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Aptitude test

Aptitude Tests
This page is the beginning of a multi-purpose project:

 * 1) Provide anonymous aptitude tests for those interested in taking them.
 * 2) Explore the mechanisms and cultural bias inherent in aptitude testing.
 * 3) Investigate the use and abuse of aptitude testing.

Folklore
Aptitude testing is nothing new, as this folktale shows:

A king was traveling around his kingdom in disguise when he found a boulder in the middle of the road. He was thinking what to do about it when a prosperous merchant came towards him, glared at the boulder and then moved around it, all the while complaining about poor roads and what was the point of paying taxes if the king couldn't keep the roads in good repair???

This gave the king an idea. He lifted the stone and put a purse of gold coins under it, then hid nearby and waited. Throughout the day people passed by, commons and nobles, merchants and scholars, but though they all complained loudly about the stone, no one tried to move it.

Finally in the evening, when the king had given up hope, a farmer came by carrying a sack of grain. The farmer paused, then put the sack down and tried to push the boulder, but it was too heavy. So he got sticks from a nearby wood and levered the boulder bit by bit off the road. When he bent down to pick up his sack he discovered the purse full of gold.

The king came out of hiding and told the farmer the purse was the king's reward for good citizenship; he ordered the farmer to present himself at court the next day. In the morning the king made the farmer Superintendent of Public Works: alone of all the people who had passed by, he had done something about the boulder instead of talking about it!

What you should know before you do these tests
This is just the begining of the project Aptitude Test: data collection about the experiences of participants is still in progress. If you want to share views/results, please add below. With your feedback the project can evolve more. Help us helping you.

e.g. were the results reliable ?
 * 1) In my case, they were. Shir-El too 22:50, 5 September 2007 (UTC)

more info to be added here

Test no. 1: personalities
This test was received by e-mail. It is presented intact. Source/author unknown.

This is a real test given by the Human Relations Dept. at many of the major corporations today. It helps them get a better insight concerning their employees and prospective employees. It's only 10 simple questions, so... Grab a pencil and paper, keeping track of your letter answers. Make sure to change the subject of the e-mail to read YOUR total. When you are finished, forward this to everyone you know, and also send it to the person who sent this to you. Make sure to put YOUR score in the subject box. Ready?? Begin... 1. When do you feel your best? (a) in the morning (b) during the afternoon & early evening (c) late at night 2. You usually walk (a) fairly fast, with long steps (b) fairly fast, with short, quick steps (c) less fast head up, looking the world in the face (d) less fast, head down (e) very slowly 3. When talking to people you (a) stand with your arms folded (b) have your hands clasped (c) have one or both your hands on your hips (d) touch or push the person to whom you are talking (e) play with your ear, touch your chin, or smooth your hair 4. When relaxing, you sit with (a) your knees bent with your legs neatly side by side (b) your legs crossed (c) your legs stretched out or straight (d) one leg curled under you 5. When something really amuses you, you react with (a) a big, appreciative laugh (b) a laugh, but not a loud one (c) a quiet chuckle (d) a sheepish smile 6. When you go to a party or social gathering you... (a) make a loud entrance so everyone notices you (b) make a quiet entrance, looking around for someone you know (c) make the quietest entrance, trying to stay unnoticed

7. You're working very hard, concentrating hard, and you're interrupted. Do you... (a) welcome the break (b) feel extremely irritated (c) vary between these two extremes 8. Which of the following colors do you like most? (a) red or orange (b) black (c) yellow or light blue (d) green (e) dark blue or purple (f) white (g) brown or gray 9. When you are in bed at night, in those last few moments before going to sleep, you lie (a) stretched out on your back (b) stretched out face down on your stomach (c) on your side, slightly curled (d) with your head on one arm (e) with your head under the covers 10. You often dream that you are (a) falling (b) fighting or struggling (c) searching for something or somebody (d) flying or floating (e) you usually have dreamless sleep (f) your dreams are always pleasant POINTS: 1.  (a) = 2  (b) = 4  (c) =  6. 2.  (a) = 6  (b) = 4  (c) =  7  (d) =  2  (e) =  1. 3.  (a) = 4  (b) = 2  (c) =  5  (d) =  7  (e) =  6. 4.  (a) = 4  (b) = 6  (c) =  2  (d) =  1. 5.  (a) = 6  (b) = 4  (c) =  3  (d) =  5  (e) =  2. 6.  (a) = 6  (b) = 4  (c) =  2. 7.  (a) = 6  (b) = 2	(c) =  4. 8.  (a) = 6  (b) = 7  (c) =  5  (d) =  4  (e) = 3  (f) = 2  (g) = 1. 9.  (a) = 7  (b) = 6  (c) =  4  (d) =  2  (e) = 1. 10. (a) = 4  (b) = 2  (c) =  3  (d) =  5  (e) = 6  (f) = 1. Now add up the total number of points.

OVER 60 POINTS: Others see you as someone they should "handle with care". You're seen as vain, self-centered. Others may admire you, wishing they could be more like you, but don't always trust you, hesitating to become too deeply involved with you. 51 TO 60 POINTS: Others see you as a highly volatile, rather impulsive personality; a natural leader, who's quick to make decisions, though not always the right ones. They see you as bold and adventuresome, someone who will try anything once; someone who takes chances and enjoys an adventure. They enjoy being in your company because of the excitement you radiate. 41 TO 50 POINTS: Others see you as fresh, lively, charming, amusing, practical, and always interesting; someone who's constantly in the center of attention, but sufficiently well-balanced not to let it go to their head. They also see you as kind, considerate, and understanding; someone who'll always cheer them up and help them out. 31 TO 40 POINTS: Others see you as sensible, cautious, careful & practical. They see you as clever, gifted, or talented, but modest... Not a person who makes friends too quickly or easily, but someone who's extremely loyal to friends you do make and who expects the same loyalty in return. Those who really get to know you realize it takes a lot to shake your trust in your friends, but equally that it takes you a long time to get over it if that trust is ever broken. 21 TO 30 POINTS: Your friends see you as painstaking and fussy. They see you as very cautious, extremely careful, a slow and steady plodder. It'd really surprise them if you ever did something impulsively or on the spur of the moment, expecting you to examine everything carefully from every angle and then, usually decide against it. They think this reaction is caused partly by your careful nature. UNDER 21 POINTS: People think you are shy, nervous, and indecisive, someone who needs looking after, who always wants someone else to make the decisions & who doesn't want to get involved with anyone or anything. They see you as a worrier who always sees problems that don't exist. Some people think you're boring. Only those who know you well know that you aren't.

Test no. 2: 'Tibetan' personality test - also has a 'Tantric' rendition.
Test received by e-mail, original source/author unknown.

The usual very wordy preface (“no scrolling down ahead of time,” etc.) and conclusion (“You must send this on to at least 5 of your friends for your wish to come true,” etc., etc.) have been edited and deleted.

This is fun to do, but you have to follow the instructions very closely. Do not cheat. Answer the questions as you go along. There are only 3 questions. Go down slowly, and complete each exercise as you scroll down. Get pencil and paper to write out answers as you go along. You will need it at the end. The first thing that comes to mind is usually your best answer. Remember - no one sees this but you.

(1) Put the following 5 animals in the order of your preference: Cow, Tiger, Sheep, Horse, Pig.

(2) Write one word that describes each one of the following: Dog, Cat, Rat, Coffee, Sea.

(3) Think of someone, who also knows you and is important to you, which you can relate them to the following colors. Do not repeat your answer twice. Name just one person for each color. Yellow, Orange, Red, White, Green.

