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Research and development

Research and development (R&D or R+D; also known in Europe as research and technological development or RTD) is the set of innovative activities undertaken by corporations or governments in developing new services or products and carrier science computer marketplace e-commerce, copy center and service maintenance troubleshooting software, hardware improving existing ones. Research and development constitutes the first stage of development of a potential new service or the production process.

R&D activities differ from institution to institution, with two primary models of an R&D department either staffed by engineers and tasked with directly developing new products, or staffed with industrial scientists and tasked with applied research in scientific or technological fields, which may facilitate future product development. R&D differs from the vast majority of corporate activities in that it is not intended to yield immediate profit, and generally carries greater risk and an uncertain return on investment. However R&D is crucial for acquiring larger shares of the market through the marketisation of new products. R&D&I or R&D&i are also acronyms with the same general meaning of R&D and stand for research, development and innovation.

Background
New product design and development is often a crucial factor in the survival of a company. In a global industrial landscape that is changing fast, firms must continually revise their design and range of products. This is necessary as well due to the fierce competition and the evolving preferences of consumers. Without an R&D program, a firm must rely on strategic alliances, acquisitions, and networks to tap into the innovations of others.

A system driven by marketing is one that puts the customer needs first, and produces goods that are known to sell. Market research is carried out, which establishes the needs of consumers and the potential niche market of a new product. If the development is technology driven, R&D is directed toward developing products to meet the unmet needs.

In general, research and development activities are conducted by specialized units or centers belonging to a company, or can be out-sourced to a contract research organization, universities, or state agencies. In the context of commerce, "research and development" normally refers to future-oriented, longer-term activities in science or technology, using similar techniques to scientific research but directed toward desired outcomes and with broad forecasts of commercial yield.

Statistics on organizations devoted to "R&D" may express the state of an industry, the degree of competition or the lure of progress. Some common measures include: budgets, numbers of patents or on rates of peer-reviewed publications. Bank ratios are one of the best measures, because they are continuously maintained, public and reflect risk.

In the United States, a typical ratio of research and development for an industrial company is about 3.5% of revenues; this measure is called "R&D intensity". A high technology company, such as a computer manufacturer, might spend 7% or a pharmaceutical companies such as Merck & Co. 14.1% or Novartis 15.1%. Anything over 15% is remarkable, and usually gains a reputation for being a high technology company such as engineering company Ericsson 24.9%, or biotech company Allergan, which tops the spending table with 43.4% investment. Such companies are often seen as credit risks because their spending ratios are so unusual.

Generally such firms prosper only in markets whose customers have extreme high technology needs, like certain prescription drugs or special chemicals, scientific instruments, and safety-critical systems in medicine, aeronautics or military weapons. The extreme needs justify the high risk of failure and consequently high gross margins from 60% to 90% of revenues. That is, gross profits will be as much as 90% of the sales cost, with manufacturing costing only 10% of the product price, because so many individual projects yield no exploitable product. Most industrial companies get 40% revenues only.

On a technical level, high tech organizations explore ways to re-purpose and repackage advanced technologies as a way of amortizing the high overhead. They often reuse advanced manufacturing processes, expensive safety certifications, specialized embedded software, computer-aided design software, electronic designs and mechanical subsystems.

Research from 2000 has shown that firms with a persistent R&D strategy outperform those with an irregular or no R&D investment program.

Business R&D
Research and development are very difficult to manage, since the defining feature of research is that the researchers do not know in advance exactly how to accomplish the desired result. As a result, "higher R&D spending does not guarantee more creativity, higher profit or a greater market share". Research is the most risky financing area because both the development of an invention and its successful realization carries uncertainty including the profitability of the invention. One way entrepreneurs can reduce these uncertainties is to buy the licence for a franchise, so that the know-how is already incorporated in the licence.

Benefit by sector
In general, it has been found that there is a positive correlation between the research and development and firm productivity across all sectors, but that this positive correlation is much stronger in high-tech firms than in low-tech firms. In research done by Francesco Crespi and Cristiano Antonelli, high-tech firms were found to have "virtuous" Matthew effects while low-tech firms experienced "vicious" Matthew effects, meaning that high-tech firms were awarded subsidies on merit while low-tech firms most often were given subsidies based on name recognition, even if not put to good use. While the strength of the correlation between R&D spending and productivity in low-tech industries is less than in high-tech industries, studies have been done showing non-trivial carryover effects to other parts of the marketplace by low-tech R&D.

Risks
Business R&D is risky for at least two reasons. The first source of risks comes from R&D nature, where R&D project could fail without residual values. The second source of risks comes from takeover risks, which means R&D is appealing to bidders because they could gain technologies from acquisition targets. Therefore, firms may gain R&D profit that co-moves with takeover waves, causing risks to the company which engages in R&D activity.

Global
Global R&D management is the discipline of designing and leading R&D processes globally, across cultural and lingual settings, and the transfer of knowledge across international corporate networks.

United States
Former President Barack Obama requested $147.696 billion for research and development in FY2012, 21% of which was destined to fund basic research. According to National Science Foundation in U.S., in 2015, R&D expenditures performed by federal government and local governments are 54 and 0.6 billions of dollars. The federal research and development budget for fiscal year 2020 was $156 billion, 41.4% of which was for the Department of Defense (DOD). DOD's total research, development, test, and evaluation budget was roughly $108.5 billion.

Israel
Israel is the world leader in spending on R&D as a percentage of GDP as of 2022, spending 6.02%. According to CSIS, During the 1970s and 1980s Israel initiallity built up Israel's research infastructure through various programs, often in the defence industry. In 1984, a law for Encouragement of Research and Development in Industry encouraged the commercial sector to invest in R&D in Israel as well as empowered the Office of Chief Scientist In the 1980s to 1992, the Chief scientist of Israel significantly expanded R&D subsidies in the Israeli industrial sector. Israel invested in the creation of clusters of startups in the high-tech sector as well as venture capital investments. In 1993, Israel initated the Yozma program, which led to the doubling of value of Israel's 10 new venture capital funds in 3 years. In the late 1990s, Israel was second only to the US in private equity as a share of the general economy. The high tech sector in Israel, known as Silicon Wadi, which earned Israel the nickname - Start-up Nation, was ranked the 4th leading startup ecosystem in the world by Startup genome with a value of $253billion in 2023.

European Union
Europe is lagging behind in R&D investments from the past two decades. The target of 3% of gross domestic product (GDP) was meant to be reached by 2020, but the current amount is below this target. This also causes a digital divide among countries since only a few EU Member States have R&D spending.

Research and innovation in Europe are financially supported by the programme Horizon 2020, which is open to participation worldwide.

A notable example is the European environmental research and innovation policy, based on the Europe 2020 strategy which will run from 2014 to 2020, a multidisciplinary effort to provide safe, economically feasible, environmentally sound and socially acceptable solutions along the entire value chain of human activities.

Firms that have embraced advanced digital technology devote a greater proportion of their investment efforts to R&D. Firms who engaged in digitisation during the pandemic report spending a big portion of their expenditure in 2020 on software, data, IT infrastructure, and website operations. A 2021/2022 survey found that one in every seven enterprises in the Central, Eastern and South Eastern regions (14%) may be classed as active innovators — that is, firms that spent heavily in research and development and developed a new product, process, or service — however this figure is lower than the EU average of 18%. In 2022, 67% of enterprises in the same region deployed at least one sophisticated digital technology, and 69% EU firms did the same.

As of 2023, European enterprises account for 18% of the world's top 2 500 R&D corporations, but just 10% of new entrants, compared to 45% in the United States and 32% in China.

As of 2024, the electronics sector leads in R&D investment, with 28% of its total investment dedicated to it. This is followed by textiles (19%), digital (18%), and aerospace (15%). Other sectors allocate less than 10% of their total investment to R&D.

Worldwide
In 2015, research and development constituted an average 2.2% of the global GDP according to the UNESCO Institute for Statistics.

By 2018, research and development constituted an average 1.79% of the global GDP according to the UNESCO Institute for Statistics. Countries agreed in 2015 to monitor their progress in raising research intensity (SDG 9.5.1), as well as researcher density (SDG 9.5.2), as part of their commitment to reaching the Sustainable Development Goals by 2030. However, this undertaking has not spurred an increase in reporting of data. On the contrary, a total of 99 countries reported data on domestic investment in research in 2015 but only 69 countries in 2018. Similarly, 59 countries recorded the number of researchers (in full-time equivalents) in 2018, down from 90 countries in 2015. UNESCO Institute for Statistics is the global custodian of these R&D data; data can be freely obtained from the UIS database.

title: Research and development


text:
Talk:Karelian language

Old talk
Karelian is a variety closely related to Finnish.

Does this mean Karelian is a variety of Finnish or a language closely related to Finnish? Efghij

It means (at the moment) that the writer(s) of this paragraph don't participate in the dispute whether Karelian is a language or a "dialect". The issue is elaborated in the (currently) last paragraph.

Is Finland-Swedish a language or a dialect? Is Meän kieli?

 * Finland-Swedish is clearly a dialect. Except for the pronunciation, the differences are very small.

-- Ruhrjung 05:00 29 Jun 2003 (UTC)

Attempts to standardize Karelian with a Cyrillic alphabet were unsuccessful, and today the Karelian republic (of the Russian federation) consider Karelian a dialect of Finnish, why Finnish is one of its official languages.

Is that suppose to read Why Finnish is one............... or perhaps it should be where Finnish ?

