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Abner Haynes

Abner Haynes (September 19, 1937 – July 18, 2024) was an American professional football player who was a halfback and return specialist in the American Football League (AFL). He played college football for the North Texas State Eagles and was selected by the Oakland Raiders in the 1960 AFL draft. He was also chosen by the Pittsburgh Steelers in the fifth round of the 1960 NFL draft.

Early years and integration
Born in Denton, Texas, Haynes graduated from Lincoln High School in Dallas in 1956. He played college football at North Texas State College in Denton (now the University of North Texas), where he and teammate Leon King integrated college football in the state of Texas in 1957.

Professional career
Although selected in the fifth round (55th overall) of the 1960 NFL draft by the Pittsburgh Steelers, Haynes chose to play for the AFL's Dallas Texans, signing his contract with the team under the goal posts of Kidd Field after the 1959 Sun Bowl. Haynes led the AFL in rushing attempts, yards, and TDs in its first year. Haynes' father, a minister, advised that the young man play in the AFL after coach Buddy Parker and quarterback Bobby Layne of the Steelers made a drunken visit to Haynes' house.

Haynes helped popularize the AFL in 1960, when he was the fledgling league's first Player of the Year, and its first Rookie of the Year. He captured the AFL's first rushing crown with 875 yards, and also led the Texans in receiving, punt returns, and kickoff returns. Haynes spent three years in Dallas and two with same franchise when it became the Kansas City Chiefs in 1963. The Chiefs and the North Texas Eagles both retired his number 28 in honor of his many achievements.

"He was a franchise player before they talked about franchise players", praised Stram. "He did it all – rushing, receiving, kickoff returns, punt returns. He gave us the dimension we needed to be a good team in Dallas." The 6 ft, 190 lb Haynes, who had great speed and dazzling moves in the open field, was regularly among the AFL's top 10 rushers (3rd all-time), and set AFL records with 5 touchdowns in a game, 19 in a season in 1961, and 46 in his career. Haynes still owns 10 Texans franchise records, including most points in a game (30), most touchdowns in a game (5), and most career combined yards (8,442). He was Hall of Fame head coach Hank Stram's most versatile and dangerous weapon from 1960 to 1962, amassing 43 touchdowns and 4,472 yards on rushes and receptions. In 1962, he helped the Texans win the AFL championship game in the classic double-overtime victory over the two-time defending champion Houston Oilers. At the time it was the longest professional football championship game ever played. In that game, Haynes scored touchdowns on a 28-yard pass reception from quarterback Len Dawson, and on a 2-yard run.

Another notable game for Haynes was in 1962 on September 30 against the Buffalo Bills at the Cotton Bowl; he ran for 164 yards on just 16 attempts (10+ yards per carry), with two touchdown runs, one of 71 yards and one of 13 yards, in the Texans' 41–21 victory.

Haynes was then traded to the Denver Broncos prior to the 1965 season. Haynes believed that the trade was retribution for his participation in several black players boycotting the 1965 American Football League All-Star game, which was supposed to be in New Orleans, due to the black players' mistreatment by hotels and businesses in New Orleans. The game was quickly moved to Houston after the players' protests. According to Haynes, he received a letter from the Chiefs' organization reprimanding him for his actions, and he was soon traded after. In 1965, he scored three rushing touchdowns, two receiving touchdowns, and returned one punt for a touchdown. He also led the league in kick returns (34), kick return yards (901), kick return average (26.5), and was fourth in the league in all-purpose yards (1,404). On Oct 17, he returned 3 kicks 140 yards for a franchise record 46.7 average. In 1966, he had 304 yards rushing and 480 receiving, but led the league with 11 fumbles and was let go. In 1967, he played for both the Miami Dolphins, and the New York Jets.

During his 8 professional seasons, Haynes carried the ball 1,036 times for 4,630 yards, a 4.5 average; caught 287 passes for 3,535 yards, a 12.3 average, and 20 touchdowns; returned 85 punts for 875 yards, a 10.3 average, and 1 touchdown; and ran back 121 kickoffs for 3,025 yards, a 25.0 average, and 1 touchdown. His 12,065 combined yards is the American Football League record. Haynes had three games in which he gained 100 or more yards on 14 or fewer carries, and was selected to the All-Time All-AFL second-team. He had a program called "Heroes of Football" which connects former professional players with their communities.