FINISHED?

Look at the interpretations below:

(1) This will define your priorities in your life: Cow Signifies CAREER Tiger Signifies PRIDE Sheep Signifies LOVE Horse Signifies FAMILY Pig Signifies MONEY

(2) Your description of   Dog implies your own personality. Cat implies the personality of your partner. Rat implies the personality of your enemies. Coffee is how you interpret sex. the Sea implies your own life.

(3) Yellow: Someone you will never forget Orange: Someone you consider your true friend Red: Someone that you really love White: Your twin soul Green: Someone that you will remember for the rest of your life.

title: Aptitude test


text: File:Blueygh2 happy.ogg

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

title: File:Blueygh2 happy.ogg


text: File:Blueygh2 depressed.ogg

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text: File:Blueygh2 hero.ogg

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Network+/Standards/TCP/IP Model/Introduction

The Transmission Control Protocol/Internet protocol model refers to a set of rules governing communication between devices across IP networks like the Ethernet. It is implemented as a series of layers. Why layers? Layers allow us to deal with complex systems by separating the problem into its individual components, then dealing with it in a modular manner. This modularization allows the system to be maintained and updated without causing trouble to other parts of the system.

Introduction
The TCP/IP Model is a Department of Defense created system for network transmission. Similar to the OSI Model, the TCP/IP Model uses layers to describe the process of data transmission across a network. Instead of using a seven layers, the TCP/IP Model breaks down the transmission into four layers which are:

4. The Application Layer 3. The Transport Layer 2. The Internet Layer 1. The Link Layer

You may see some layers called by different names in different places but the concept of operation remains the same.

Application Layer
The Application Layer, as the name implies, is where the applications or high level protocols reside. Protocols such as FTP, SMTP, DNS, SNMP, and HTTP all function at this layer. Some programs or applications that are built upon these protocols include the humble internet browser, email, and bittorent.

The application layer has many important protocols including HTTP for web-browsing, FTP for file transfer, IMAPv4 for instant messaging, and SMTP for e-mail delivery.

The application layer hosts high level protocols such as HTTP and FTP, which enable us to surf the web and transfer files

Transport Layer
The Transport Layer handles session management between host computers. TCP, UDP, IGMP and ICMP all function at this layer. Raw data from the application layer is broken down and encapsulated into segments, which are then passed into the lower layer.

The Transport Layer attempts to enable the successful transfer of information by maintaining an end to end perspective, ensuring data that exits one end reaches the other.

The Logical Link Control was handled to this layer from a sub layer of Data Link Layer at OSI Model, TCP/IP Model do not implement Logical Link Control at Network Interface Layer.

Internet Layer
The Internet Layer packages information from the higher layers, determines the path the information is to take across the network, and then encapsulates the segments from the Transport layer into "envelopes" called packets. Path selection happens here, therefore IP and IPSec both operate at this level. Routers and some switches operate at this level.

The internet layer has quite a number of protocols like ICMP (Internet control message protocol), IPv4, IPv6 (v4 and v6 refer to version numbers) The internet layer defines the set of rules used to transmit datagrams. In order for both the transmitter and the receiver to understand each other a structure needs to be defined for the datagram. Currently, a transition is occurring between IP protocol version 4 (IPv4), and the more flexible and scalable version 6 (IPv6). It is not uncommon to see a combination of the two protocols in similar settings. The IP datagram is composed of 20 bytes for the header plus a variable data field that varies based on optimization.

Link Layer
The Link Layer breaks down the packets from the Internet Layer into frames and then eventually into bits for transmission across the physical network medium. Signaling and network medium standards such as Ethernet, Token Ring, FDDI, X .25, Frame Relay, RS-232, and v.35 are defined in this layer. Network Interface Controller (NIC) Cards, network hubs, repeaters, bridges, and switches operate at this level.

Also included in the link layer of the TCP/IP model is the physical mediums (this is a separate layer in the OSI model). The physical mediums consist of twisted copper cables and also wireless transmission mediums that allow bits to travel from machine to machine. The physical layer is how the signal is physically transported from location A to location B across a network.

Differences from the OSI Model
The Application Layer (Layer 4) of the TCP/IP Model combines the Application (Layer 7), Presentation (Layer 6), and Session (Layer 5) layers of the OSI Model.

The Link Layer of the TCP/IP Model (Layer 1) combines the Data Link (Layer 2) and Physical (Layer 1) layers of the OSI Model.


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User talk:Facundofiorino

Welcome
Hello Facundofiorino, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

If you're already excited about editing, our sandbox is the perfect place for all test edits. Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz ( evaluate me!, discussion ) 13:22, 4 September 2007 (UTC)

P.S. great to see, you are already contributing, I have added for the time being a template here. See you.

title: User talk:Facundofiorino


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User talk:Physis~enwikiversity

Hello Physis, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

If you're already excited about editing, our sandbox is the perfect place for all test edits. Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz ( evaluate me!, discussion ) 13:40, 4 September 2007 (UTC)

BTW: nice observation/thinking of yours here.

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Physis. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Physis~enwikiversity that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:41, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:17, 19 April 2015 (UTC)

title: User talk:Physis~enwikiversity


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User:Zachary/monobook.js

document.write(' ');

title: User:Zachary/monobook.js


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User:JWSchmidt/Blog/4 September 2007

Is education the goal or some kind of Open Source software religion?

The Wikimedia Foundation is built upon the concept of open content. "The mission of the Wikimedia Foundation is to empower and engage people around the world to collect and develop neutral educational content under a free content license or in the public domain, and to disseminate it effectively and globally." (Mission)

Now we have a Software Policy Draft that tries to expand the "open content" approach of Wikimedia projects to an "open source software only" crusade.

At Wikiversity we have learning resources that make use of all types of software and the goal is education. We are trying to develop server-side resources for learn-by-doing software projects (see Sandbox Server). Do we really need doctrinal restrictions on the software that Wikiversity participants can use and learn about? The Wikimedia Foundation has always been and will always be a friend of open source software, but some folks seem to cross the line into an Open Source Software Religion and that can start getting in the way of the educational mission of the Foundation rather than supporting it. Is this new "Software Policy" proposal crossing the line?

If we look at the inability of the Wikimedia Foundation to make Wikimania accessible to the world, we might wonder if damage to the educational mission (due to the "Open Source Software Only" reflex) started long ago. Have monks from some Open Source Software Religion taken over the Wikimedia Foundation? It seems like these monks are on a crusade and that they do not care to place the educational mission first.....their first priority seems to be holy war against proprietary software. Is "open source software only" fanaticism in the best interests of the Wikimedia Foundation? From an educational perspective, learning about how to use proprietary software is a valid educational goal for many Wikiversity participants. Would the "open source software only" policy proposal get in the way of the Wikiversity mission?