Smith03

Thank you for pointing this out! -- Ruhrjung 14:46 9 Jul 2003 (UTC)

 * Wrong. Karelia does not consider Karelian a dialect of Finnish and Finnish is not an official language of Karelia (only Russian is). There are moves in the republic to standardise a literary Karelian language, as well as a literary Veps language. Whilst the role of Finnish as a "minority language" is recognised under local legislation, that one receives minimal attention by virtue of having millions of speakers just across the border and needing neither standardisation nor protection. Russoswiss (talk) 12:04, 1 August 2008 (UTC)

Karelian is its own language, and so is Finnish. The trick here is that the languages "bleed" into one-another on a dialect continuum. Thus, there are Karelian dialects of Finnish which are clearly dialects, and things that can generally be understood by all Finns. If presented with a sample of Southern Karelian, however, they would most likely have trouble understanding, but it would still be somewhat intelligable.

I guess this situation would be comparible to Spanish as spoken in Spain "bleeding" into Portuguese. It would be very important to mention this in the article. If you would like more info on Karelian, I'd be happy to provide it. It's one of my favourite languages (though primarily, I'm interested in Tver' Karelian) ;).

Some dialects in this continuum that are farther apart are just too phonetically (and phonologically) different for me to want to say that Karelian is a dialect of Finnish. For instance, in some dialects of Karelian, vowel harmony has an affect on consonant quality and palatization, whereas in other dialects (and Finnish) this doesn't happen. Either way, I think that calling Karelian a dialect of Finnish would be too Finno-centrist, to coin a word. Though, certainly "variety" is a good way to get around this.

I guess I would argue that it isn't the geopolitics of it all that conditions whether or not you consider Karelian a dialect or a language. There is some language in Russian Karelia that is spoken that seems more Finnish to me than the Karelian that is spoken in Tver'/Kalinin.

I just hope that providing my comments gives you more ideas as to how to describe Karelian. :)

-- Alcarilinque 16:30 14 Nov 2004 UTC

Salvaged text
The following piece was commented out in the article. Please see what to do with it. Mikkalai 02:38, 24 Jan 2005 (UTC)

<!- Don't think this is necessary here. Particularly by Finnish linguists, Karelian may be classified as a dialect of Finnish, although the variety spoken in East Karelia is usually seen as a proper language.

Others, for instance many foreign linguists and some people in Estonia and Russia, consider the Karelian variety a language of its own (although almost extinct), similarly to how the dialects of Ingria by Finns often are considered dialects of Finnish proper, but in Estonia often are considered languages of their own; and also similarly to Meänkieli.

The dialects spoken in the South Karelian Region of Finland, where many refugees were re-settled, are considered to be part of the South Eastern dialects of the Finnish language. The dialect spoken in the Karelian Isthmus before World War II and the Ingrian language are also seen as part of this dialect group, in Finland denoted as ''Karelian dialect'. '' ->

We should underline the fact that only few Finnish linguists think that Karelian language is a dialect of Finnish and that it is old way of thinking. The new is that Karelian is own language just as seen in the map on Finnish Kielitoimisto page:. Same is with Ingria and Meänkieli.

'Karelian dialect' is wrong term. The right is 'South Eastern dialects of Finnish language'.

So, my version:

 * 'Earlier, by some Finnish linguists, Karelian may be classified as a dialect of Finnish. Today, however, the variety spoken in East Karelia is usually seen as a proper language.

 * The dialects spoken in the South Karelian Region of Finland, where many World War II refugees were re-settled, are considered to be part of the South Eastern dialects of the Finnish language. The dialect spoken in the Karelian Isthmus before World War II and the Ingrian language are also seen as part of this dialect group, in Finland sometimes wrongly denoted as Karelian dialect. '

Kahkonen 09:34, 2005 Jan 25 (UTC)

I have no expertise in this topic. Please update the article, if you feel necessary. (Anyway, it seems that it already says something along these lines, although not so clearly.) Mikkalai 18:34, 25 Jan 2005 (UTC)

http://www.karelia.ru/Karelia/smi_e.html Lists newspapers in Karelia published in Karelian, and in Finnish. So they consider there to be a distinction. Secretlondon 12:13, 13 Jun 2005 (UTC)

Orthographic issues
Why must the IPA be used for the examples on Karelian affricates. What I mean is that I perfectly understand the use as a pronunciation guide, but in the words in Karelian the letter 'c' is used to represent [ts]. I am not aware of 'c' being used in any of the Karelian orthographies I've come across, rather 'ts' would be used, as in Finnish. --Alcarilinque 14:34, 28 February 2006 (UTC)

 * That section says that because of the existence of affricates in Karelian, unlike standard Finnish, the Finnish orthography is extended to cover them. This explains the existence of č and other letters. However, it also seems (e.g. this webpage) that c is used in place of Finnish ts. It seems that in Finnish this is not a true phoneme, where in Karelian it is. — Gareth Hughes 15:11, 28 February 2006 (UTC)

 * Though I realize the point is comparison here, it might be important in this case to use a different word, like socializma, where we know that that affricate is written in that particular way. One thing to note however, is that that may be from older orthography, since Karelian orthography hasn't ever remained standard over the course of the last century.  If you look at this other source for instance, ts is used, even in a loan word: Konstitutsie.   Other cases show that c is used in loan words, but in a Karelian word?  Most places you'd find an equivalent of ts in Finnish show a č in Karelian, i.e. eččie pro fi. etsiä, ičče pro itse, and kaččuo pro. katsoa.  I guess you could argue dialectical variation, and I'm only basing my comments off of more Southern dialects, but... What source does the word kucu come from?  I know it in Karelian as coming from the word kuččuo, in which a different affricate completely is used, and this equates to the Finnish kutsua.  --Alcarilinque 12:42, 1 March 2006 (UTC)

 * The letter c is often used to transliterate the Cyrillic Ц, as č is often used for Ч, so it may be that this is an older orthography. Under Finnish influence, I'm sure replacing the older c with ts is happening. Therefore, it might be best to edit the article to say that both orthographies are used. — Gareth Hughes 13:06, 1 March 2006 (UTC)

 * I've added a change then, but you don't mind if 'kucu' is adjusted to 'kutsu'? I've never seen that before, but then as I said I'm thinking more about modern orthographies as featured in the newspaper Karielan Šanat, which is in Tver' Karelian.  --Ryan 11:25, 18 April 2006 (UTC)

 * Notice how Tver place name Tihvinä would be Tyvenelä (location by the calm body of water) in standardised Finnish, basically y has been replaced by ih where i was probably double originally(tiihven-tyven) and vocal harmony & grimm's law do the rest of the changes. So even Tver Karelian hasn't diverged all that far from Basic (old form)Finnish but enough to warrant it's status as it's own language. Honestly Saame, Eesti & Veps are far more unintelligible to a Finn than any of the Karelian languages. At least on paper. —— Amateur linguist88.195.13.47 (talk) 17:47, 24 June 2015 (UTC)

Karelian Language
It might be called Eastern Finnish dialect of Proto Finnish language. It must be remembered that the old Church Slavonic had a strong influence in Karelian dialect, thus change from original vovels to consonants. We can also take Savo dialect as a different language than Finnish language based by Mikael Agricola principles if someone wants to create Savon kieli using the same methods that is going on with the Karelian language. For example original Karelian dialect word pakista (talk) differs a lot of Agricola created puhua. But the old Church Slavonic infuence had created after adoption of Orthodox Christianity in Karelia the current version which is pagista replacing hard k with soft g. Other examples: Minä (I) = Mie, He (They) = Hyö, Sinä (You) = Sie. Also many Russian words had been adopted during the last 900 years.

It was not long ago, in 1970s, I had to spent long times in Kuopio because of my work and I remember well two classic examples of the dialect advertisements shown when travelling from Rissala Airport to Kuopio centre. One in one gasoline station where they advertised "Tiällä tankoot ihtes ja aatos." (Here you fullfil yourselves and your car.) Which should be in proper Finnish language "Täällä tankkaat itsesi ja autosi." Or "Määkkönä torille? Mään. Kääkkönä kuappahallissa? Kään." ( Do you go to market square? Yes I do. Do you go to square hall? Yes, I go visit there.) In proper Finnish "Menetkö torille? Menen. Käytkö kauppahallissa? Käyn.

Everyone Finn understand these Savo versions, but no one has ever thought that with such a criteria a Savo language should be created. In Karelia the question is mainly political attempt made by the Russians to separate the Karelians from Finnish people to be a separate liguistically people of origin than the Finns.

I am myself half Karelian and "a pagisehan mie Karjalan kielt", but use Finnish language and I am sure there would be no problems in (Russian) Karelia do the same. The richness in Finnish language is its dialects and the number of its words. One word in dialects can simply mean different "Siellä se joki huilaa" (There the river flows) in Northern Finnish dialect means in Southern Finland that the river stand still. Tuima ruoka in Western Finland means strong salted food, in Karelian dialect food is not salty enough.