In 2019, the Professional Football Researchers Association named Haynes to the PFRA Hall of Very Good Class of 2019.

"We'll Kick to the Clock"
In the 1962 AFL Championship Game, Haynes made what could have been a costly error at the start of overtime. Coach Stram, aware of the strong winds at Jeppesen Stadium, instructed Haynes, should the Texans win the coin toss, to choose the end of the field facing the stadium clock, which would give the Texans the wind at their backs. (In professional American football, the team winning the coin toss can choose either to elect whether to kickoff or receive the kickoff, or elect which goal to defend. If that team's election is regarding the kickoff, the other team gets to elect which goal to defend; and vice versa.)

The Texans won the coin toss. Haynes, assuming that when the Texans elected which goal to defend, the Oilers would elect to receive the kickoff (thereby gaining first possession of the ball), told the referee, "We'll kick to the clock." However, by starting with the words "We'll kick", Haynes had made the election for the Texans to kick off, allowing the Oilers, not the Texans, to choose which goal to defend. The Texans saved Haynes from embarrassment by not allowing the Oilers to score in that first overtime, then won the game on Tommy Brooker's field goal 2 minutes and 54 seconds into the second overtime (after the teams had switched ends).

When asked about his mistake following the game, Haynes said "I knew we'd need the wind behind us in the sixth quarter."

Personal life and death
Haynes was a cousin of Sly Stone, Rose Stone, and Freddie Stone of Sly and the Family Stone.

Haynes died in Dallas on July 18, 2024, at the age of 86.

title: Abner Haynes


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Northern Ireland Unionist Party

The Northern Ireland Unionist Party (NIUP) was a small unionist political party in Northern Ireland that campaigned against the Belfast Agreement.

History
It was formed in January 1999 as a splinter party from the UK Unionist Party (UKUP). This split was caused by disagreement between the five UKUP members of the Northern Ireland Assembly. Four of the members disagreed with UKUP leader Robert McCartney's policy of resigning from the Assembly should Sinn Féin become part of the power-sharing executive. Cedric Wilson, Patrick Roche, Norman Boyd and Roger Hutchinson disagreed with McCartney, wanting to remain in the Assembly to challenge unionists in favour of the Belfast Agreement. McCartney disciplined these members in their absence and, in response, they left the UKUP and formed the NIUP. Led by Wilson, the new party argued that it had the support of the grassroots membership of the UKUP, but McCartney disputed this.

Subsequently, Hutchinson left the NIUP on 30 November 1999, sitting as an independent Unionist for a period before joining the Democratic Unionist Party (DUP). He then left the DUP and unsuccessfully contested the 2003 Assembly Election as an independent Unionist.

The NIUP opposed the Belfast Agreement and the reformation of the Royal Ulster Constabulary to the Police Service Northern Ireland. They described their position as "principled unionism."

In its first electoral test, the party polled very poorly in the 2001 General Election and in local elections held on the same day, winning no Westminster or council seats. In the 2003 Assembly Election, the NIUP won no seats at all.

The NIUP consistently had a low level of support and mainly contested the constituencies represented by its four Assembly members. In 2001, it received 1,794 votes in the general election and 1,818 votes in the local elections. This fell to 1,350 in the 2003 Assembly election. Its share of the vote across Northern Ireland was around 0.2% in each case.

The party's submission of accounts for 2004 stated that the party was "inactive" during this period and there is no evidence of subsequent activity. Wilson stood as an independent candidate in the Strangford constituency at the 2007 Assembly Election where he polled 305 votes (0.8%), thus finishing last out of the fifteen candidates.

The NIUP voluntarily deregistered as a political party on 10 March 2008.