Updates

 * The "policy" proposal has already been changed to a "Statement of Principles".
 * File format policy
 * related: Working copy
 * Format Conversion - Flash and Ogg.

title: User:JWSchmidt/Blog/4 September 2007


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User:Bradfordjamesloos~enwikiversity

I have put this page up to be in compliance with the requirements for the CS 6540 class (Human Computer Interaction) at the University of Utah www.utah.edu.

title: User:Bradfordjamesloos~enwikiversity


text:
User talk:DTGardner

Hello DTGardner,

thank you. Erkan Yilmaz ( evaluate me!, discussion ) 17:04, 4 September 2007 (UTC)

title: User talk:DTGardner


text:
User:Emali

Türkçe Dersi

title: User:Emali


text:
User talk:Emali

.

title: User talk:Emali


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User:Dionysios/Semiotics

Semiotics for Beginners

 * Full Text Online: "Semiotics For Beginners" by Daniel Chandler

Wikiversity: "-ologies": Semiology

 * Semiology

Wikiversity Department of Literary Studies

 * Learning Circle on Structuralism and Semiotics

Wikiversity Division of Communications

 * Proposed Department of Semiotics

Wikiversity Division of Communications β

 * Proposed Department of Semiotics

Wikiversity User AlC: Study Goals: Linguistics: Semiotics

 * Proposed Department of Semiotics

Wikipedia Article

 * Semiotics

Wiktionary Entry

 * semiotics

title: User:Dionysios/Semiotics


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Category:LMCC

The Licentiate of the Medical Council of Canada (LMCC) is a qualifying exam which certifies physicians in Canada. It consists of two parts, the first of which is a multiple choice exam done in the last year of medical school, the second an OSCE which is done at some point during medical residency. The following is a study guide for the LMCC 1 and 2.

title: Category:LMCC


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User:Björn Klippstein~enwikiversity

You can find more information about me at bjoern.klippstein.com or 4webmaster.de.

My profile in the german Wikipedia is Björn Klippstein de:Benutzer:Björn Klippstein Wikipedia:de:Benutzer:Björn Klippstein

title: User:Björn Klippstein~enwikiversity


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Queen Elizabeth I

Queen Elizabeth I - The Virgin Queen
Elizabeth I, otherwise known as "The Virgin Queen", Queen of England and Ireland, born on Sunday the 7th of September 1533, and, like all the Tudors except Henry VII, at Greenwich Palace, was the only surviving child of Henry VIII by his second queen, Anne Boleyn. Both her parents were bitterly disappointed that she was not a son and heir. She represented from her birth the principle of the religious revolt from Rome initiated by her father. Elizabeth was the second of three children born to Henry the VIII. Her elder sister Mary, was born to Catherine of Aragon on February 18, 1516. Elizabeth was given precedence over Mary at the time of her birth, and Mary never forgave the infant's offense. Even this dubious advantage only lasted three years until Elizabeth's mother was beheaded. Her younger brother Edward the VI, was born to born to Jane Seymour October 12, 1537. Edward was crowned king on 28th of January 1546 at the ago of nine. His reign lasted only seven years.

After the death of Anne Boleyn, Elizabeth thus lost all hereditary title to the throne, and her legitimacy never legally established; but after Jane Seymour's death and the birth of Edward VI, she was by act of parliament placed next in order of the succession after Edward and Mary and their issue. This statutory arrangement was confirmed by the will which Henry VIII who was empowered by statute to make. Queen Catherine Parr introduced some humanity into Henry's household, and Edward and Elizabeth were well and happily educated together, principally at old Hatfield House.

When Henry's death called Edward VI away to greater dignities, and Elizabeth was left in the care of Catherine Parr. After Henry's death she married in haste Thomas, Lord Seymour, brother of the protector Somerset. This unprincipled adventurer, even before Catherine's death in September 1548, paid indelicate attentions to Elizabeth. Any attempt to marry her without the council's leave would have been treason on his part and would have deprived Elizabeth of her contingent right to the succession. Accordingly, when Seymour's other misbehavior led to his arrest, his relations with Elizabeth were made the subject of a very trying investigation, which gave Elizabeth her first lessons in the arts of self-defense. She proved equal to the occasion, partly because she was in all probability innocent of anything worse than a qualified acquiescence in Seymour's improprieties and a girlish admiration for his handsome face.

For the rest of Edward's reign Elizabeth's life was less tempestuous. She was hardly thought of as the ideal Puritan maiden, and was regarded as a foil to her stubborn Catholic sister. She thus avoided the enmity and the still more dangerous favor of Northumberland. For a time she was safe enough, although she would not renounce her Protestantism until Catholicism had been made the law of the land.

It was not so much Elizabeth's religion as her nearness to the throne and the circumstances of her birth that endangered her life in Mary's reign. While Mary was popular Elizabeth was safe; but as soon as the Spanish marriage project had turned away English hearts Elizabeth inevitably became the centre of plots and the hope of the plotters. Had not Lady Jane still been alive to take off the edge of Mary's indignation and suspicion Elizabeth might have paid forfeit for Wyat's rebellion with her life instead of imprisonment. She may have had interviews with French agents who helped to foment the insurrection; but she was strong and wary enough to avoid Henry II's toils; for even in case of success she would have been the French king's puppet, placed on the throne, if at all, merely to keep it warm for Henry's prospective daughter-in-law, Mary Stuart. This did not make Mary Tudor any more friendly, and the Spaniards cried loud and long for Elizabeth's execution.

She was sent to the Tower in March 1554, but few Englishmen were fanatic enough to want a Tudor beheaded. The great nobles, the Howards, and Gardiner would not hear of such a proposal; and all the efforts of the court throughout Mary's reign failed to induce parliament to listen to the suggestion that Elizabeth should be deprived of her legal right to the succession. After two months in the Tower she was transferred to Sir Henry Bedingfield's charge at Woodstock, and at Christmas, when the realm had been reconciled to Rome and Mary was expecting issue, Elizabeth was once more received at court. In the autumn of 1555 she went down to Hatfield, where she spent most of the rest of Mary's reign, enjoying the lessons of Ascham, and planting trees which still survive.

She had only to bide her time while Mary made straight her successor's path by uprooting whatever affection the English people had for the Catholic faith, Roman jurisdiction and Spanish control. The Protestant martyrs and Calais between them removed all the alternatives to an insular national English policy in church and in state; and no sovereign was better qualified to lead such a cause than the queen who ascended the throne amid universal, and the Spaniards thought indecent, rejoicings at Mary's death on the 17th of November 1558. "Mere English" she boasted of being, and after Englishmen's recent experience there was no surer title to popular favor. No sovereign since Harold had been so purely English in blood; her nearest foreign ancestor was Catherine of France, the widow of Henry V, and no English king or queen was more superbly insular in character or in policy.

She was the unmistakable child of the age so far as Englishmen shared in its characteristics, for with her English aims she combined some Italian methods and ideas. "An Englishman Italianate," ran the current jingle, "is a devil incarnate," and Elizabeth was well versed in Italian scholarship and statecraft. It is clear enough that, although, like her father, she was fond of ritual, she was absolutely devoid of the religious temperament, and that her ecclesiastical preferences were dictated by political considerations. She was sincere enough in her dislike of Roman jurisdiction and of Calvinism; a daughter of Anne Boleyn could have little affection for a system which made her a bastard, and all monarchs agreed at heart with James I's aphorism about "no bishop, no king." It was convenient, too, to profess Lutheran sympathies, for Lutheranism was now an established, monarchical and comparatively respectable religion, very different from the Calvinism against which monarchs directed the Counter-reformation from political motives. Lutheran dogma, however, had few adherents in England, though its political theory coincided with that of Anglicanism in the 16th century. The compromise that resulted from these conflicting forces suited Elizabeth very well; she had little dislike of Catholics who repudiated the papacy, but she was forced to rely mainly on Protestants, and had little respect for any form of ecclesiastical self-government. She valued uniformity in religion, not as a safeguard against heresy, but as a guarantee of the unity of the state.