JN —Preceding unsigned comment added by Special:Contributions/ (talk)

 * It is customary to make a distinction between Finnish and Karelian and to refer to them as separate languages (mainly due to historical and political reasons), even though in reality they form a dialect continuum. This isn't unusual at all, the same is the case with e.g. Swedish and Norwegian. We can't invent any new terms here on the Wikipedia because that would be original research. As for the idea that Karelian could be called the "Eastern Finnish dialect of Proto Finnish language" (if I understand you correctly), this makes no sense at all; there is no term such as "Proto-Finnish". There is Proto-Finnic, of course, but that is something entirely different. --AAikio 07:21, 17 August 2007 (UTC)

 * Take the Proto Finnish as General Finnish language of course differing from kanta suomalais ugrilainen yleiskieli which was spoked about 4.000 years ago which can be said to be somekind of tikapuu language which all understood despite being Komi, Udmurt, Moksha, Mari, Ersa, Karelian, Estonian, or Finnish in origin. This Proto Finnic as you call it, is a louzy attempt to make use of English word which is not suited as equal term to yhteinen yleinen kantakieli (common general base language). Proto as a word is not known at all in Finnish language, only somekind of loan word of English language. In Finnish should be alkuperäinen or koe or testi. The same than attemts to infiltre into Finnish language awful American one word version "holocaust" to replace word kansanjoukkomurha or kansanrotumurha which both are much better than this recently created holocaust to English language. Or "Jatkangs mä viel snakkaa hetulaa täst samast storist"? (Shall I continue to talk of this same subject?) Cheers. —Preceding unsigned comment added by 88.115.115.5 (talk) 18:01, 6 August 2008 (UTC)

Tihveri (Tver) Karelians And Their Language
In 1650´s, during so called "Ruptuuri" war and little afterward nearly all Greek Othodox Karelans from Rautu, Tiurala, and Salmi Pogostas escaped to Russia with Russian assistance, after been stronly agitated by Orthodox priests as ordered by Nikon of the horribles of Lutherians against the One and Only Real Belivers Faith such as being burned alive or to be baptized by force to Ruotshi´s antikristus Lutherian Faith.

They were resettled mainly to Tihvinä, Novgorod (Uuslinna) and Tver (Tihveri) areas, but some as far as to Penza area to provide new population to replace the diminished earlier Karelian population which had lived there. These new settlers or emigrants spoked the Karelian dialect of old Karelian language which was spoked in Karelian Isthmus and in Laatokka´s Karjala in 1650´s. Due historical events they become totally isolated from main Finnish dialects, but despite living some 150 - 200 kilometres north west of Moskava / Moskova managed to keep their own language alive. Of course there were strong Russian influence in their language but language was generally spoken in the area up to this day among the "Korielan hormilla Kessassa" (Karelian people on Bear River). Their total number is still about 250.000 people of which about 89.000 continues to speak Karelian language in daily bases as their language at home and villages. It has developed during the last 300 years to different dialect than that Karelian dialect which is speaked today in Karelian Republic.

Here is an short example of today´s Karelian "language" as created in Finnish language using Latin letter transliteration: "Kuibo elät karjalaine? - Kazakoijen kulakal, Izändäkse, näit, en päinnyh, Izändöiceh tulokas". Kuinka elät karjalainen? Kasakoiden kulakkien, Isännäksi, näin, en pitänyt, Isännöi tulokas. (How you live Karelian? - Cossacks, kulak´s, Masters, so would not have happened, I did not like it, Mastered by new comer). If someone claims that this, even in poem form, is a SEPARATE language of common Finnish language, then he / she do not even understand the Finnish separate dialects. Because: Eikhän sithä Tornioassakhaan jokhaisen sanhaan khootakaan panha. (Eihän sitä Torniossakaan jokaiseen sanaan hootakaan panna). Best transliterated to English what I can provede is as; At Tornio is not in every word h included.

I am pretty sure that had Finland being remained united with Russia, they in Moskova would have loved us so much by creating six different Finnish languages and then slpitted one Finland to six separate Finlands. Divide et impera. —Preceding unsigned comment added by 88.115.115.5 (talk) 19:46, 6 August 2008 (UTC)

 * LOL at this whole comment. Farkas János (talk) 08:12, 16 April 2009 (UTC)
 * I just want to reiterate how funny this comment is. I will treasure the memory of it for some time.
 * "How you live Karelian? - Cossacks, kulak´s, Masters, so would not have happened, I did not like it, Mastered by new comer"
 * "Best transliterated to English what I can provede is as; At Tornio is not in every word h included."
 * Yeltsin and clinton laughing.jpg Farkas János (talk) 21:09, 16 April 2009 (UTC)

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title: Talk:Karelian language


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College Conference of Illinois and Wisconsin

The College Conference of Illinois and Wisconsin (CCIW) is an intercollegiate athletic conference which competes in the National Collegiate Athletic Association (NCAA) Division III.

CCIW schools have accounted for 50 national championships in NCAA Division III competition, including 15 in men's cross country; six in men's basketball; six in men's outdoor track and field; five in football; four in men's indoor track and field; three in women's soccer; two in women's outdoor track and field, women's basketball, men's soccer, men’s golf, and men's volleyball; and one apiece in baseball and women's indoor track and field.

Elmhurst College won a pair of Division III women's volleyball championships (1983 and 1985), and North Central College won a women's basketball title (1983) before the conference began sponsorship of women's athletics in 1986–87.

North Central men's cross country won its 13th national title in program history during the fall of 2009, while the North Central men's indoor track and field team captured the 2010 national championship. The Cardinals made their clean sweep by winning the men's outdoor track and field title in the spring of 2010. In addition, the Illinois Wesleyan women's outdoor track and field team, as well as the baseball team, took home national titles, giving the CCIW five national championships during the 2009–10 season.

North Central defended its titles in men's indoor track and field and outdoor track and field in the spring of 2011 while the Cardinals won their second men's cross country title in three seasons in the fall of 2011 and their third-straight indoor track and field title in 2012. Illinois Wesleyan won the conference's second women's basketball national title in 2012.

In 2019 Illinois Wesleyan Men’s Golf won their first national championship. They followed that up with a second national championship in 2021 after a one year break due to the COVID-19 outbreak in 2020. Coached by Jim Ott to both Championships and led by Drew Pershing and Ben Johnson in 2019 and Jimmy Morton, Andrew Abel and Rob Wuethrich in 2021.

North Central Football won the 2019 National Championship and, after the COVID year of 2020 in which no championship was held, finished second in the nation in 2021.

Carthage won consecutive men's volleyball titles in 2021 and 2022.

History
The conference was formed with nine charter members (Augustana College, Carthage College, Elmhurst College, Illinois College, Illinois Wesleyan University, Lake Forest College, Millikin University, North Central College and Wheaton College) on April 26, 1946, in Jacksonville, Illinois, and opened competition in the 1946–47 academic year as the College Conference of Illinois. In 1967, the name was changed to the College Conference of Illinois and Wisconsin to recognize Carthage, which moved to Kenosha, Wisconsin in 1962, and Carroll University, which entered the conference in 1955.

The CCIW sponsors 26 sports: baseball, men's and women's basketball, women's bowling, men's and women's cross country, football, men's and women's golf, men's and women's lacrosse, men's and women's soccer, softball, men's and women's swimming, men's and women's tennis, men's and women's indoor track and field, men's and women's outdoor track and field, men's and women's volleyball, and men's and women's wrestling. The most recently added sports are men's volleyball, which started play in the 2020 season (2019–20 school year); bowling, which started play in 2020–21; and women's wrestling, added for the 2022–23 season.

CCIW membership has experienced several changes since its inception. After Carthage left in 1952, Illinois College withdrew the following year (1953). Elmhurst and Wheaton withdrew following the 1959–60 academic year. Wheaton re-joined for all sports but football in 1967 (and for football in 1970). Elmhurst re-joined in the fall of 1967 for all sports but football (and for football in 1968). Carroll joined during the 1955 spring sports season (1954-55 academic season). Carthage returned in the fall of 1961, and North Park University entered the following fall (1962). Lake Forest dropped out at the end of the 1962–63 academic year. The last member to leave the CCIW was Carroll following the 1991–92 academic year. Carroll returned to the CCIW in 2016. In 2007, Rose–Hulman Institute of Technology, located in Terre Haute, Indiana, joined the CCIW as an associate member for men's and women's swimming. After 2017, Rose–Hulman left as an associate member shortly before its full-time home of the Heartland Collegiate Athletic Conference (HCAC) announced it would add swimming.

The CCIW lost one affiliate member and gained two in 2020. Greenville University, which had moved its men's volleyball program from the single-sport Midwest Collegiate Volleyball League to the CCIW in 2019–20, downgraded the sport from varsity to club status after that school year. With the addition of bowling, Lakeland University, a men's wrestling affiliate since 2016–17, added bowling to its CCIW membership, while Aurora University and Marian University became affiliates in that sport. In 2022–23, Aurora and Lakeland added men's and women's wrestling to their CCIW memberships, and Aurora also joined for men's wrestling.