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

title: Northern Ireland Unionist Party


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Talk:Stanisław Ulam

Lemberg
Lemberg belonged to Austria Empiry (not to Poland) in those days and Ulam was US citizen. 82.82.126.128 15:52, 10 Nov 2003 (UTC)

Ulam was a member of Lvov school of Polish mathematician, with Stefan Banach and Hugo Steinhaus. Yes, he was Jewish and he emigrated to USA. This doesn't change the fact, that he was born in Poland, learn in Poland, contributed his work in Poland. AM

I read "Dark Sun" several times. As I recall, Ulam proposed a staged thermonuclear design which used the neutron flux from the primary to compress the secondary. Teller pointed out the X-rays got to the secondary faster, which forced using them for compression, instead of neutrons. The "sparkplug" fission component added compression from the center of the secondary. --MWS 16:13, 6 October 2005 (UTC)

Ulam's Theorem
I've seen this before, and it's a neat sequence. I don't remember a proof of this conjecture, however. If there is a proof, it would be nice to see a sketch of it. If there is no proof, that would also be nice to know. (Maybe it's just really obvious, and I'm obtuse.) As far as I can tell, one wants to keep going until a power of two is reached or number known to result in a power of two is reached. How does this preclude cycles and divergent sequences?Coleca 06:49, 13 November 2005 (UTC)

I notice that the "theorem" has been deleted. I don't know if it's something that belongs in an enyclopedia, but arguing that it's just a conjecture is not sufficient justification. Coleca 08:57, 5 January 2006 (UTC)

 * You're probably talking about he Collatz conjecture, also known as the Ulam conjecture. It is only a conjecture (i.e. not proven).  Bubba73 (talk), 01:46, 22 December 2006 (UTC)

There is a second Ulam's conjecture which is in graph theory. It's on wikipedia as the Reconstruction conjecture--Syd Henderson 03:25, 15 June 2007 (UTC)

Name
I would request anyone who supports the present spelling to read Ulam's autobiography: Adventures of a Mathematician. His usage in English is Stanislaw and he spelled Stanislaw Mazur with an unmodified l. His friends called him Stanislaw, or Stan; his own usage seems to have been S. M. Ulam. This would be acceptable as a compromise, but it is not the most common usage. Septentrionalis PMAnderson 04:45, 27 January 2007 (UTC)
 * Now changed; let anyone with a substantive case take it to WP:RM Septentrionalis PMAnderson 04:42, 29 January 2007 (UTC)

Contributions to Theoretical Biology
Ulam's contributions to mathematical models in theoretical biology should not be overlooked.

Here is a typical excerpt from a review of his work in the field.

These results helped evolutionary biologists resolve uncertainties regarding the placement of problematic species on the evolutionary tree. By comparing which species had the most similar forms of Cytochrome-C, evolutionary biologists were able to establish which species were most closely related on the evolutionary tree. Mathematical models such as those crafted by Ulam and his collaborators exemplified the power, utility, and importance of mathematical modeling in unifying the fields of molecular biology and macro-evolution.

Deleted comment about Sakharov
the comment was:

(Note: Sakharov's role as an independent discoverer has been called into question as of Dec. 29, 2008.)

I removed it because it isn't really relevant to this article, at least in its present form. Also, it appears from the NY Times article itself that "Sakharov's role as an independent discoverer has been called into question" before. Still, something about this may belong somewhere—just not here, I think. Very interesting subject. False vacuum (talk) 22:39, 19 May 2009 (UTC)

Rewrite and cn tags
Hi

I noticed an editor added a great section of material on Fission and explanations.

Unfortunately this was more on the theory of fission, and its explanation, than on Ulams work and so I had to remove a lot of it. I did retain some material and moved it to the section "Manhattan Project" to better explain how Ulams work led to the project. This also needs a lot of citations as, if it was the case that the Manhattan project relied on his work as heavily as claimed, then that should be supported by quotes or refs.

I have tagged the artice with a number of cn's as there is a need for showing the sources of those specific points. If he indeed was the first to realise something or the one that started something it should be stated as such with a ref and possibly a quote or two

thanks Chaosdruid (talk) 02:50, 11 July 2010 (UTC)

Disputed: Ulam's contribution to the nuclear chain reaction
The section on Ulam and the Manhattan Project contains the following paragraph:

When a single neutron collides with a uranium nucleus, in nuclear fission experiments, the final products are fission fragments and "new" neutrons. If a target-mass of solid uranium is bombarded with neutrons those "new" neutrons might collide with other uranium nuclei and again cause those nuclei to fission. Ulam realized that,[citation needed] if the target-mass was sufficiently large, a chain reaction would occur and fission could be either continuous—or even more importantly it could increase exponentially. '''This last statement is just plain wrong - Leo Sziliard is the inventor of the chain reaction. Sziliard actually applied for a British patent in the 30's. Sziliard and Fermi actually received a patent for the controlled release of nuclear energy in a pile post WWII. [4]'''