Mary Stuart (Mary Queen of Scots) as a constant thorn in Elizabeth's side. The Catholic Queen was a cousin to Elizabeth on her father's side, and her Catholic opposers felt that Mary Stuart was the true heir to Mary Tudor's throne. The reason given was that Elizabeth had been declared illegitimate, however the main reason for the Catholic outcry was to restore England to the Catholic church. After many ill-conceived marriages, decisions, and alliances, Mary Stuart was forced to abdicate her Scottish crown and flee to England. For 20 years she tried to gain assistance from Elizabeth in reclaiming her crown, all the while being accused of treason against the queen (real or imagined). In 1587, enough damning evidence against Mary was discovered to seal her fate with the executioner.

It was not personal enmity on Elizabeth's part that brought Mary to the block. Parliament had long been ferociously demanding Mary's execution, not because she was guilty but because she was dangerous to the public peace. She alone could have given the Spanish Armada any real chance of success. Elizabeth resisted the demand, not from compassion or qualms of conscience, but because she dreaded the responsibility for Mary's death. She wished Paulet would manage the business on his own account, and when at last her signature was extorted she made a scapegoat of her secretary Davison who had the warrant executed.

The outlines of her foreign policy are sketched elsewhere, and her courtships were diplomatic. Contemporary gossip said that she was debarred from matrimony by a physical defect; and her cry when she heard that Mary queen of Scots had given birth to a son is the most womanly thing recorded of Elizabeth. Her features were handsome, and in spite of her many suitors no man lost his head over Elizabeth. She was far too 'masculine' in mind and temperament, and her extravagant addiction to the outward trappings of femininity was probably due to the absence or atrophy of deeper feminine instincts. Howevershe had many flirtations, and she carried some of them to lengths that were considered scandalous. She also had to convince other courts that she could and would marry if the provocation were sufficient. She could not marry Philip II, but she held out hopes to more than one of his Austrian cousins whenever France or Mary Stuart seemed to threaten. Later in her life she encouraged two French princes, but nothing became of it. Her other suitors were less important, except Leicester, who appealed to the least intellectual side of Elizabeth and was always a cause of distraction in her policy and her ministers.

Elizabeth was terribly handicapped by having no heirs of her body and no obvious English successor. In addition to the issue of succession, arose the problems resulting from the exuberant aggressiveness of England, which she could not, and perhaps did not want to, repress. Religion was not really the cause of her external dangers, but no state could long tolerate the affronts which English seamen offered Spain. The common view that the British Empire has been won by purely defensive action is not tenable, and from the beginning of her reign Englishmen had taken the offensive, partly from religious but also from other motives. They were determined to break up the Spanish monopoly in the new world, and in the pursuit of this endeavor they were led to challenge Spain in the old. For nearly thirty years Philip put up with the capture of his treasure-ships, the raiding of his colonies and the open assistance rendered to his rebels. Only when he had reached the conclusion that his power would never be secure in the Netherlands or the New World until England was conquered, did he dispatch the Spanish Armada. Elizabeth delayed the breach as long as she could, probably because she knew that war meant taxation, and that taxation was the most prolific parent of revolt.

With the defeat of the Spanish Armada Elizabeth's work was done, and during the last fifteen years of her reign she got more out of touch with her people. That period was one of gradual transition to the conditions of Stuart times; during it practically every claim was put forward that was made under the first two Stuarts either on behalf of parliament or the prerogative, and Elizabeth's attitude towards the Puritans was hardly distinguishable from James I's. But her past was in her favor, and so were her sex and her Tudor tact, which checked the growth of discontent and made Essex's rebellion a ridiculous fiasco. He was the last and the most willful but perhaps the best of her favorites, and his tragic fate deepened the gloom of her closing years. The loneliness of a queen who had no husband or children and no relatives to mention must at all times have been oppressive; it grew desolating in old age after the deaths of Leicester, Walsingham, Burghley and Essex. Elizabeth died, the last of her race, on the 24th of March 1603.

title: Queen Elizabeth I


text:
User talk:Megaera

Hello Megaera, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

If you're already excited about editing, our sandbox is the perfect place for all test edits. Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz ( evaluate me!, discussion ) 22:02, 4 September 2007 (UTC)

title: User talk:Megaera


text:
User:Tagishsimon

See W:User:Tagishsimon

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text:
User talk:Tagishsimon

See W:User:Tagishsimon. I'm unlikely to read this page; post on wikipedia instead if you want to talk to me. --Tagishsimon 23:27, 4 September 2007 (UTC)

title: User talk:Tagishsimon


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User:CaitEO

Hi everyone, I'm Caitlin and I'm sooo cool. :-P just kidding. But no really, I am cool

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User:Salvor/quiz-testing

{Spurning Hvað af þessum kerfum er myndagagnabanki? + commons.mediawiki.org - wiki.khi.is - is.wikibooks.org - is.wikipedia.org
 * type=""}

{Spurning Hvaða er af þessu er rétt um Wikipedia? + margir skrifa greinar í sameiningu - allar greinar eru yfirfarnar af sérfræðingum á sviðinu - allar greinar eru þýddar jafnóðum á kínversku - flestar greinar eru tómt rugl
 * type=""}

{Spurning Hver þessara Jóna var þjóðhetja Íslendinga? - Jón Sveinsson + Jón Sigurðsson - Jón Jónsson - Jón sýslumaður
 * type=""}

Sjá meira um svona gagnvirkar æfingar á Help:Quiz

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Film scoring/Table of Contents

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create the sound of fear from a single note
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create other moods from a single note
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create the sound of joy using a delicate rhythm
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create other moods from delicate rhythms
 * }

 * {| cellpadding="2" cellspacing="0" width="425px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Quiz : Music which tells a story
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create a mood with a melody
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create a story with a melody
 * }

 * {| cellpadding="2" cellspacing="0" width="425px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Quiz : The Spy Story - Who is who?
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Yellow" style="border: 1px Gold solid;" |DVD-Video : Scoring your first scene - The Promotion
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create four motifs - Mama, papa, baby, and Goldie
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Create continuity with a single motif
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Foreground / Background music - soft vs. loud
 * }

 * {| cellpadding="2" cellspacing="0" width="425px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Quiz : Watch a short movie - George Lucas In Love
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Yellow" style="border: 1px Silver solid;" |DVD-Video : What is a "Spotting Session"? - Only A Dream
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Yellow" style="border: 1px Silver solid;" |DVD-Video : Write two musical cues for Home Wrecker
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |More musical theory
 * }

 * {| cellpadding="2" cellspacing="0" width="425px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Butchering Midi - The starwars theme
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Yellow" style="border: 1px Silver solid;" |DVD-Video : How would you score Green Tea Smoothie ?
 * }

 * {| cellpadding="2" cellspacing="0" width="450px"

 * bgcolor="Yellow" style="border: 1px Silver solid;" |DVD-Video : Write a film score for Blindman's Bluff
 * }

 * {| cellpadding="2" cellspacing="0" width="425px"

 * bgcolor="Lavender" style="border: 1px Silver solid;" |Write a film score for Seduced by the Dark Side!
 * }
 * }

title: Film scoring/Table of Contents


text:
Film scoring/Introduction

This course is for high school students and first year college students.

{| cellpadding="25" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 60%; background-color: White; border: 2px solid Gold; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|

The ideal student

 * This course is only for people who want to make musical sound effects.

The wrong student

 * If you enjoy writing songs, do not take this course.

 * If you ever attended a music school, do not take this course.

 * If you enjoy playing music, do not take this course.

 * style="width: 40%; background-color: #eef; border: 1px solid #666; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"; rowspan="4"|

Frequently changing moods
Movies have lots of edits. You will be amazed.

In a scripted television drama, there is one edit every three seconds. The longest edit is six seconds.

Motion pictures for the younger generation have one edit every 1.5 seconds.

Therefore, the MOOD changes every three seconds to six seconds.