Chronological timeline

 * 1946 - On April 26, 1946, the CCIW was founded as the College Conference of Illinois (CCI). Charter members included Augustana College of Illinois, Carthage College, Elmhurst College, Illinois College, Illinois Wesleyan College (now Illinois Wesleyan University), Lake Forest University (now Lake Forest College), Millikin College (now Millikin University), North Central College and Wheaton College, effective beginning the 1946-47 academic year.
 * 1952 - Carthage left the CCI, effective after the 1951-52 academic year.
 * 1963 - Illinois College left the CCI, effective after the 1952-53 academic year.
 * 1955 - Carroll College of Wisconsin (now Carroll University) joined the CCI, effective in the 1955-56 academic year.
 * 1960 - Elmhurst and Wheaton left the CCI, effective after the 1959-60 academic year.
 * 1961 - Carthage re-joined back to the CCI, effective in the 1961-62 academic year.
 * 1962 - North Park College (now North Park University) joined the CCI, effective in the 1962-63 academic year.
 * 1963 - Lake Forest left the CCI, effective after the 1962-63 academic year.
 * 1967 - The CCI has been rebranded as the College Conference of Illinois and Wisconsin (CCIW), effective in the 1967-68 academic year.
 * 1967 - Elmhurst and Wheaton re-joined back to the CCIW, effective in the 1967-68 academic year. Elmhurst later re-joined back for football for the 1968 fall season while Wheaton did the same for the 1970 fall season.
 * 1992 - Carroll (Wisc.) left the CCIW to join the Midwest Conference (MWC), effective after the 1991-92 academic year.
 * 2016 - Carroll (Wisc.) re-joined back to the CCIW, effective in the 2016-17 academic year.
 * 2007 - Rose–Hulman Institute of Technology joined the CCIW as an affiliate member for swimming, effective in the 2007-08 academic year.
 * 2014 - The University of Dubuque joined the CCIW as an affiliate member for men's and women's lacrosse, effective in the 2015 spring season (2014-15 academic year).
 * 2016 - Concordia University of Wisconsin, Lakeland University and the Milwaukee School of Engineering joined the CCIW as affiliate members for wrestling, effective in the 2016-17 academic year.
 * 2017 - Rose–Hulman left the CCIW as an affiliate member for swimming, effective after the 2016-17 academic year.
 * 2018 - Two institutions joined the CCIW as affiliate members: The University of Chicago for women's lacrosse, and Washington University in St. Louis for football, both effective in the 2018-19 academic year.
 * 2019
 * Greenville University and Loras College joined the CCIW as affiliate members for men's volleyball, effective in the 2020 spring season (2019-20 academic year).
 * Dubuque left the CCIW as an affiliate member for women's lacrosse as the school announced that it would drop the sport, effective after the 2019 spring season (2018-19 academic year).
 * 2020
 * Greenville left the CCIW as an affiliate member for men's volleyball as the school announced that it would drop the sport, effective after the 2020 spring season (2019-20 academic year).
 * Aurora University and Marian University of Wisconsin joined the CCIW as affiliate members for bowling, effective in the 2021 spring season (2020-21 academic year).
 * 2021
 * Dubuque left the CCIW as an affiliate member for men's lacrosse to join the Midwest Lacrosse Conference (MLC), effective after the 2021 spring season (2020-21 academic year).
 * Transylvania University joined the CCIW as an affiliate member for men's lacrosse, effective in the 2022 spring season (2021-22 academic year).
 * 2022 – Aurora added both men's and women's wrestling to its CCIW membership effective with the 2022–23 school year. Lakeland did the same for women's wrestling.

Member schools
Throughout its history, all CCIW members, whether full or affiliate, have been private schools.

Current members

 * Notes:

Affiliate members
The CCIW currently has nine affiliate members.

Former members
The CCIW has two former full members.

Former affiliate members
The CCIW has two former affiliate members.

 * Notes:

Sports
In 2015, men's and women's lacrosse were added as sanctioned sports by the CCIW. The CCIW announced the inclusion of men's volleyball for the 2020 season (2019–20 school year), with bowling (an NCAA sport for women only) added in 2020–21. Women's wrestling became the newest conference sport in 2022–23.

The CCIW sponsors championships in the following sports:


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Mikhail Glinka

Mikhail Ivanovich Glinka (Михаил Иванович Глинка; 1 June 1804 – 15 February 1857) was the first Russian composer to gain wide recognition within his own country and is often regarded as the fountainhead of Russian classical music. His compositions were an important influence on other Russian composers, notably the members of The Five, who produced a distinctive Russian style of music.

Early life and education
Glinka was born in the village of Novospasskoye, not far from the Desna River in the Smolensk Governorate of the Russian Empire (now in the Yelninsky District of the Smolensk Oblast). His wealthy father had retired as an army captain, and the family had a strong tradition of loyalty and service to the tsars, and several members of his extended family had lively cultural interests. His great-great-grandfather was a Polish–Lithuanian Commonwealth nobleman, Wiktoryn Władysław Glinka of the Trzaska coat of arms who was given lands in the Smolensk Voivodeship. In 1655, Wiktoryn converted to Eastern Orthodoxy with the new name Yakov Yakovlevich (Jacob, son of Jacob), and remained the owner of his lands under the tsar. The coat of arms was originally received after his conversion from Lithuanian paganism to Catholicism according to the Union of Horodło.

Mikhail was raised by his overprotective and pampering paternal grandmother, who fed him sweets, wrapped him in furs, and confined him to her room, which was kept at 25 C. Accordingly, he became something of a hypochondriac and later in life retained the services of numerous physicians, and often falling victim to quacks. The only music he heard in his youthful confinement was the sounds of the village church bells and the folk songs of passing peasant choirs. The church bells were tuned to a dissonant chord, and so his ears became used to strident harmony. While his nurse would sometimes sing folksongs, the peasant choirs who sang using the podgolosochnaya technique (an improvised style—literally "under the voice"—using improvised dissonant harmonies below the melody) influenced his independence from the smooth progressions of Western harmony.

After his grandmother's death, he moved to his maternal uncle's estate some 10 km away, where he heard his uncle's orchestra, whose repertoire included Haydn, Mozart and Beethoven. At the age of about ten he heard them play a clarinet quartet by the Finnish composer Bernhard Henrik Crusell, which had a profound effect upon him. "Music is my soul", he wrote many years later, recalling the experience. While his governess taught him Russian, German, French and geography, he also received instruction on the piano and violin.

At 13, Glinka went to the capital, Saint Petersburg, to attend a school for children of the nobility. He learned Latin, English, and Persian, studied mathematics and zoology, and considerably widened his musical experience. He had three piano lessons from John Field, the Irish composer of nocturnes, who spent some time in Saint Petersburg. He then continued his piano lessons with Charles Mayer and began composing. When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways. The light work allowed Glinka to settle into the life of a musical dilettante, frequenting the city's drawing rooms and social gatherings. He was already composing a large amount of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting parts of his work from this period.

In 1830, at a physician's recommendation, Glinka traveled to Italy with tenor. They took a leisurely pace, ambling through Germany and Switzerland, before settling in Milan. There, Glinka took lessons at the conservatory with Francesco Basili. He struggled with counterpoint, which he found irksome. After three years listening to singers, romancing women with his music, and meeting famous people including Mendelssohn and Berlioz, he became disenchanted with Italy. He realized that his life's mission was to return to Russia, write in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music.

His return took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed another five months in Berlin, where he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian Themes for piano duet and an unfinished Symphony on Two Russian Themes were important products of this period.

When word reached Glinka of his father's death in 1834, he left Berlin and returned to Novospasskoye.

Career
While in Berlin, Glinka became enamored of a beautiful and talented singer, for whom he composed Six Studies for Contralto. He contrived a plan to return to her, but when his sister's German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After a brief courtship, they married, but the marriage was short-lived, as Maria was tactless and uninterested in his music. His initial fondness for her was said to have inspired the trio in the first act of his opera A Life for the Tsar (1836), but his naturally sweet disposition coarsened under his wife's and mother-in-law's constant criticism. When the marriage ended, she remarried, and Glinka moved in with his mother, and later with his sister, Lyudmila Shestakova.

A Life for the Tsar was the first of Glinka's two great operas. It was originally entitled Ivan Susanin. Set in 1612, it tells the story of the Russian peasant and patriotic hero Ivan Susanin who sacrifices his life for the Tsar by leading astray a group of marauding Poles who were hunting him. Tsar Nicholas I himself followed the work's progress with interest and suggested the change in the title. It was a great success at its premiere on 9 December 1836, under the direction of Catterino Cavos, who had written an opera on the same subject in Italy. The Tsar rewarded Glinka for his work with a ring valued at 4,000 rubles. (During the Soviet era, the opera was staged under its original title, Ivan Susanin.)

In 1837, Glinka was installed as the instructor of the Imperial Chapel Choir, with a yearly salary of 25,000 rubles and lodging at the court. In 1838, at the Tsar's suggestion, he traveled to Ukraine to gather new voices for the choir; the 19 new boys he found earned him another 1,500 rubles from the Tsar.

He soon embarked on his second opera, Ruslan and Lyudmila. The plot, based on the tale by Alexander Pushkin, was concocted in 15 minutes by Konstantin Bakhturin, a poet who was drunk at the time. Consequently, the opera is a dramatic muddle, yet the quality of Glinka's music is higher than in A Life for the Tsar. The overture features a descending whole tone scale associated with the villainous dwarf Chernomor, who has abducted Lyudmila, daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but Glinka's great achievement lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin. When it debuted on 9 December 1842, it was received coolly, but subsequently gained popularity.

Later years
Glinka went through a dejected year after the poor reception of Ruslan and Lyudmila. His spirits rose when he travelled to Paris and Spain. In Spain he met Don Pedro Fernández, his secretary and companion for the last nine years of his life. In Paris, Hector Berlioz conducted some excerpts from Glinka's operas and wrote an appreciative article about him. Glinka in turn admired Berlioz's music and resolved to compose some fantasies pittoresques for orchestra. Beginning in 1852, he spent two years in Paris, living quietly and frequently visiting the botanical and zoological gardens. He then moved to Berlin where, after five months, he died suddenly on 15 February 1857, following a cold. He was buried in Berlin, but a few months later his body was taken to Saint Petersburg and reinterred in the cemetery of the Alexander Nevsky Monastery.

The genesis of a Russian style
Glinka was the beginning of a new direction in Russian music. Musical culture arrived in Russia from Europe, and for the first time specifically Russian music began to appear, in Glinka's operas. Historical events were often used as its basis, but for the first time they were presented realistically.

The first to note this new direction was Alexander Serov. He was then joined by his friend Vladimir Stasov, who became the theorist of this cultural trend; it was developed further by composers of "The Five".

Modern Russian music critic Viktor Korshikov wrote: "Russian musical culture [would not have developed] without...three operas—Ivan Soussanine, Ruslan and Ludmila, and The Stone Guest. Soussanine is an opera where the main character is the people; Ruslan is the mythical, deeply Russian intrigue; and in Guest, the drama dominates over the softness of the beauty of sound." Two of these operas—Ivan Soussanine and Ruslan and Ludmila—were Glinka's.