It seems clear from another article that the injected comment "This last statement is just plain wrong..." is factually correct but unhelpful. It would be useful for someone with expertise on this subject to correct this section. Jylothr (talk) 06:07, 1 May 2011 (UTC)

It is clear from Richard Rhodes's "The Making of the Atomic Bomb", which contains copious references, that Leo Szilard is credited with the idea of the nuclear chain reaction. Wikipedia's own article on Szilard goes into this in some depth. The attribution to Ulam is wrong and should not be allowed to stand. Simply removing this part is better than leaving it there if no one will edit it properly. — Preceding unsigned comment added by 125.255.116.22 (talk) 00:52, 28 July 2011 (UTC)

The Book Mathematics and Logic
Because the following material is only remotely related to the subject of the article, I have moved it from the body of the article to the talk page. Deer*lake (talk) 15:15, 26 November 2011 (UTC) See 68.51.72.248

Corrections and additions to the 1990 Dover paperback reprint. Page 4, paragraph 4: In 2008 it was shown by Oliveira e Silva that Goldbach's conjecture is correct for all even numbers less than 120,000,000,000,000,000. Page 4, last paragraph: As of 2011 there is still no quadratic polynomial p(x) with integer coefficients such that the set {p(n) : n = 1,2,3,...} is known to contain infinitely many prime numbers. Page 8, first paragraph: As of 2011 it is still not known whether Euler's constant is rational, algebraic, or transcendental. Page 128, paragraph 6: Fermat's last theorem was proved by Andrew Wiles in 1995. Page 130, last paragraph: Hilbert's tenth problem was solved in 1970. There can be no algorithm that determines whether a general Diophantine equation has a solution. The problem is undecidable.

Restoring the lead paragraph
On 12 April 2012, an anonymous editor rewrote the lead paragraphs of this article. The new material is full of factual errors, misplaced emphasis, and non-standard English.

Some examples of errors: "Ulam escaped from Warsaw" In 1939, Ulam left Lwów, not Warsaw, to return to his position at Harvard after a summer visit with his family. Coincidentally, the war started shortly after he left. "Ulam was invited by John von Neuman to join and participate in …….. the Manhattan Project" It was Hans Bethe, not von Neuman, who invited Ulam. "… co-invented the Monte Carlo method of computation with the von Neuman" Ulam is universally credited with inventing the method. He did not "co-invent" it.

Examples of misplaced emphasis: the professor of Mathematics at the University of Florida the faculty of mathematics at the University of Wisconsin–Madison These relatively insignificant academic positions do not belong in the lead paragraph, which leaves out his major position at Colorado.

Examples of non-standard English. "... in an amid fear of Holocaust" "… was placed in Los Alamos National Laboratory" "… relating the pure and applied mathematics, most notable of his works includes the [[Ulam spiral]|undefined"

Consequently, I am restoring the lead paragraph to its previous version. Deer*lake (talk) 13:31, 14 April 2012 (UTC)

Pronunciation
His name was Stanisław Ułam, was it not? The l's are eł's not el's and they are both pronounced "w" in Polish and certainly were by Ułam. So it would have been STAN-is-wah OO-wam. Ułam's colleages used to ask him what the line or bar through the l in his last name was, and he used to say it stood for "l over 2π." (Like a reduced constant; a little physics joke). S B Harris 00:54, 1 July 2012 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Not Moved Mike Cline (talk) 09:12, 30 August 2012 (UTC)

Stanislaw Ulam → Stanisław Ulam – His American name was "Stan", so if article uses his Polish name it should be Stanisław instead of Stanislaw. konrad (talk) 22:24, 22 August 2012 (UTC)