And that means the mood of your music must change every three to six seconds.

Therefore, you only have time for musical sound effects, not real music.

Songs are useless
A song has only ONE (1) mood. Therefore, songs are useless for a scene with dialog.

You only use songs for montages, titles, credits, love scenes and car chases. Never for scenes with dialog -- which is the only scenes in this course.

Use Midi, not DAW
For this course, you need a MIDI setup which will sync to digital video (QuickTime or WAV) such as GarageBand.

If you play lots of real musical instruments, you can use a DAW such as GarageBand. But this is only for advanced users. Most people should use MIDI with software instruments.

And you should have the sounds of a symphony orchestra (starting with a nice violin trill).

GarageBand with Jam Pack:Symphony Orchestra is more than enough. You don't need anything more!!!!

Apple
Your instructor recommends Apple's GarageBand with Jam Pack Symphony Orchestra for beginners. It is reasonably simple yet surprisingly powerful... once you find the hidden features.

Linux
There is no programs for Linux that will do film scoring with software instruments in sync with QuickTime, WAV, or OGG movies.

With Ubuntu Linux, you can try Rosegarden to make the midi files. Then use TiMidity++ (a command line application) to change midis to oggs, and Audacity for some final effects (mostly amplifying and adjusting the envelope). Not easy!

Update (2021): MuseScore offers the possibility to export directly your score in many audio file formats.

It's not about you!
This course is not about you or your music. This is not a place to show how great you are.

This course explains what the director/producer of the motion picture needs.

You learn to create the music that they want, not the music you want.

 * style="width: 60%; background-color: #fee; border: 1px solid #666; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|
 * style="width: 60%; background-color: #fee; border: 1px solid #666; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|

About this course

 * Which kind of film scoring?
 * This course teaches you how to score a conversation from a narrative motion picture or narrative television drama.

 * This course teaches how to use musical sound effects to create moods for dramatic scenes where people are talking. That is all!

 * Creating the mood for a conversation is the most challenging job of a film composer. Everything else is much easier.  That is why the course focuses on just this one kind of film scoring - conversations.

 * Film scoring made easy
 * Film scoring is easy. Anyone can do it.

 * You just need someone to tell you the theory and then show you how to apply it to real scenes from television dramas.

The secret of film scoring

 * All you have to do is learn the secret of film scoring :

 * The only purpose of a film score is to create the moods for a scene.
 * Single notes are best. (Usually, a single note is all that will fit.)
 * Delicate rhythms also work well. (No drums or other percussion, including piano)
 * Melodies can do lots of special things.

 * style="width: 60%; background-color: #efe; border: 1px solid #666; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|
 * style="width: 60%; background-color: #efe; border: 1px solid #666; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|

Preparing the viewer emotionally

 * Explaining the story with music
 * This course deals with dramatic TV shows ( cop, lawyer, medical shows). This is a medium where sounds are used to cue the viewer emotionally.  That is your job!

 * The best way to do this is to keep your music short and simple. That is why this course is emphasizes the basics.  You simply add moods to a scene.

 * I cannot stress this enough. This course is not about making music.  Instead, this course is about creating moods.

 * In this course, you create most of your film score by creating musical sound effects, not music. That is all that is needed.

 * Don't get carried away with your own brilliance. Please keep it simple!

 * style="width: 60%; background-color: #ffa; border: 1px solid #666; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|
 * style="width: 60%; background-color: #ffa; border: 1px solid #666; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1"|

The disks are on loan

 * This disks for this course come from the Star Movie Shop.

 * I can loan them to you if you promise to return each disk in one month. (None of the disks is copy protected.)

 * Otherwise, you must purchase the disks from them.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" You begin at the beginning.
 * style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

Start with the basics

 * I can teach you film scoring. But you must start with the basics.

 * For the moment, forget about John Williams and Danny Elfman.

 * Instead, think Schroeder (of the "Peanuts" cartoons). Just a 5-year-old kid pounding on a toy piano to create musical sound effects.

 * These musical sound effects create moods. That is your goal.  To create moods for your audience.

 * Requirement for this course
 * To take this course, you must become a 5-year-old kid who likes to create wonderful moods just by pounding on your Midi keyboard.

You begin here - The theory

The theory of film scoring

 * Mood, mood, mood
 * The only purpose of music in a motion picture is to explain the moods of the scene.

 * The composer tells the audience what they should be feeling when they watch the movie. That's it!

 * Therefore, you have to learn to create moods with your music.

 * Most important
 * It is not the music which is important but only the mood which it creates.

 * Most of the time, your music must be kept short and simple. Musicians have very little time and space in a motion picture.  Most musicians/composers find this very frustrating.  Get over it.

 * It is not about you
 * Film scoring is not about your music. Film scoring is only about creating the moods that the director needs in his movie.  If you can accept this, you can be a great film composer.

 * So keep it simple. Just create moods.

Required Software

 * Symphony orchestra
 * For this course, you should be able to create realistic sound of a symphony orchestra on your computer. Lots of programs do this. Even GarageBand with Jam Pack:Symphony Orchestra or the free Boldt packages can do this very well.

 * Expertise in MIDI
 * Before you begin these lessons, you must have already mastered your music creation software. You must be able to do midi sequencing with software instruments inside your computer.

Note : We do not use acoustic loops in this class.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" To your first exercise
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * On the next page, you create moods using simple notes with the natural sound of the musical instrument. Exercise : The sound of fear →

 * }

title: Film scoring/Introduction


text:
User:Epsilonbuilding

About me
I am into ICT research, realising that qualitative research is not easy as it sounds, though it is still fun to try something new as I have never had the chance to do such research during my undergrad time. Currently, I am researching on web-blog, specifically academic blogging?, to see the occurance of transference knowledge of a local student community. So whomever is into this research area, please feel free to message me.

title: User:Epsilonbuilding


text:
Film scoring/The sound of joy

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Moods created from delicate rhythms
 * style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

This lesson is all about repeating rhythms

 * For this lesson, you create moods with very delicate rhythms. The music should sound like flowing water.

 * Instructions for this exercise
 * Select one instrument such as tiny bells or a harp.
 * Create 6 seconds of rapidly repeating delicate rhythm using only four or five or six notes that repeat like flowing water.
 * There can be slight variations but absolutely no melody. (These notes act like a chord, not a melody.)
 * If you use a second instrument, it should be a single note in the background.

 * Keep it delicate. You are creating background music (soft music) because you don't want your music to drown out the dialog of the actors.

No Percussion

 * "Why are we doing this assignment?", you ask. The actors' voices and most percussion instruments have the same frequency range.  If you use the loud percussive sound of drums, you will make the dialog harder to understand.

 * Rule - No drums
 * When you score a scene which has a conversation, you must never use drums or any of the normal percussion instruments (even piano.)

 * The solution
 * Therefore, the purpose of this lesson is to figure out ways to get a beat to your music while not using drums.  Light, delicate rhythms using violin, harp, or even tiny bells is the answer.

 * Hold that thought
 * You can hold the last note or hold the last chord, etc. when you reach the last note. Then let it fade out.

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Delicate rhythm assignment
 * style="width:100%; vertical-align:top; border:1px solid Blue; background-color:#eeeeff;" |

[[Media:Delicate Rhythms In GB.ogg|Listen to an example]]

[[Image:Blue check.svg|48px]]Your assignment [[Image:Nuvola apps juk.png|48px]]

 * 1. Create the sound of joy.

 * Using very delicate sounds (tiny bells or a harp), create a 6-second long repeating rhythm which sounds very happy. (see instructions above)

 * Keep it nice and simple.

