Western Music, pp. 1-9, user login required

"Beethoven, Ludwig van, §5: 1801–2: Deafness" by Joseph Kerman, Alan Tyson (with Scott G. Burnham), Grove Music Online, pp. 1-3, user login required

HELIGANSTADT TESTAMENT
(English translation of text written by Ludwig Van Beethoven, 1802)

For my brothers Carl and Johann Beethoven

Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was even inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible).

Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh, how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak Louder, shout, for I am deaf". Oh, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the hightést perfection, a perfection such as few in my profession enjoy or ever have enjoyed. – Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you.

My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished. I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship.

But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended my life. It was only my art that held me back. Oh, it seemed to me impossible to leave the world until I had forth all that I felt was within me. So I endured this wretched existence, truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the worst. Patience, they say, is what I must now choose for my guide, and I have done so - I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am ready. - Forced to become a philosopher already in my twenty-eight year, oh, it is not easy, and for the artist much more difficult than for anyone else. Divine One, thou seest my inmost soul thou knowest that therein dwells the love of mankind and the desire to do good. Oh, fellow men, when at some point you read this, consider then that you have done me injustice. Someone who has had misfortune may console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artist and men.

You, my brothers Carl and Johann, as soon as I am dead, if Dr. Schmid is still alive, ask him in my name to describe my malady, and attach this written documentation to his account of my illness so that so far as it is possible at least the world may become reconciled to me after my death. At the same time, I declare you two to be the heirs to my small fortune (if so it can be called); divide it fairly, bear with and help each other. What injury you have done me you know was long ago forgiven. To you, brother Carl, I give special thanks for the attachment you have shown me of late. It is my wish that you may have at better and freer life than I have had. Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery. Thanks for it and to my art, I did not end my life by suicide - Farewell and love each other.

I thank all my friends, particularly Prince Lichnowsky and Professor Schmid; I would like the instruments from Prince L. to be preserved by one of you, but not to be the cause of strife between you, and as soon as they can serve you a better purpose, then sell them. How happy I shall be if I can still be helpful to you in my grave - so be it. With joy I hasten towards death. If it comes before I have had the chance to develop all my artistic capacities, it will still be coming too soon despite my harsh fate, and I should probably wish it later - yet even so I should be happy, for would it not free me from the state of endless suffering? Come when thou wilt, I shall meet thee bravely. Farewell and do not wholly forget me when I am dead; I deserve this from you, for during my lifetime I was thinking of you often and of ways to make you happy - be soo -.

Ludwig van Beethoven

Heiligenstadt

October 6th, 1802

Sheet Music: Symphony No. 9, Op. 125, IV

Sheet music available from Petrucci Music Library

Ode to Joy: English Text
English Translation of 'Ode to Joy' By Aaron Green, About.com Guide (Adapted by Beethoven and translated to English)

O friends, no more these sounds!Let us sing more cheerful songs,More full of joy!

Joy, bright spark of divinity,Daughter of Elysium, Fire-inspired we tread Thy sanctuary.Thy magic power re-unites All that custom has divided, All men become brothers, Under the sway of thy gentle wings.

Whoever has created An abiding friendship, Or has won A true and loving wife, All who can call at least one soul theirs, Join our song of praise; But those who cannot must creep tearfully Away from our circle.

All creatures drink of joy At natures breast. Just and unjust Alike taste of her gift; She gave us kisses and the fruit of the vine, A tried friend to the end. Even the worm can feel contentment, And the cherub stands before God!

Gladly, like the heavenly bodies Which He sent on their courses Through the splendor of the firmament; Thus, brothers, you should run your race, like a hero going to victory!

You millions, I embrace you. This kiss is for all the world! Brothers, above the starry canopy There must dwell a loving father.

Do you fall in worship, you millions? World, do you know your creator? Seek Him in the heavens; Above the stars must he dwell.

http://classicalmusic.about.com/od/romanticperiodsymphonies/qt/Beethovenjoytxt.htm downloaded 2/14/11 2:07PM

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways.[3]. In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms with definitions worked out in detail for consideration; it should consist of about three to five terms.