 * As all have correctly noted, the ł is only in the first name, not the last (my error). Yes, he went by "Stan", probably to avoid hearing his name pronounced Stanislaw. If there is a wiki for Stanisław Lem (which there is) probably that should be one for Stanisław Ulam. Or it could be moved to Stan Ulam, since he chose that for America. See the discussion at Sergei Rachmaninoff. Either way, of course, there should be multiple redirects from all the other spellings. (Hey, Konrad. How you doin? Don't take any złotych. According to Wikipedia, the recognized English plural is zlotys. They don't suggest how to say that plural, though. Heh.)  S  B Harris 23:26, 22 August 2012 (UTC)
 * Comment fairly indifferent but Stan Ulam gets 6x as many GB hits. George Stanciu The Three Big Questions Page 1 "My name is Stan Ulam.” He poked the fingers of his right hand against his chest and said, “I am Polish.” I suggested that we start a club at the Laboratory for Eastern Europeans." In ictu oculi (talk) 01:46, 23 August 2012 (UTC)
 * Oppose use Stan Ulam or the current title. His common English-language name is not the Polish version, since most physics and military books do not spell it that way. -- 76.65.128.252 (talk) 04:36, 23 August 2012 (UTC)
 * Oppose, per Britannica and WorldCat. Both of these sources use special characters quite intensively, so they would certainly give him a "ł" if it was proper to do so. The title should be at "Stanislaw M. Ulam", which is how the subject is given as a book author. Kauffner (talk) 05:07, 23 August 2012 (UTC)
 * Support FWIW, I've had a standard physics education (PhD in nuclear physics, at that), and I have never heard him called "Stan". Note that the Americanization of names for foreigners was very common in the 1940's, 50's and 60's, as immigrants (esp. Eastern-European immigrants) didn't want to be stereotyped into DP's ("displaced persons", post WWII immigrants), which was a rather pejorative term (my childhood found references to 'dirty DP's or 'fucking DP's; its not pretty.). So there was a very strong desire to fit in, to be part of the crowd, to be a "real American", and so, for example, Chen Ning Yang became Nobel laurate Frank Yang.  I suppose that, yes, in that era, Stanisław became "Stan", and, indeed, there may be many references to him that way. But his given name is Stanisław none-the-less. Its sort of a matter of pride an honour, a need to shake off old slights and slurs. linas (talk) 14:55, 23 August 2012 (UTC)
 * That may all be true but it is not the job of Wikipedia "shake off old slights and slurs". Wikipedia should reflect the common English name of subjects as presented in reliable sources.  Tha fact that the subject himself used "Stanislaw Ulam" (or "S. M. Ulam") further validates the current title.  —  AjaxSmack   21:42, 23 August 2012 (UTC)
 * See further below. My name has an š in it, but this causes so much grief and trouble, that I've had to abandon using it.  Certainly, its impossible to get that on my drivers license, passport, or on any other official document from any branch of govt, any school, or any employer. My parents couldn't get it on my birth certificate; they simply didn't have type-writers back then with this letter. I've tried to use it when publishing academic articles, but had to abandon it because even the big-name, highly respectable publishing houses routinely screwed it up. None-the-less, if there were a day when there was a WP article on me, I'd like to see my name spelled properly and correctly, and not as it appears in countless official and unofficial "reliable sources". linas (talk) 03:24, 25 August 2012 (UTC)
 * I suppose you want to de-Latin-ize Roman Empire names that are not Latin as well, because of discrimination by the Roman Empire against non-Latin names? Or Middle Ages personages who Latinized their names for international correspondence so as to look educated, should be renativized? -- 76.65.128.252 (talk) 04:26, 24 August 2012 (UTC)
 * What?? The cultural and societal norms of today are completely different than those of the middle ages. The events surrounding WWII have certainly burned all around; the DP phenomenon, and the close-knit cultural nationalism of DP communities in the United States has been strong for real reasons! Yikes!  This has nothing to do with the middle ages! linas (talk) 03:13, 25 August 2012 (UTC)
 * The circumstances are exactly the same, people modified their names to conform to the societal norms of the environment they were entering. -- 76.65.128.252 (talk) 04:15, 25 August 2012 (UTC)
 * Oppose This subject was discussed and resolved in 2007.  See Name above.  On the "What links here" listing for the article there are 181 items. Of these, 103 refer to articles that link to "Stanislaw Ulam", 11 are redirect pages, of which: 5 are misspellings, with no links; 3 are forms with "Stanisław" that link to 57 articles; the remaining 3 link to 16 articles.  Consequently, within Wikipedia, the predominant reference is to "Stanislaw Ulam".   To get an idea of the situation in a broader sample of English literature, here are graphs from Google's Ngram viewer which compare the relative frequencies of appearance of  "Stanislaw Ulam" and "Stan Ulam".  The graph  for "Stanisław Ulam" is not shown, because it does not rise above the baseline.  "Stanislaw Ulam" is used about 2.5 times more often than "Stan Ulam", by which he was known by at Los Alamos.  It appears in some of the laboratory's publications (See Ref. 13 in the article.), but in more formal contexts "Stanislaw Ulam" appears. (Ref. 50)  "Stan" is a nickname, which is not appropriate for the title of an article.  Ulam spent 50 of his 75 years in America; he has been lauded as a "Great American" and was thoroughly Americanized.  He used "S. M. Ulam" on his publications, but for most other purposes, including his autobiography, he used the current title of the article, "Stanislaw Ulam".  In consideration of the overwhelming preponderance of its usage, of its stability over 5 years, and of the tangled mess a change would make of existing Wikipedia links, this title should be kept.  Deer*lake (talk) 01:17, 24 August 2012 (UTC)
 * I find this argument specious and absurd: it is instantly invalidated by the observation that the character ł is difficult to type! Its difficult in TeX, its difficult in MSWord, its difficult in html, its difficult even here on WP. Its difficult for professional typesetters working at academic journals -- I speak from experience, as my name has an š in it, and I've struggled repeatedly with editors who manage to turn it into ś or ş or more typically don't even bother till you nag them a bunch of times. Ditto sign-makers. Back in the 1940's, 50's, 60's ... forget it... it was literally impossible to typeset this character.  You think typewriters back then had this letter?  You think typesetting machines (the big ones, that poured molten lead into gulleys) were capable of handling this letter? Not the ones in the US! Since the character l is a suitable replacement, people will use that. Laziness explains your google results, not accuracy. linas (talk) 03:04, 25 August 2012 (UTC)
 * I suppose I will need to go to the Polish złoty page and suggest Polish zloty since that gets more Google hits. Personally, since we do have Stanisław Lem for an example, I think we should use a typography as close to what the Roman character set of en.wiki allows, and it certainly allows the ł. This will not affect Google rank or difficulty finding the man in Wikipedia, since all redirects will be in place, just as they are for Stanislaw Lem (see, that worked). The arguments I've seen above are just reactionary bilge. Stan Ulam was up against typesetting problems in his own day, and so he didn't use the ł in print, being a practical man. We have plenty of evidence that he used it when handwriting his own name, as his colleagues asked him about it (see his joke above about it being a reduced l/2π). He was up against typesetting and xenophobia problems when writing his autobiography, too. But WE don't have to follow, as this medium is far more flexible than the medium Ulam had to contend with. S  B Harris 03:36, 25 August 2012 (UTC)
 * Comment I hope that consideration will be given to the guidelines spelled out in Article_titles and in Article_titles.   Deer*lake (talk) 17:26, 25 August 2012 (UTC)
 * Oppose – It's not so difficult to type an "ł" if you are a native-speaking Pole using a Polish keyboard. I'll assume that back in the 1950's Polish newspapers did not have any difficulties typesetting the character either.  There is a Polish Wikipedia article on Stanisław Ulam—Google Chrome will translate it to English for you, and you know what, Chrome converts the "ł" to "l" when it translates to English.  Stanisław Lem, Stanisław August Poniatowski, Stanisław Leszczyński, Stanisław Wyspiański, Stanisław Ignacy Witkiewicz, Stanisław Żółkiewski and others all lived their entire lives where their native language is spoken.  I found one Stanisław who died in an English-speaking country: Stanisław Maczek, a WW II Polish tank commander who was stripped of Polish citizenship by the Communist government of Poland, and thus had to remain in Britain, where he was denied combatant rights and refused a military pension, and as a result, was forced to do menial work as a bartender.  Ulam became an American, and did his most notable work in New Mexico.  Another Stanislaw who was born in Poland and has become notable through work in the U.S. is Stanislaw Burzynski. Wbm1058 (talk) 00:37, 30 August 2012 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Ulam family of Lwów
I cannot find such an institution mentioned in any books other than the source. Ditto for Polish National Wood Industry Council. Can I ask that someone add Polish names of those organizations? The translations may be mangled (I cannot find anything relevant searching Polish sources). I also think that the original, not Englicized, version of the name Michael should be used, i.e. Michał, as seen for example in. That source seems to be provide more information about Ulam family, which may be notable, sadly I cannot access the preceeding page, but it does imply that our article may be confusing Michał Ulam with Szymon Ulam? The section is reproduced verbatim from, in a chapter "Ulam family of Lwów". --Piotr Konieczny aka Prokonsul Piotrus| reply here 05:02, 18 May 2013 (UTC)
 * I cannot find such an institution Cannot find what institution? Deleted the bit about the Woof Industry Council. Hawkeye7 (talk) 10:49, 18 May 2013 (UTC)
 * Cannot find either. Deletion is probably best, this is not really important to Stanislaw's bio anyway. --Piotr Konieczny aka Prokonsul Piotrus| reply here 11:28, 18 May 2013 (UTC)