 * Once you are finished, send me the file and we will go from there.

 * }

Repeating like flowing water

 * In this exercise, you must use a very fast, repeating rhythm with perhaps a note or two played softly in the background.

 * The sound of the delicate rhythm should repeat very fast like flowing water, etc.

Think LOOPS

 * This is the only time in this course when you can use loops if you wish. Look through your library of harp loops for the sounds of gentle repeating rhythms.  Also try replacing the harp sound with gentle guitar sounds or violin sounds.

Variation in the repetition

 * When I say repeating, I do not mean 100% identical repetition. Instead, you can vary the notes to create a direction to the music.

Shape the volume curve

 * Don't forget to create a volume curve for your music. Most of the time, you will not want a musical cue to simply turn on and then turn off suddenly.

No melody

 * Remember : No melody or heavy rhythms. Only delicate rhythms and perhaps a few simple notes in the background.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" More moods created with delicate rhythms
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * That was so much fun, you should do it again. Exercise : Other moods from delicate rhythm

 * }

title: Film scoring/The sound of joy


text:
Film scoring/Other moods from a single note

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" More moods created with single notes
 * style="width:100%; vertical-align:top; border:1px solid Blue; background-color:#eeeeff;" |

[[Image:Blue check.svg|48px]]Create additional moods with a single note [[Image:Nuvola apps juk.png|48px]]

 * I want you to create other moods using just one musical instrument from a symphony orchestra.

 * The goal is to create unique moods from the natural sounds of musical instrument rather than by creating music.

 * What mood does an oboe create?

 * What mood does a french horn make?

 * What mood does a trumpet make?

 * What mood does real world instruments create?

Your assignment

 * Try creating moods such as :

 * sad
 * tired
 * surprise
 * etc.

 * using just one, two, or three notes of a single instrument of the symphony orchestra or real world instruments.

 * Instructions

 * To do this, play a single note (or two) of a musical instrument to create a mood (six seconds.)

 * Reshape the note's volume to create a sound effect (rather than just a simple "on/off" note.)

 * Try this for all the instruments of the symphony orchestra and send me the best three.

 * Write me and tell me what moods you have created. (I know this should be obvious but sometimes it is not.)

No melody!!!

 * Remember: Use no melody and, preferably, no rhythm. Just simple notes!

 * One, two, or three notes.

Points

 * If you use a single note, you get ten points. (Chords count as a single note.)

 * If you use two consecutive notes, you get nine points.  (Chords count as a single note.)

 * But if you use three consecutive notes, you get only four points.  (Chords count as a single note.)

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Next : Learn to create moods with delicate rhythm
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next assignment

 * The current lesson demonstrates how moods can be created with simple notes using the natural sound of the musical instrument.

 * In the next lesson, you will see how moods can be created by delicate rhythms. Once you send me your audio file for the sound of fear, go to Exercise : The sound of joy

 * }


text:
Film scoring/The sound of fear

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" The assignment for the first lesson
 * style="width:100%; vertical-align:top; border:2px solid Blue; background-color:LightYellow;" |

[[Image:Blue check.svg|48px]]Your first assignment (Just one note!) [[Image:Nuvola apps juk.png|48px]]

 * 1. Create the sound of fear.

 * If your computer has the sound of a violin trill, create a 6-second long violin trill which sounds "scary". Keep it nice and simple.  (If your computer does not have a violin trill, try something else.  Some chords also sound scary.)

 * Once you are finished, attach the file to an email and send it to me at r_elliott at innercite.com.

 * Then @undefined to send me a message telling me what software you used.

 * Then go to the next lesson where you create additional moods with single instruments.

Huh?

 * That is too easy!!!!
 * Most music packages (such as Apple's Jam Pack:Symphony Orchestra) have terrific violin trills. Just by pressing one key, you get the wonderful sound of a violin trill or tremolo.

 * There is a problem
 * The problem is the volume has no shape. The sound is either on or off.  Not good!

 * If you use a program like GarageBand, you must create an envelope for the volume to give the sound emotion. Or you can create an envelope for expression which is an advanced feature of GarageBand which is hidden inside the track editor.

Keep it simple

 * That is all you have to do for this exercise. Easy!  Just adjust the volume of the sound of fear made with a violin trill.  That is all you have to do.

Sounds dull, doesn't it?
Many people think this will be boring. Not at all. A single note can be shaped in many different ways and can be pitch shifted over time. Yet it is still just a single keystroke on a MIDI keyboard.

Listen to the [[Media:Zon Sound of Fear F003.ogg|sound of fear]] created by Tiego Louis Zontag in Brazil using Protools and Miroslav plugin. Since with Miroslav, the trills violins not exceed 3 or 4 seconds, Zon used trem violins.

Ten minute rule

 * If this assignment takes you more than five or ten minutes, something is wrong!

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Ten points for one note
 * style="width:60%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" rowspan="3"|

Ten points for just one note

 * If you use a single note, you get ten points. (Chords count as a single note.)

 * If you use two consecutive notes, you get nine points.   (Chords count as a single note.)

 * But if you use three consecutive notes, you get only four points.  (Chords count as a single note.)

The goal of this lesson

 * Extremely important
 * It is very important to understand the goal of this lesson.

 * I do NOT want you to create music. This lesson is not about making music.

 * Instead, I want you to find the natural sounds of musical instruments that create moods. A single violin trill creates the entire mood of fear.  You just need to shape the volume of this sound.

 * Limited time and space
 * When you are scoring a motion picture, most of the time, you don't have the room to create music. Instead, you will have only enough room to create a single sound.  That one sound must be enough to create the mood that you need.

 * That is why you are looking for moods which can be created just by the natural sound of the musical instrument with one or two notes or chords.

No music, please!!!

 * Don't create music. Just create moods with musical sound effects.

 * Create the mood with the natural sound of a musical instrument.

 * Use no melody and preferably no rhythm. Just simple notes!

Your Demo Reel

Creating a demo reel

 * When you finish creating all the musical cues for these lessons, you will put all the musical cues on your demo reel.

 * Therefore, try to make your assignments good enough to show to film producers who will hire you for their next motion picture.

 * style="padding:0em 0.5em 0em 0.5em;" |

Why only one note?
 * style="width:40%; vertical-align:top; border:1px solid PaleTurquoise; background-color: LightCyan;" |

There is limited space and time in a motion picture. You need to be economical with your music, not just for the normal reasons.

Half the time when you have a film cue, something else is happening in the movie. Either there is action on the screen or someone is talking, etc.

The human brain has a limit to what it can process. The more notes you have, the less processing time for watching the movie.

When you write a song, you want to keep the audience completely engaged in your music. You want lots of notes and lots of instruments.

But this is NOT true in a motion picture. Most of the time, you want to create a mood without the audience having to think about it.

When you win an Oscar for best film score, you don't want the audience to say, "Hey, that was great music!!!". Instead, you want the audience to say, "Music? I didn't know there was any music in that movie."

If your music requires that the audience spend all its time concentrating on your music, the director and the producer of the motion picture are going to get mad. Their solution is to TURN DOWN THE VOLUME of your music.

So, to make everyone happy, PLEASE use as few a notes a possible.

Thick or thin
 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="width:40%; vertical-align:top; border:1px solid PaleTurquoise; background-color: LightCyan;" |
 * style="width:40%; vertical-align:top; border:1px solid PaleTurquoise; background-color: LightCyan;" |

You can create a mood with one note on one instrument or one note with octaves (say two octaves) or even multiple octaves with multiple instruments. Or you can go wild and try a chord.