Glinka's work, and that of the composers and other creative people he inspired, has been instrumental in the development of a distinctly Russian artistic style that occupies a prominent place in world culture.

Legacy
After Glinka's death, the relative merits of his two operas became a topic of heated debate in the musical press, especially between Vladimir Stasov and his former friend Alexander Serov. Glinka's orchestral composition Kamarinskaya (1848) was said by Pyotr Ilyich Tchaikovsky to be "the acorn from which the oak" of later Russian symphonic music grew.

In 1884, Mitrofan Belyayev founded the annual Glinka Prize, whose early winners included Alexander Borodin, Mily Balakirev, Tchaikovsky, Nikolai Rimsky-Korsakov, César Cui and Anatoly Lyadov.

Outside Russia, several of Glinka's orchestral works have been fairly popular in concerts and recordings. Besides the well-known overtures to the operas (especially the brilliantly energetic overture to Ruslan), his major orchestral works include the symphonic poem Kamarinskaya (1848), based on Russian folk songs; and two Spanish works, A Night in Madrid (1848, 1851) and Jota Aragonesa (1845). He also composed many art songs and piano pieces, and some chamber music.

A lesser work that received attention in the last decade of the 20th century was Glinka's "Patrioticheskaya Pesnya", supposedly written for a contest for a national anthem in 1833. In 1990, the Supreme Soviet of Russia adopted it as the regional anthem of the Russian Soviet Federative Socialist Republic, which till then was the only Soviet constituent state without its own anthem. Following the dissolution of the Soviet Union and the Russian SFSR, the hymn was retained unofficially until it was officially confirmed as the Russian national anthem in 1993, where it remained as such until 2000 when it was replaced by the Soviet anthem with new lyrics.

Three Russian conservatories are named after Glinka:
 * Nizhny Novgorod State Conservatory (Нижегородская государственная консерватория им. М.И.Глинки)
 * Novosibirsk State Conservatory (Новосибирская государственная консерватория (академия) им. М.И.Глинки)
 * Magnitogorsk State Conservatory (Магнитогорская государственная консерватория)

Soviet astronomer Lyudmila Chernykh named a minor planet 2205 Glinka in his honor. It was discovered in 1973. A crater on Mercury is also named after him.

Glinkastraße in Berlin was named in Glinka's honor. In the wake of the George Floyd protests, the Berlin U-Bahn station Mohrenstraße was proposed to be renamed "Glinkastraße", which is adjacent to the station. The plan was cancelled due to Glinka's reputed antisemitism.

In September 2022, following the Russian invasion of Ukraine, a street in Dnipro, Ukraine, that was named after Glinka was renamed to honor Queen Elizabeth II.

In popular culture
The stirring overture to Glinka's opera Ruslan and Lyudmila is heard as the theme of the long-running U.S. television comedy series Mom. Its creators felt the fast-paced, complex orchestral music reflected the characters' struggles to overcome their destructive habits and keep up with the demands of daily life.

title: Mikhail Glinka


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Centennial Conference

The Centennial Conference is an intercollegiate athletic conference which competes in the NCAA's Division III. Chartered member teams are located in Maryland and Pennsylvania; associate members are also located in New York and Virginia.

Eleven private colleges compose the Centennial Conference. Five of ten members of the Centennial Conference rank among the top 50 national liberal arts colleges and Johns Hopkins University is ranked seventh among national universities.

On average, Centennial members sponsor 19 varsity teams. Conference members have won seventeen NCAA team titles: Johns Hopkins women's cross country (2012, 2013, 2014, 2016, 2017, 2019, 2021), Gettysburg women's lacrosse (2011, 2017, 2018), Haverford men's cross country (2010), Franklin & Marshall women's lacrosse (2007, 2009), Ursinus field hockey (2006), Washington men's lacrosse (1998), and Washington men's tennis (1994, 1997).

History
According to the Centennial Conference's website, "On June 4, 1981, Keith Spalding, then-president of Franklin & Marshall College, made the announcement that "eight private colleges found it timely and appropriate to form a round-robin football schedule among institutions with similar attitudes and practices in intercollegiate football competition." With that statement, the Centennial Conference was born. Those private colleges were Dickinson College, Franklin & Marshall College, Gettysburg College, Johns Hopkins University, Muhlenberg College, Swarthmore College, Ursinus College, and Western Maryland College, later renamed and now known as McDaniel College.

The conference moved from a football-only conference to an all-sports conference after a 1991 feasibility study. The study also recommended to expand from eight schools to eleven. The other schools recommended were Bryn Mawr College, Haverford College, and Washington College. Those three schools accepted and became charter members in 1992 as the conference expanded its sports offerings.

All of the charter members defected from the Middle Atlantic Conference (MAC). Johns Hopkins and McDaniel College both played in the Mason-Dixon Conference prior to entering the MAC in 1975.

Chronological timeline

 * 1981 - On June 4, 1981, the Centennial Conference was founded as a football-only league, then known as the Centennial Football Conference. Charter members included Dickinson College, Franklin & Marshall College, Gettysburg College, Johns Hopkins University, Muhlenberg College, Swarthmore College, Ursinus College, and Western Maryland College, now McDaniel College.
 * 1992 - The Centennial Football Conference became the Centennial Conference when the conference expanded to add other sports, effective in the 1992-93 academic year. Bryn Mawr College, Haverford College and Washington College also joined the newly-formed all-sports conference.
 * 1998 - Washington and Lee University joined the Centennial as an affiliate member for men's wrestling, effective in the 1998-99 academic year.
 * 2001 - Johns Hopkins left the University Athletic Association (UAA) to fully align with the Centennial Conference for all the sports being sponsored, effective in the 2001-02 academic year.
 * 2004 - The United States Merchant Marine Academy (Merchant Marine) and Stevens Institute of Technology (Stevens or Stevens Tech) joined the Centennial as affiliate members for men's wrestling, effective in the 2004-05 academic year.
 * 2007 - Juniata College and Moravian College joined the Centennial as affiliate members for football, effective in the 2007 fall season (2007-08 academic year).
 * 2010 - Susquehanna University joined the Centennial as an affiliate member for football and women's golf, effective in the 2010-11 academic year.
 * 2012 - New York University joined the Centennial as an affiliate member for men's wrestling, effective in the 2012-13 academic year.
 * 2016 - NYU left the Centennial as an affiliate member for wrestling, effective after the 2015-16 academic year.
 * 2017 - Susquehanna left the Centennial as an affiliate member for women's golf, effective after the 2017 spring season (2016-17 academic year).
 * 2017 - Marymount University and Neumann University joined the Centennial as affiliate members for women's golf, effective in the 2018 spring season (2017-18 academic year).
 * 2019 - Two institutions left the Centennial as affiliate members: Neumann for women's golf and Stevens for men's wrestling, effective after the 2018-19 academic year.
 * 2019 - Cabrini University joined the Centennial as an affiliate member for women's golf to replace Neumann's spot, effective in the 2020 spring season (2019-20 academic year).
 * 2022 - Washington and Lee University departed as an affiliate member in wrestling for their primary conference, the Old Dominion Athletic Conference.
 * 2023 - Football affiliates Juniata, Moravian and Susquehanna will depart for the new football league started in the Landmark Conference, effective after the 2022 fall season (2022-23 academic year).

Current members
The Centennial currently has 11 full members, all are private schools:

Affiliate members
The Centennial currently has three affiliate members, all but one are private schools:

Former affiliate members
The Centennial had seven former affiliate members, all were private schools:

 * Notes:

Sports
The Centennial Conference sponsors championships in the following sports:

Men's sponsored sports by school

 * Notes

Women's sponsored sports by school

 * Notes

title: Centennial Conference


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Isometry

In mathematics, an isometry (or congruence, or congruent transformation) is a distance-preserving transformation between metric spaces, usually assumed to be bijective. The word isometry is derived from the Ancient Greek: ἴσος isos meaning "equal", and μέτρον metron meaning "measure". If the transformation is from a metric space to itself, it is a kind of geometric transformation known as a motion.

Introduction
Given a metric space (loosely, a set and a scheme for assigning distances between elements of the set), an isometry is a transformation which maps elements to the same or another metric space such that the distance between the image elements in the new metric space is equal to the distance between the elements in the original metric space. In a two-dimensional or three-dimensional Euclidean space, two geometric figures are congruent if they are related by an isometry; the isometry that relates them is either a rigid motion (translation or rotation), or a composition of a rigid motion and a reflection.

Isometries are often used in constructions where one space is embedded in another space. For instance, the completion of a metric space $$M $$ involves an isometry from $$M $$ into $$M',$$ a quotient set of the space of Cauchy sequences on $$M.$$ The original space $$M $$ is thus isometrically isomorphic to a subspace of a complete metric space, and it is usually identified with this subspace. Other embedding constructions show that every metric space is isometrically isomorphic to a closed subset of some normed vector space and that every complete metric space is isometrically isomorphic to a closed subset of some Banach space.

An isometric surjective linear operator on a Hilbert space is called a unitary operator.

Definition
Let $$X$$ and $$Y$$ be metric spaces with metrics (e.g., distances)  $d_X $  and $d_Y.$  A map $f\colon X \to Y $  is called an isometry or distance preserving map if for any $$a, b \in X$$one has

 * $$d_X(a,b)=d_Y\!\left(f(a),f(b)\right).$$

An isometry is automatically injective; otherwise two distinct points, a and b, could be mapped to the same point, thereby contradicting the coincidence axiom of the metric d, i.e., $$d(a,b) = 0$$ if and only if $$a=b$$. This proof is similar to the proof that an order embedding between partially ordered sets is injective. Clearly, every isometry between metric spaces is a topological embedding.