From pl wiki
Some interesting claims from pl wiki that would be worth adding here for completeness, referenced of course: Also, while the Polish article doesn't say so, a good article should clearly state from where he received his PhD. Also, who was his supervisor? --Piotr Konieczny aka Prokonsul Piotrus| reply here 05:07, 18 May 2013 (UTC)
 * his first published work was in Fundamenta Mathematicae on pl:Arytmetyka liczb kardynalnych (I am sorry, I don't know how to translate this into English... arithmetic of cardinal numbers?)
 * He recevied his PhD in 1934.
 * As the article says, he was awarded a DSc and his supervisor was Kazimierz Kuratowski. Ulam's description of what he did to get his DSc (write a thesis and face examiners) sounds like our Western PhD. There is probably a matter of translation from Polish here. You're our expert on Poland, so I'll leave it up to you. Hawkeye7 (talk) 07:30, 18 May 2013 (UTC)
 * I expended this a little from a Polish source, but I think this may be better reviewed by somebody more versed in math and physics. Reading on, why is C. J. Everett notable? Also, I am waiting for your reply to issues I raised in the previous section. --Piotr Konieczny aka Prokonsul Piotrus| reply here 10:22, 18 May 2013 (UTC)
 * I haven't linked him, alyjough he may make the grade under WP:ACADEMIC. He was a collaborator with Ulam on many papers, and worked with him on the Super. Hawkeye7 (talk) 11:05, 18 May 2013 (UTC)
 * Added a link to a list of Ulam's papers to the article. Hawkeye7 (talk) 11:08, 18 May 2013 (UTC)
 * I'd suggest redlinking him per WP:RED, and briefly explaining his significance (going beyond just saying he was Ulam's friend). --Piotr Konieczny aka Prokonsul Piotrus| reply here 11:34, 18 May 2013 (UTC)