 * Parcae another word for the Greek Fates, three goddesses who traditionally spun out, measured, and cut the span of a man's lifetime
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

A fast tempo, this can also refer to the title of a movement within a large work
 * Allegro

Indicates "much," the performer will frequently encounter "Molto" adjacent to another tempo marking, "Molto Allegro," which indicates "much faster."
 * Molto

little, the performer may interperate in the following manner "Un poco ritardando," to slow down gradually. Ritardando is to play slower, in using "poco" the composer instructs the performer to pay extra attention to the passage and to treat it even slower than expected.
 * Poco

Lively and brisk, this tempo will be considerably faster than "Allegro."
 * Vivace

To play as quickly as possible
 * Presto

"Singing," the performer should be lyrical and melodic in their interpratation.
 * Cantabile

A slow, walking tempo
 * Andante

"Always," an example is "sempre legato," to always play legato, or "sempre staccato," to always play staccato. Using "sempre" the composer does not have to indicate the same articulation mark through the score.
 * Sempre

An accent, to give weight to an individual note within a line of melody.
 * Marcato

To play with energy
 * Energico

Note: Students will learn to recognize unfamiliar Italian musical vocabulary and will study the ways in which Beethoven uses expressive markings to indicate tempo changes, dynamic and melodic shaping in Op. 125, IV.

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speeches often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

In the first sentence, what does "such incidents" refer back to? This is a pronoun form that calls on an antecedent. If you identify the specifics of his hearing loss, then they are collectively carried in as the subject of his despair. Look carefully at the verbs in this passage. "Art held me back" The verb usage "had forth" is unfamiliar in our current vernacular. Some basic analysis of how he could "have forth" what was in him creates a graphic image of the music in his soul being born into the world through him.
 * Such incidents drove me almost to despair; a little more of that and I would have ended my life. It was only my art that held me back. Oh, it seemed to me impossible to leave the world until I had forth all that I felt was within me.:

 * :
 * :
 * :

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * :
 * :
 * :
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References
"Beethoven" by Joseph Kerman et al. Grove Music Online, user login required

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References
Heiligenstadt was an independent municipality until 1892 and is today a part of Döbling, the 19th district of Vienna.

Historical References

 * It is interesting to consider the historical events occuring globally in Western Europe and the United States during Beethoven's lifetime between 1770-1827.

1774-First Continental Congress in Philadelphia

1774-1792-Reign of Louix XVI, King of France

1775-1783-American Revolution

1784-1790-French Revolution

1791-Death of Mozart

1802-Heliganstadt Testament, written by Beethoven in Heliganstadt, a suburb of Vienna.

1804-Napoleon declares himself Emperor

Beethoven had a turbulent relationship with Napoleon, originally intending to dedicate his third symphony, "The Eroica" to the ruler, but changed the dedication when he heard that Napeoleon had declared himself Emperor. The name "Eroica" comes from the original title "Sinfonia Eroica. .. composta per festeggiare il sovvenire di un gran Uomo," which translates in English to "Heroic Symphony. . .composed to celebrate the memory of a great man." Napoleon is said to have attended a performance of the symphony in 1809.

1809-Death of Haydn

1812-Napoleon retreats from Moscow

1815-Invention of the Metronome

1823-Beethoven, Symphony No. 9, Op. 125, I-IV

1827-Death of Beethoven

Prince Lichnowsky was one of Beethoven's strongest financial supporters.

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * Complete Listening Worksheet of Symphony No. 9, Op. 125

 * Complete sight singing exercises

 * Complete rhythmic dictation taken from Op. 125, IV

 * Complete melodic dictation taken from Op. 125, IV

 * Practice singing individual phrases in German from Op. 125, IV accompanied and unaccompanied.

 * Polish part singing of soprano, alto, tenor, bass parts from "An Die Freude."

 * Students will chose a piano reduction of "An Die Freude" and will complete a roman numeral analysis of the first phrase.

Speaking Skills

 * Students will practice reciting the English text of the Heliganstadt Testament

 * Students will be assigned to memorize individual paragraphs of the English text

Composer
 * Students will select with instructor approval a work by Beethoven and give an oral presentation to the class on the following information discovered in their study of the work. (Presentations may include student performances of voice or piano).

Dates

Basic biographical information

Genre of repertoire selection

Compositional features with a discussion of three of the following musical elements:

Rhythm meter

tempo

Melody

Harmony

Tonality

Texture

Form

Dynamics

Timbre

Text (if applicable)

Who wrote the text?