Just remember that the more you make your music thicker and richer, the more it might distract from the motion pictures. So be careful.

Style
 * style="padding:0em 0.5em 0em 0.5em;" |
 * style="width:40%; vertical-align:top; border:1px solid PaleTurquoise; background-color: LightCyan;" |
 * style="width:40%; vertical-align:top; border:1px solid PaleTurquoise; background-color: LightCyan;" |

If you are wondering what style to use, here is the rule.

If you have talent, limit yourself to a symphonic style. If you have extreme talent, do anything you want.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" To your next exercise
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * That was so much fun, let's do it again. Exercise : Other moods from a single note

 * }

title: Film scoring/The sound of fear


text:
Film scoring/Other moods from delicate rhythm

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Moods created from delicate rhythms
 * style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

Analysis of this exercise

 * This seems trivial
 * Creating the sound of joy and other sounds with delicate rhythms might seem very simple, almost trivial. But it is very important.

 * The secret is this kind of music can be played softly in the background of a conversation without interfering with the conversation. There is very little music that can be played during a conversation.  This is one of the few kinds; single notes being the other.

 * When played softly, this music brings an energy to the spoken words... without being obvious or distracting.

 * It is just a simple trick. But it a very useful trick.

 * Try some more
 * So now, try creating more moods with delicate rhythms!

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Additional moods from delicate rhythms
 * style="width:100%; vertical-align:top; border:1px solid Blue; background-color:#eeeeff;" |

[[Image:Blue check.svg|48px]]Other delicate rhythms for extra credit [[Image:Nuvola apps juk.png|48px]]

 * Can you think of other moods that can be created with very delicate, repeating rhythms?

 * Moving fast like the wind
 * Falling from great heights
 * Floating along with the wind or down the river
 * Almost anything with a long and steady movement

3 to 6 seconds!

 * Earn more points

 * So earn more points by creating more moods with very delicate rhythms.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Which is more important? Delicate rhythms with transition music?
 * style="width:100%; vertical-align:top; border:1px solid Green; background-color:LightYellow;" |

Do the math!

 * Transitions vs. delicate rhythms
 * Transitions are another kind of music in movies. Many people think that transitions are more important than delicate background rhythms.  Wrong!

 * Let's look a the math.

 * 30 to 1 ratio
 * The average scene in a motion picture is 3 minutes long.

 * The longest edit in a motion pictures is usually 6 seconds.

 * That means the mood can change 30 times each scene.

 * That means you can create moods with single notes or delicate rhythms 30 times each scene.

 * There is only one (1) transition per scene. That is a 30 to 1 ratio in favor of delicate rhythms and single notes.

 * Conclusion
 * Therefore, transitions are not much help creating the mood for a scene.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Have fun with a pop quiz
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Soon, you will see how moods can be create with simple melodies. But before you do, take this funny pop quiz about music which tells a story.

 * }


text:
Film scoring/Quiz - Music which tells a story

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Simple but useful information "Hey, It's a pop quiz!"
 * style="width:40%; vertical-align:top;border:1px solid Green; background-color: #efe;" rowspan="1"|

Pop Quiz

 * Trivial pop quiz
 * This pop quiz is used in a class for non-musicians. Please do not laugh.

 * Still, this pop quiz proves a point. Melodies can tell a story.

 * Just for the fun of it (and to get more points), please take this pop quiz.

 * 1/2 point per answer

 * style="padding:0em 0.5em 0em 0.5em;" |

Earn one half point each
 * style="width:60%; vertical-align:top; border:1px solid Green; background-color:#fee;" |

What story is this music trying to tell you?

 * 1. When you hear this, what will happen?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-1.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * 2. When you hear this, what will happen?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-2.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * 3. What does this feel like?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-3.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * 4. What mood is this?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-4.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * 5. What mood does this music create?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-5.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * 6. When you hear this music, what is happening?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-6.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

7. What mood does this create?  (This is background music rather than narrative music.  The music does not tell a story.   It just creates a mood.)
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-7.ogg|Click here]] to listen to a short piece of music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * 8. In this scene, what will happen?
 * [[Image:Speaker Icon.svg|16px]] [[Media:Narrative Music-Pop Quiz-8.ogg|Click here]] to listen to a short piece of narrative music.
 * [[Image:Crystal Clear app xfmail.png|24px]] @undefined

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Create your own melodies which create a mood or tell a story
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Now that you see that melodies can tell a story, go to the next exercise and create melodies which create a mood and create melodies which tell a story. Exercise : Creating a mood or story with a melody

 * }


text:
Film scoring/Creating a mood with a melody

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Moods created from delicate rhythms
 * style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

[[Image:Blue check.svg|48px]]Your assignment - A mood [[Image:Nuvola apps juk.png|48px]]

 * Devise a melody which creates a MOOD.

 * 2 points. Be sure to tell me what mood your melody creates.

 * At the beginnning of these lessons, you created a mood simply from the natural sound of the instrument.

 * Now you create a melody which tells a specific mood. Try to keep the melody very simple and short.

 * Suggestions: "tired", "sad", and "happy".

Less than 6 seconds!
 * }

Completed assignments: Create a mood

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Now for some more fun
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Next is a fun pop quiz. You get to watch a movie and they make up stories.  What fun!  Creative pop quiz : The spy story - Deciding who is who?

 * }


text:
User:Saltlakeryan~enwikiversity

My name is Ryan Taylor. I'm from Ephraim, Utah originally. I'm working on my undergrad CS degree and will hopefully have it finished after spring next year. I'm interested in HCI because I think a lot of companies in the CS industry look for people who have a good idea about the field.

title: User:Saltlakeryan~enwikiversity


text:
Film scoring/Quiz - The spy story

{| cellpadding="20" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 45%; background-color: #eef; border: 3px solid Blue; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1" |

The short movie called The Spy Story
Watch a short movie and tell me who the four characters are in the movie.
 * Another Fun Pop Quiz

 * 1. Download the movie.
 * Download The Spy Story

http://www.youtube.com/watch?v=Wyju0llyWXI

 * 2. Answer the questions
 * Answer the questions to the right. Who are these people?

 * 3. Only the music will tell
 * As you answer the questions, please realize that the only way to explain this to the audience will be with music.

Background information

 * A wonderful student film
 * The Spy Story is a student film created at the Community College of Southern Nevada in North Las Vegas which is a wonderful opportunity for a narrative film score.

 * This script was written by the instructor, John Marsh. The script is used by students who prefer not to write their own script.

 * As you can see, this is simple yet a really fun story! But it needs a musical score.

 * Take this pop quiz
 * For this pop quiz, watch a fun movie called "The Spy Story" which is surprisingly similar to George Lucas In Love in terms of music. This movie needs the same kind of music as George Lucas In Love.

 * Then answer the questions to the right. Use your imagination.

 * Easy and fun!

Click HERE to download this movie from YouTube.

 * style="width: 55%; background-color: #ffffe0; border: 3px solid Blue; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" colspan="1" |

Step 1 - "Who are those guys?"

 * Explain who these people are.
 * Your first step is to decide who are the characters in the movie. And what is the story all about?

 * Little of this is explained in the dialog. The actions do not clearly tell you who is good and who is evil.

 * You have to decide! Who are the "good guys" and who are the "bad guys"?

 * Note: Only the music can explain who these people are and what they are feeling. So before you begin writing a musical score for any movie, you must decide what the story is all about and who are these people.

 * The lady spy
 * Who is this person? (i.e., Is she good or bad?  Is she worried or calm?)