A global isometry, isometric isomorphism or congruence mapping is a bijective isometry. Like any other bijection, a global isometry has a function inverse. The inverse of a global isometry is also a global isometry.

Two metric spaces X and Y are called isometric if there is a bijective isometry from X to Y. The set of bijective isometries from a metric space to itself forms a group with respect to function composition, called the isometry group.

There is also the weaker notion of path isometry or arcwise isometry:

A path isometry or arcwise isometry is a map which preserves the lengths of curves; such a map is not necessarily an isometry in the distance preserving sense, and it need not necessarily be bijective, or even injective. This term is often abridged to simply isometry, so one should take care to determine from context which type is intended.

 * Examples
 * Any reflection, translation and rotation is a global isometry on Euclidean spaces. See also Euclidean group and.
 * The map $$x \mapsto |x| $$ in $$\mathbb R $$ is a path isometry but not a (general) isometry. Note that unlike an isometry, this path isometry does not need to be injective.

Isometries between normed spaces
The following theorem is due to Mazur and Ulam.

 * Definition: The midpoint of two elements $P$ and $P'$ in a vector space is the vector $R_{ 1}$.

$T$

Linear isometry
Given two normed vector spaces $$ V $$ and $$ W ,$$ a linear isometry is a linear map $$ A : V \to W $$ that preserves the norms:
 * $$\|Av\| = \|v\| $$

for all $$v \in V.$$ Linear isometries are distance-preserving maps in the above sense. They are global isometries if and only if they are surjective.

In an inner product space, the above definition reduces to

 * $$\langle v, v \rangle = \langle Av, Av \rangle $$

for all $$v \in V,$$ which is equivalent to saying that $$A^\dagger A = \operatorname{I}_V.$$ This also implies that isometries preserve inner products, as

 * $$\langle A u, A v \rangle = \langle u, A^\dagger A v \rangle = \langle u, v \rangle.$$

Linear isometries are not always unitary operators, though, as those require additionally that $$V = W $$ and $$ A A^\dagger = \operatorname{I}_V.$$

By the Mazur–Ulam theorem, any isometry of normed vector spaces over $$ \mathbb{R} $$ is affine.

A linear isometry also necessarily preserves angles, therefore a linear isometry transformation is a conformal linear transformation.

 * Examples

 * A linear map from $$ \mathbb{C}^n $$ to itself is an isometry (for the dot product) if and only if its matrix is unitary.

Manifold
An isometry of a manifold is any (smooth) mapping of that manifold into itself, or into another manifold that preserves the notion of distance between points. The definition of an isometry requires the notion of a metric on the manifold; a manifold with a (positive-definite) metric is a Riemannian manifold, one with an indefinite metric is a pseudo-Riemannian manifold. Thus, isometries are studied in Riemannian geometry.

A local isometry from one (pseudo-)Riemannian manifold to another is a map which pulls back the metric tensor on the second manifold to the metric tensor on the first. When such a map is also a diffeomorphism, such a map is called an isometry (or isometric isomorphism), and provides a notion of isomorphism ("sameness") in the category Rm of Riemannian manifolds.

Definition
Let $$R = (M, g) $$ and $$R' = (M', g') $$ be two (pseudo-)Riemannian manifolds, and let $$f : R \to R' $$ be a diffeomorphism. Then $$f $$ is called an isometry (or isometric isomorphism) if

 * $$g = f^{*} g', $$

where $$f^{*} g' $$ denotes the pullback of the rank (0, 2) metric tensor $$g' $$ by $$f$$. Equivalently, in terms of the pushforward $$f_{*},$$ we have that for any two vector fields $$v, w $$ on $$M $$ (i.e. sections of the tangent bundle $$\mathrm{T} M $$),

 * $$g(v, w) = g' \left( f_{*} v, f_{*} w \right).$$

If $$f $$ is a local diffeomorphism such that $$g = f^{*} g',$$ then $$f$$ is called a local isometry.

Properties
A collection of isometries typically form a group, the isometry group. When the group is a continuous group, the infinitesimal generators of the group are the Killing vector fields.

The Myers–Steenrod theorem states that every isometry between two connected Riemannian manifolds is smooth (differentiable). A second form of this theorem states that the isometry group of a Riemannian manifold is a Lie group.

Riemannian manifolds that have isometries defined at every point are called symmetric spaces.

Generalizations

 * Given a positive real number ε, an ε-isometry or almost isometry (also called a Hausdorff approximation) is a map $$f \colon X \to Y $$ between metric spaces such that
 * for $$x, x' \in X$$ one has $$|d_Y(f(x),f(x')) - d_X(x,x')| < \varepsilon,$$ and
 * for any point $$y \in Y$$ there exists a point $$x \in X$$ with $$d_Y(y, f(x)) < \varepsilon $$

 * That is, an $p$-isometry preserves distances to within $q$ and leaves no element of the codomain further than $Tp$ away from the image of an element of the domain. Note that $Tq$-isometries are not assumed to be continuous.

 * The restricted isometry property characterizes nearly isometric matrices for sparse vectors.
 * Quasi-isometry is yet another useful generalization.
 * One may also define an element in an abstract unital C*-algebra to be an isometry:
 * $$a \in \mathfrak{A}$$ is an isometry if and only if $$a^* \cdot a = 1.$$
 * Note that as mentioned in the introduction this is not necessarily a unitary element because one does not in general have that left inverse is a right inverse.

 * On a pseudo-Euclidean space, the term isometry means a linear bijection preserving magnitude. See also Quadratic spaces.

title: Isometry


text:
Talk:Edlin

what is it less powerful than? and is this NPOV? Iammaxus 04:53 29 Jun 2003 (UTC)

An anonymous user, User:148.126.100.80, is repeatedly removing the paragraph below from the article with the edit summary: ''Again: This is not a quippy advocacy blog. I'm sure that is very funny to all 16 zealots who run this place, but unless there is PROOF it should be removed or reworded.'' -- "The edlin line editor was thrown together in two weeks in 1981, and was expected to have a six-month shelf life. Some industry pundits have suggested that this is the only Microsoft-written MS-DOS program that is bug-free; this is entirely false, however, as Seattle Computer Products, not Microsoft, wrote EDLIN."

I don't know which is "correct" but I think that the burden of proof is on User:148.126.100.80 to demonstrate what is NPOV about that paragraph.

Thanks, BCorr | Брайен 16:59, May 25, 2004 (UTC)

 * Yeah, well, this sentence is a very good joke, but the way it's turned it took me quite a few seconds to catch it, so considering that the may goal here is not being funny... Oh, or maybe it is anyway. :-)

 * By the way, my Win2k version of EDLIN does not work properly. --Valmi[[User_talk:Valmi| ✒]] 22:55, 7 Oct 2004 (UTC)
 * The "shelf life" part of the comment is certainly false. It displays a misapprehension that EDLIN was only intended as a basic text editor for users. EDLIN (with FIND and SORT) was part of the data-processing facilities of DOS, and was documented as such. Replicating similar utilities on mainframes and minicomputers. These utilities remained available because they were used by system scripts, even when they had long been superseded for end-user use.  — Preceding unsigned comment added by 203.206.162.148 (talk) 01:17, 29 July 2015 (UTC)

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title: Talk:Edlin


text:
Stanstead, Quebec

Stanstead is a town in the Memphrémagog Regional County Municipality in the Estrie region of Quebec, located on the Canada–United States border across from Derby Line, Vermont.

The Town of Stanstead was created in 1995 by the merger of the former villages of Stanstead Plain and Beebe (formerly Beebe Plain) and the Town of Rock Island. It is not to be confused with the township of Stanstead, which is nearby although not directly adjacent (the municipality of Ogden lies in between). Not only is Stanstead home to the Haskell Free Library and Opera House—the only heritage building deliberately constructed straddling the border between both countries—it also features Canusa Street (Rue Canusa), one of a number of streets in the world where the country border corresponds to the middle line marker, effectively making across-the-street neighbors residents of two countries.

History
Prior to merging, Stanstead Plain, Rock Island and Beebe were known informally as "les trois villages" or "the Three Villages," although originally, "the Three Villages" referred to Stanstead Plain, Rock Island and Derby Line, Vt., each of which ran into the next.

In 1940, traffic on Quebec Route 143—the area's main route at the time—was halted due to snowfall from March 22 to April 3. Dufferin Heights was most affected. As volunteers attempted to clear the road with shovels, the snow banks became so high that steps needed to be carved into them. Trains were similarly affected, although able to dig out more quickly.

Stanstead Plain
Stanstead Plain was founded in 1796 by Johnson Taplin, who came from New England in search of good farming land.

The Mansur (red brick) one-room school was built in 1819. It is the oldest one-room school remaining in Quebec.

The town grew in the 19th century, due to the influx of United Empire Loyalists and the development of the granite industry. In 1855, the village was incorporated by the Quebec legislature. The town was the main centre of commerce of the region through the late 18th century, though eventually losing pre-eminence to Sherbrooke. Stanstead was also at one time the seat of the former Stanstead County.

The first automobile manufactured in Canada was built by Henry Seth Taylor of Stanstead. Taylor demonstrated his steam buggy at the Stanstead Fair in 1867.

The railroad reached Stanstead in 1871. Today its tracks have been transformed into bike trails owned by the regional government.

A seminary built here in 1829 became Stanstead College in 1873. In 1884, Ursulines opened a convent here which operated a Francophone college. The convent and the school both closed in 2004. The word "college" here designates a high school in each case. Starting 2011, the convent became an elders residence named the "Manoir Stanstead" (Stanstead Manor).

In 1878, the Governor General of Canada, Lord Dufferin, and his wife visited the town. The main road over which they travelled was renamed "Rue Dufferin" (Dufferin Street).