What is the text about?

What is significant about the composer's choice of text?

What is the relationship between the text and the music?

 * Class discussion on the influence of Beethoven on piano technique accompanied by piano master class.

 * Class discussion on the development of Beethoven's music through the three stylistic periods of his compositional output (Early, Middle, Late).

 * recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules

Reading Skills

 * read hard-copy with a pencil in hand--always!
 * marking up a text both with a pencil and electronically
 * inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book
 * analytical reading notes as taught in the same work
 * Practice reading the German choral text of "An Die Freude," Op. 125, IV

Writing Skills
"Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh, how harshly was I flung back by the doubly sad experience of my hearing. Yet it was impossible for me to say to people, 'Speak louder, shout for I am deaf." Rewrite in the style of the author.
 * Consider the following phrase from the text of the "Heliganstadt Testament:"

 * Rewrite the first paragraph of the "Heliganstadt Testament" in a style which imitates the original author, Beethoven.

 * Compose an alternative ending to the final paragraph of the "Heliganstadt Testament."

 * Study the following piano reduction of the "Ode to Joy" melody. Identify the form used in measures 1-16. Compose a 16 bar melody with the same form. You may select from the following meters: 3/4, 4/4, 6/8. You may select from the following key signatures: C, G, D, A. Mark each phrase in your composition and lable each theme appropriately.

 * Using the piano method, Alfred's Premeier Piano Series, learn to play the "Ode to Joy" melody. Take this melody and transpose to G major, using the same meter. Complete by writing on the staff.

 * Translate the orginal German title of the fourth movement of the symphony "An Die Freude" into Latin.

 * Listen to the CD recording of "Beethoven Lives Upstairs." Read through the first letter in the book "Beethoven Lives Upstairs" by Barbara Nichol.

 * Write a one page response to Christoph's letter, as illustrated by the CD and book.

Observation Skills
Study the following excerpt taken from Beethoven's Op. 125

 * Identify and define the tempo marking used in this excerpt.

 * Identify a portion of the main motive from Op. 125, IV

 * Identify the key signature of measures 1-4

 * Identify the modulation and new tonal center

Study the following excerpt taken from Beethoven's Op. 125

 * Please lable all measures numbers

 * What is the smallest note value in this example?

 * Write out the counting for all measures

 * Look closely at measures five and twelve. Lable the pitches in each of the measures.

 * In measures five and twelve what direction is the melody moving?

 * What is the relationship of the melody in measures five and twelve to the entire fourth movement of Op. 125?

Calculation Skills
Study the following excerpt from movement two of Op. 125. Rewrite measures 2-9 in the treble clef, on a separate sheet of staff paper. Determine the exact location of middle C in alto clef prior to rewriting the melody. You will need to determine whether each pitch and interval is being transposed up or down, relative to the current position of middle C in alto clef.

Solving Problems

 * Students will learn to sing portions of "An Die Freude," Op. 125, IV in German. Singers will identify the technical challenges in the entire work and also contained within individual phrases or measures. Students will practice polishing in sections, identifying complex rhythms, meter and tempo changes and large intervals present in the melody. Students will learn to identify these difficult sections in the score, take them apart and sing them in the most musically efficent and artistic manner.

 * Upon identifying the technical challenges in the vocal score of Op. 125, IV write a two page typed, double-spaced report detailing practice and performance strategies for learning this piece.

Paideia High School Seminar Friday April 15, 2011: Heliganstadt Testament, Symphony No. 9, IV Op. 125 Composed by Ludwig Van Beethoven
Today we are holding our Paideia High School seminar on the Heliganstadt Testament and Symphony No. 9, Op. 125, IV composed by Ludwig Van Beethoven.

1) The Heliganstadt Testament has been given the title "Heliganstadt Testament" based upon where Beethoven was geographically when he wrote the letter. The term "Heliganstadt" itself does not describe the ideas or themes contained in the letter. On your paper please write down a title that you feel best describes the letter Beethoven wrote to his brothers. (Round Robin) a. Follow up by questioning individual students

b. Use the text to support answers

c. Can you characterize the main theme of Bethoven's letter in 1-3 sentences?

i. Support answers from the text

2) Provide students with scenario of the prince and pig story. a. Ask students to give examples from film with aligned with audacity and egotism of Beethoven.