 * @undefined. [[Image:Crystal Clear app xfmail.png|48px]] (2 point)

 * The man spy
 * Who is this person? (i.e., Is he good or bad?  Is he worried or calm?)

 * @undefined. [[Image:Crystal Clear app xfmail.png|48px]] (2 point)

 * The woman with the newspaper
 * Who is this person? (i.e., Is she good or bad?  Is she German or French?  Is she serious or comical?)

 * @undefined. [[Image:Crystal Clear app xfmail.png|48px]] (2 point)

 * The woman with the umbrella
 * Who is this person? (i.e., Is she good or bad?  Is she German or French?)
 * @undefined. [[Image:Crystal Clear app xfmail.png|48px]] (2 point)

As the film's composer, you get to decide. Your music defines the movie.
 * }

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="background-color: #ffffa0; border: 5px solid Blue; height: 60px;" colspan="1" |

{| border=0 cellspacing=0 cellpadding=5|| style="width:100%"
 * bgcolor=LightYellow | [[Image:Papa Bear.png|200px]]
 * bgcolor=LightYellow |

Your music is important
Now do you see why your music is important. Nothing else will tells the audience who these people are. Only your music can explain to the audience what the story is all about.

 * }
 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Creating a motiv
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Now that you have seen that each person, place, thing, or action can have a specific feeling, try creating a motiv for characters of The Three Bears story. Exercise : Creating a motiv

 * }

title: Film scoring/Quiz - The spy story


text:
Film scoring/Creating a motiv

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
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Melodies can be themes

 * Another use of melodies
 * You can use a melody as theme (a motiv).

 * Associating a melody with an actor, location, or action
 * In a movie, there are always themes. There are the "good guy" and the "bad guy".  There is the "romantic love interest".

 * Some locations can have special meaning to the characters in the movie.

 * Certain actions can evoke certain feelings in the audience.

 * All of these need musical themes. A musical theme is simple melody which create s specific feeling.

 * style="width: 50%; background-color: cornsilk; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;" |

Controlling the audience

 * Spoon feed the audience
 * It might seem unnecessary to the filmmaker but audiences like to be told what his going on. Audiences want the movie explained to them.

 * The only easy way to do this is with music. And the easiest way to do this is with musical themes.

 * When the bad guys appear, play a musical theme for the bad guys.
 * When the children appear, play a bright and bubbly theme for children (assuming you want the audience to like the children in your motion picture.)
 * When the love interest appears on the movie, play a romantic theme.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" A melody that represents a person, thing, or action.
 * style="width:100%; vertical-align:top; border:1px solid Gold; background-color:LightYellow;" |

[[Image:Blue check.svg|48px]]Your assignment - Part 3 - A motiv [[Image:Nuvola apps juk.png|48px]]

 * Create a melody (musical theme) for characters in the movie.

 * 2 points each. Create a musical leitmotif (leitmotiv) for a character in a movie.

 * To make this assignment easy, I have selected the story of "Goldilocks and the Three Bears"

"Goldilocks and the Three Bears"

 * The four characters in the story
 * 1. The Papa Bear
 * 2. The Mama Bear
 * 3. The Baby Bear
 * 4. Goldilocks

 * Create a short melody (motiv) for each of these characters.

 * Keep it simple!!!!
 * Use about 7 notes of a single musical instrument. That is all!!!!

 * Try to keep it under 4 seconds. NO LONGER!!!!

 * The purpose is to create a mood, not to create beautiful music.

Create motiv (melody) for each of these figures.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Using a motiv to create continuity
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * Now that you have created a motiv, you can play the motiv in different ways to create both moods and continuity. Exercise : Creating continuity

 * }

title: Film scoring/Creating a motiv


text:
Film scoring/Creating continuity

{| cellpadding="10" cellspacing="5" style="width: 100%; background-color: inherit; margin-left: auto; margin-right: auto"
 * style="width: 50%; background-color: #ffffd0; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px;" |

Creating continuity with a motif

 * Applying a motif to a movie.

 * If you use the same motif throughout the movie, you create continuity.

 * And if you play the motif in different ways, you create new moods.

 * style="width: 50%; background-color: cornsilk; border: 1px solid #777777; vertical-align: top; -moz-border-radius-topleft: 8px; -moz-border-radius-bottomleft: 8px; -moz-border-radius-topright: 8px; -moz-border-radius-bottomright: 8px; height: 200px;" |

Melody creates continuity three ways

 * Another use of melodies
 * You can use melodies to create continuity.

 * 1. All the shot of a scene
 * In a scene, you need some kind of sound which makes people feel that all the images are from the same scene. (Same location, same actors, same subject, same goals, etc.)

 * An easy way to create continuity for a scene is to have the same background sound (ambient sounds) and the same musical theme throughout the scene. Therefore, playing a short melody, or even a single note, or a simple rhythm during an entire scene gives the scene continuity.  But what works best is to use musical themes.

 * 2. Adjacent scenes
 * Two scenes can be tied together with music. When music from one scene continues into the next scene, it brings the two scenes together.

 * 3. Unrelated scenes
 * Even though two scenes are not related, the action in one scene can be tied to the action in another scene much later, by playing the same music in both scenes.

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Playing the same motiv (melody) in different ways to create different moods.
 * style="width:100%; vertical-align:top; border:1px solid Blue; background-color:LightYellow;" |

[[Image:Blue check.svg|48px]]Your assignment - Part 4 - Continuity [[Image:Nuvola apps juk.png|48px]]

 * Create continuity and emotion with a single melody.

 * Pick one (1) of the musical motives from above and play it three (3) ways.

 * As an example, you can play the Baby Bear's motif as "tired", "sad", and "happy".

 * 2 points each. Keep this very simple.  Only three to six seconds long.

(Note: You just take the same 7 notes and play them in different ways using another other musical instrument.)

Use the same motif (melody) but play it differently.

or

 * }

{| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" Adjusting the velocity
 * colspan="2" style="width:100%; vertical-align:top; border:1px solid Sienna; background-color:Cornsilk;" |

The next page

 * If you play live instruments, you can do this next exercise. Exercise : Foreground / Background music

 * }

title: Film scoring/Creating continuity


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User:Wiki of One

New to Wikiversity and the Wikimedia projects in general. I'm especially interested in learning Latin and other languages.

title: User:Wiki of One


text:
User talk:Wiki of One

Hello Wiki of One,

based on your user page you may be interested also in: Latin stream and/or Topic:Foreign Language Learning.

Hello Wiki of One, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
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If you're already excited about editing, our sandbox is the perfect place for all test edits. Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz ( evaluate me!, discussion ) 06:50, 5 September 2007 (UTC)

title: User talk:Wiki of One


text:
User talk:Lalit~enwikiversity

Hello Lalit, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. When leaving comments for others to read, remember to sign and date; it helps everyone keep track of who is writing messages. The signature icon in the edit window makes it simple. To help you get started:
 * Take a guided tour and learn how to edit;
 * Explore our learning projects;
 * Browse our portals, schools, and research pages; and
 * Read and help develop our community policies.

If you're already excited about editing, our sandbox is the perfect place for all test edits. Also, don't forget to experiment with the links to your left. Be bold, and see you around Wikiversity! Erkan Yilmaz ( evaluate me!, discussion ) 08:13, 5 September 2007 (UTC)

Also have a look here - please do not write in what others wrote. You can always use the sandbox (see above). Thx, Erkan Yilmaz ( evaluate me!, discussion ) 08:13, 5 September 2007 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Lalit. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Lalit~enwikiversity that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:36, 17 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 06:14, 19 April 2015 (UTC)

title: User talk:Lalit~enwikiversity