Rock Island
Rock Island was settled in 1798 by Samuel and Selah Pomroy from Massachusetts. In 1802, a bridge was built across the Tomifobia River to ease access to Derby Line. The following year, Col. Charles Kilborn built a saw mill and a corn mill, then set up a dam on the river to feed them. A few years later, a channel was dug in the bend of the river. The territory located between the channel and the river was named "Rock Island".

Rock Island was incorporated as a village in 1892, and became a town in 1957.

Rock Island is known for the Haskell Free Library and Opera House, deliberately constructed on the Canada–US border and opened in 1904. The original owners were a couple with dual nationality; Mr. Carlos F. Haskell was an American businessman from Derby Line who owned a number of sawmills, while Mrs. Haskell was born in Canada. The intent was that people on both sides of the border would have use of the facility, which is now a designated historic site. Visitors today may still enter the facility from the Canadian or American sides, though those who use it as a border crossing must report to their respective customs office.

Another famous native of Rock Island is Henrietta Banting (1912–1976), the wife of Frederick Banting, co-discoverer of insulin in 1922. The Bantings donated some land to the town, and the municipal authorities recognized them by naming a public park in their honour in 1981 (located on the north side of Rue Notre-Dame Ouest (Notre-Dame West Street) going westbound towards Dufferin).

It is also the home of the Dairy Association Company, the manufacturers of Bag Balm.

The Butterfield factory closed in 1982 after a lengthy strike by Canadian workers.

Beebe Plain
Beebe Plain was colonized around 1789 by Zeeba Beebe of Connecticut. A saw mill was established as the town's first business in 1863. By 1869, Beebe Plain had a church, two stores, a post office, a customs post and some houses. The village separated from the township of Stanstead and became a separate municipality. From 1874 to 1935, a Chautauqua-style holiday resort, including a meeting hall, a dining room and about 30 country cottages, attracted thousands of people, mainly Americans from New York and Boston. The granite industry is the major force in the area's economic history.

Beebe Junction was the international crossing point for the 1870 Massawippi Valley Railway (later the Quebec Central Railway, leased by Canadian Pacific Railway and abandoned in 1990). The line ran from the Canadian Pacific mainline in Sherbrooke-Lennoxville south to Newport, Vermont, where onward connections were available via White River Junction to New York City and Boston. The last Quebec City-Sherbrooke-Newport passenger train ran in 1960. The historic Beebe station is now a private residence.

A building located at 3, Rue Principale (Main Street) is in a similar state to the Haskell Library—a line runs through its north aisle. In this case, however, Canadian citizens are not allowed to access the building without reporting to the U.S. customs first, and then to the Canadian customs when going back.

Access to homes on Rue Canusa (Canusa Street) is made through the Canada–US border. U.S. citizens residing there have to report to their customs if travelling south, and to the Canadian customs if travelling elsewhere in Beebe.

Geography
The Tomifobia River runs through the town of Stanstead, dividing the Canada–US border at times. Along portions of Canada's Rue Canusa (Canusa Street), houses on the southern end of the street lie entirely within Vermont, while their driveways direct northward, and connect to the street in Quebec, as the northern portions of their properties are within Canada. These residents' backyard neighbours are American, while families living right across the street are Canadian, though no noticeable boundary exists between the two (the street itself is entirely within Canada). In other places, the international border runs through individual homes, so that meals prepared in one country are eaten in the other. An entire tool-and-die factory, once operated by the Butterfield division of Litton Industries, is also divided in two by the border.

Climate
As typical of southern Quebec, Stanstead has a humid continental climate (Köppen climate classification: Dfb) with significant differences of temperature between seasons. Summers are warm but rarely hot and are in general cooler than areas further west on similar parallels. Winters are cold considering its southerly latitude, further demonstrating the continental nature of the climate. The climate is relatively wet resulting in plenty of snowfall in winter.

Demographics
In the 2021 Census of Population conducted by Statistics Canada, Stanstead had a population of $2,824$ living in $1,274$ of its $1,381$ total private dwellings, a change of NaN% from its 2016 population of $2,788$. With a land area of 21.95 km2, it had a population density of in 2021.

Population trend:

Mother tongue (2011)

Government
The town of Stanstead was created in 1995 by the merger of the former towns of Stanstead Plain, Rock Island and Beebe Plain. The mayor is Jody Stone. There are six town councilors.

Economy
The Canadian side of the former Butterfield building is being used by small industrial businesses, such as the Sealander Waterworks as a demonstration plant for renewable energy.

Attractions
The Haskell Free Library and Opera House has an international border line painted on the floors of the building. Another landmark is Centenary United Church.

Stanstead, which refers to itself as the Granite Capital of Canada, was previously home to a granite-themed museum known as "Granit Central". This museum closed in October 2017 citing years of financial challenges. Another museum in the town is the Colby-Curtis Museum, which is focused on the town's history.

Infrastructure
Drinking water for the adjacent towns of Derby Line and Stanstead is pumped from wells in Canada, stored in a reservoir in the United States and distributed through a system maintained by Canadians. Derby Line's sewage makes a cross-border trip for treatment.

Roads

 * Quebec Autoroute 55
 * Quebec Route 143
 * Quebec Route 247

Education
Stanstead College is located here. There are also two elementary schools: Sunnyside Elementary School, an English school; and Jardin des Frontières, a French school. Sunnyside was built on top of the location of Sunnyside Castle, located beside the Stanstead Townhall and across the street from the White House, a former old folks home after it was owned by Dr. White.

Media
The Stanstead Journal, an English-language weekly newspaper founded in 1845, was published until May 29, 2019.

Sports
There is a curling club which recruits members from both sides of the border. 2011 saw the construction of the Pat Burns Arena, the largest indoor hockey rink and sports complex within a 30 km radius in Canada and 20 km radius in the U.S., named after the NHL coach Pat Burns.

title: Stanstead, Quebec


text:
Alexander Glazunov

Alexander Konstantinovich Glazunov (10 August 1865 – 21 March 1936) was a Russian composer, music teacher, and conductor of the late Russian Romantic period. He was director of the Saint Petersburg Conservatory between 1905 and 1928 and was instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued as head of the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. The best-known student under his tenure during the early Soviet years was Dmitri Shostakovich.

Glazunov successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned, while also admitting he remained a composer with an imposing reputation, and a stabilizing influence in a time of transition and turmoil.

Prodigy
Glazunov was born in Saint Petersburg, the son of a wealthy publisher. His father Konstantin was granted the status of hereditary nobility later, in 1882. He began studying piano at the age of nine and began composing at 11. Mily Balakirev, former leader of the nationalist group "The Five", recognized Glazunov's talent and brought his work to the attention of Nikolai Rimsky-Korsakov. "Casually Balakirev once brought me the composition of a fourteen- or fifteen-year-old high-school student, Alexander Glazunov", Rimsky-Korsakov remembered. "It was an orchestral score written in childish fashion. The boy's talent was indubitably clear." Balakirev introduced him to Rimsky-Korsakov shortly afterwards, in December 1879. Rimsky-Korsakov premiered this work in 1882, when Glazunov was 16. Borodin and Stasov, among others, lavishly praised both the work and its composer.

Rimsky-Korsakov taught Glazunov as a private student. "His musical development progressed not by the day, but literally by the hour", Rimsky-Korsakov wrote. The nature of their relationship also changed. By the spring of 1881, Rimsky-Korsakov considered Glazunov more of a junior colleague than a student. While part of this development may have been from Rimsky-Korsakov's need to find a spiritual replacement for Modest Mussorgsky, who had died that March, it may have also been from observing his progress on the first of Glazunov's eight completed symphonies (he left a ninth unfinished at his death).

Mentored by Belyayev
More important than this praise was that among the work's admirers was a wealthy timber merchant and amateur musician, Mitrofan Belyayev. Belyayev was introduced to Glazunov's music by Anatoly Lyadov and would take a keen interest in the teenager's musical future, then extend that interest to an entire group of nationalist composers. Belyayev took Glazunov on a trip to Western Europe in 1884. Glazunov met Liszt in Weimar, where Glazunov's First Symphony was performed.

Also in 1884, Belyayev rented out a hall and hired an orchestra to play Glazunov's First Symphony plus an orchestral suite Glazunov had just composed. Buoyed by the success of the rehearsal, Belyayev decided the following season to give a public concert of works by Glazunov and other composers. This project grew into the Russian Symphony Concerts, which were inaugurated during the 1886–1887 season.

In 1885 Belyayev started his own publishing house in Leipzig, Germany, initially publishing music by Glazunov, Lyadov, Rimsky-Korsakov and Borodin at his own expense. Young composers started appealing for his help. To help select from their offerings, Belyayev asked Glazunov to serve with Rimsky-Korsakov and Lyadov on an advisory council. The group of composers that formed eventually became known at the Belyayev Circle.

Fame
Glazunov soon enjoyed international acclaim. He emerged from a creative crisis in 1890–1891 with a new maturity. During the 1890s he wrote three symphonies, two string quartets and a ballet. When he was elected director of the Saint Petersburg Conservatory in 1905, he was at the height of his creative powers. His best works from this period are considered his Eighth Symphony and his Violin Concerto. This was also the time of his greatest international acclaim. He conducted the last of the Russian Historical Concerts in Paris on 17 May 1907, and received honorary Doctor of Music degrees from the universities of Oxford and Cambridge. There were also cycles of all-Glazunov concerts in Saint Petersburg and Moscow to celebrate his 25th anniversary as a composer.

Conductor
Glazunov made his conducting debut in 1888. The following year, he conducted his Second Symphony in Paris at the World Exhibition. He was appointed conductor for the Russian Symphony Concerts in 1896. In March of that year he conducted the posthumous premiere of Tchaikovsky's student overture The Storm. In 1897, he led the disastrous premiere of Rachmaninoff's Symphony No 1. This catalysed Rachmaninoff's three-year depression. The composer's wife later claimed that Glazunov seemed to be drunk at the time. While this assertion cannot be confirmed, it is not implausible for a man who, according to Shostakovich, kept a bottle of alcohol hidden behind his desk and sipped it through a tube during lessons.

Drunk or not, Glazunov had insufficient rehearsal time with the symphony and, while he loved the art of conducting, he never fully mastered it. From time to time he conducted his own compositions, especially the ballet Raymonda, even though he may have known he had no talent for it. He would sometimes joke, "You can criticize my compositions, but you can't deny that I am a good conductor and a remarkable conservatory Director".

Despite the hardships he suffered during World War I and the ensuing Russian Civil War, Glazunov remained active as a conductor. He conducted concerts in factories, clubs and Red Army posts. He played a prominent part in the Russian observation in 1927 of the centenary of Beethoven's death, as both speaker and conductor. After he left Russia, he conducted an evening of his works in Paris in 1928. This was followed by engagements in Portugal, Spain, France, England, Czechoslovakia, Poland, the Netherlands, and the United States.

Conservatory
In 1899, Glazunov became a professor at the Saint Petersburg Conservatory. In the wake of the 1905 Russian Revolution and firing, then re-hiring of Rimsky-Korsakov that year, Glazunov became its director. He remained so until the revolutionary events of 1917, which culminated on 7 November. His Piano Concerto No. 2 in B major, Op. 100, which he conducted, was premiered at the first concert held in Petrograd after that date. After the end of World War I, he was instrumental in the reorganization of the Conservatory—this may, in fact, have been the main reason he waited so long to go into exile. During his tenure he worked tirelessly to improve the curriculum, raise the standards for students and staff, as well as defend the institute's dignity and autonomy. Among his achievements were an opera studio and a students' philharmonic orchestra.

Glazunov showed paternal concern for the welfare of needy students, such as Dmitri Shostakovich and Nathan Milstein. He also personally examined hundreds of students at the end of each academic year, writing brief comments on each.

While Glazunov's sobriety could be questioned, his prestige could not. Because of his reputation, the Conservatory received special status among institutions of higher learning in the aftermath of the October Revolution. Glazunov established a sound working relationship with the Bolshevik regime, especially with Anatoly Lunacharsky, the minister of education. Nevertheless, Glazunov's conservatism was attacked within the Conservatory. Increasingly, professors demanded more progressive methods, and students wanted greater rights. Glazunov saw these demands as both destructive and unjust. Tired of the Conservatory, he took advantage of the opportunity to go abroad in 1928 for the Schubert centenary celebrations in Vienna. He did not return. Maximilian Steinberg ran the Conservatory in his absence until Glazunov finally resigned in 1930.

Emigration
Glazunov toured Europe and the United States in 1928, and settled in Paris by 1929. He always claimed that the reason for his continued absence from Russia was "ill health"; this enabled him to remain a respected composer in the Soviet Union, unlike Stravinsky and Rachmaninoff, who had left for other reasons. In 1929, he conducted an orchestra of Parisian musicians in the first complete electrical recording of The Seasons. In 1934, he wrote his Saxophone Concerto, a virtuoso and lyrical work for the alto saxophone.

Married life
In 1929, at age 64, Glazunov married the 54-year-old Olga Nikolayevna Gavrilova (1875–1968). The previous year, Olga's daughter Elena Gavrilova had been the soloist in the first Paris performance of his Piano Concerto No. 2 in B major, Op. 100. He subsequently adopted Elena (she is sometimes referred to as his stepdaughter), and she then used the name Elena Glazunova. In 1928, Elena had married the pianist Sergei Tarnowsky, who managed Glazunov's professional and business affairs in Paris, such as negotiating his United States appearances with Sol Hurok. (Tarnowsky was also a noted piano teacher, whose students included Vladimir Horowitz.) Elena later appeared as Elena Gunther-Glazunova after her second marriage, to Herbert Gunther (1906–1978).

Death
Glazunov died in Neuilly-sur-Seine (near Paris) at the age of 70 in 1936. In 1972 his remains were reinterred at the Alexander Nevsky Monastery in Leningrad.

Works and influence
Glazunov's most popular works nowadays are his ballets The Seasons and Raymonda, some of his later symphonies, particularly the Fourth, Fifth and Sixth, the Polonaise from Les Sylphides, and his two Concert Waltzes. His Violin Concerto, which was a favorite vehicle for Jascha Heifetz, is still sometimes played and recorded. His last work, the Saxophone Concerto (1934), showed his ability to adapt to Western fashions in music at that time.

Glazunov's musical development was paradoxical. He was adopted as an idol by nationalist composers who had been largely self-taught and, apart from Rimsky-Korsakov, were deeply distrustful of academic technique. Glazunov's first two symphonies could be seen as an anthology of nationalist techniques as practiced by Balakirev and Borodin; the same could be said for his symphonic poem Stenka Razin with its use of the folk song "Song of the Volga Boatmen" and orientalist practices much like those employed by The Five. By his early 20s he realized the polemic battles between academicism and nationalism were no longer valid. Although he based his compositions on Russian popular music, Glazunov's technical mastery allowed him to write in a sophisticated, cultured idiom. With his Third Symphony, he consciously attempted to internationalize his music in a manner similar to Tchaikovsky, to whom the piece is dedicated.

The Third Symphony was a transitional work. Glazunov admitted its composition caused him a great deal of trouble. With the Fourth Symphony, he came into his mature style. Dedicated to Anton Rubinstein, the Fourth was written as a deliberately cosmopolitan work by a Russian looking outward to the West, yet it remained unmistakably Russian in tone. He continued to synthesize nationalist tradition and Western technique in the Fifth Symphony. By the time Glazunov wrote his Seventh Symphony, his duties at the Conservatory had slowed his rate of composition. After his Eighth Symphony, his heavy drinking may have started taking a toll on his creativity, as well. He sketched one movement of a Ninth Symphony but left the work unfinished.

Glazunov wrote three ballets; eight symphonies and many other orchestral works; five concertos (2 for piano; 1 for violin; 1 for cello; 1 for saxophone); seven string quartets; two piano sonatas and other piano pieces; miscellaneous instrumental pieces; and some songs. He also collaborated with the choreographer Michel Fokine to create the ballet Les Sylphides, a suite of music by Frédéric Chopin orchestrated by Glazunov.

Sergei Diaghilev briefly considered Glazunov to compose the music for his ballet The Firebird after failing to interest his first choice, Anatol Lyadov, before he eventually commissioned Igor Stravinsky instead.

Glazunov and Stravinsky
In his 1935 autobiography, Igor Stravinsky admitted that, as a young man, he greatly admired Glazunov's perfection of musical form, purity of counterpoint and ease and assurance of his writing. At 15, Stravinsky transcribed one of Glazunov's string quartets for piano solo. He also deliberately modeled his Symphony in E♭, Op. 1, on Glazunov's symphonies, which were then in vogue. He used Glazunov's Eighth Symphony, Op. 83, which was written in the same key as his, as a pattern on which to base corrections to his symphony.

This attitude changed over time. In his memoirs, Stravinsky called Glazunov one of the most disagreeable men he had ever met, adding that the only bad omen he had experienced about the initial (private) performance of his symphony was Glazunov having come to him afterwards saying, "Very nice, very nice." Later, Stravinsky amended his recollection of this incident, adding that when Glazunov passed him in the aisle after the performance, he told Stravinsky, "Rather heavy instrumentation for such music."

For his part, Glazunov was not supportive of the modern direction Stravinsky's music took. He was not alone in this prejudice—their mutual teacher Rimsky-Korsakov was as profoundly conservative by the end of his life, wedded to the academic process he helped instill at the Conservatory. Unlike Rimsky-Korsakov, Glazunov was not anxious about the potential dead end Russian music might reach by following academia strictly, nor did he share Rimsky-Korsakov's grudging respect for new ideas and techniques.

Chances are that Glazunov treated Stravinsky with reserve, certainly not with open rudeness. His opinion of Stravinsky's music in the presence of others was another matter. At the performance of Feu d'artifice (Fireworks), he reportedly made the comment, "Kein Talent, nur Dissonanz" ("no talent, just dissonance"). (Also in the audience was Sergei Diaghilev, who on the strength of this music sought out the young composer for the Ballets Russes.) Glazunov eventually considered Stravinsky merely an expert orchestrator. In 1912 he told Vladimir Telyakovsky, "Petrushka is not music, but is excellently and skillfully orchestrated."

Glazunov and Shostakovich
Dmitri Shostakovich entered the Petrograd Conservatory at age 13, becoming the youngest student there. He studied piano with Leonid Nikolayev and composition with Rimsky-Korsakov's son-in-law Maximilian Steinberg. He proved to be a disciplined, hard-working student. Glazunov may have recognized in Shostakovich an echo of his younger self. He carefully monitored his progress in Steinberg's class and, in awarding him his doctorate, recommended Shostakovich for a higher degree which normally would have led to a professorship. Due to his family's financial hardship, Shostakovich was not able to take advantage of this opportunity. Glazunov also arranged for the premiere of Shostakovich's First Symphony, which took place on 12 March 1926 with the Leningrad Philharmonic under Nikolai Malko. This was 44 years after Glazunov's First Symphony had first been presented in the same hall. In another instance of déjà vu with Glazunov's early life, the symphony caused almost as much of a sensation as the appearance of the 19-year-old Shostakovich on the stage awkwardly taking his bow.

title: Alexander Glazunov