Comment on the GA review process
The process did improve some aspects of the article. For example the current photo in the info box is better than the original Los Alamos badge photo.

However, I am not sure that the overall article is better than it was on 11 May 2013. With little explicit reference to the good article criteria, and with virtually no attention to the preservation of content, an inexperienced and uninformed reviewer made numerous suggestions of deletions and arbitrary stylistic changes, which descended to the level of changing single words. These were slavishly implemented by the nominator. The result is a pallid recapitulation of standard information about Ulam that does not do justice to his vibrant personality.

Some examples of content that did not survive the review are:

 * Ulam's vision, as was demonstrated by his early recognition of the technological singularity and by his remark at a congressional hearing, two months after Sputnik, that "… the future … of mankind is to … go outside the globe."
 * I've added this to the article. Hawkeye7 (talk) 22:23, 17 June 2013 (UTC)
 * What about the technological singularity? Deer*lake (talk) 18:53, 21 June 2013 (UTC)

 * The fact that, during a long academic career, Ulam had only four graduate students, of whom only George_Estabrook was notable.
 * The infobox is only supposed to list "notable doctoral students advised by the scientist". Otherwise, I could be in an infobox myself, since my PhD supervisor is also notable. Oh well. However "the fact that, during a long academic career, Ulam had only four graduate students, of whom only George_Estabrook was notable" is well worth including in the article, if you have a source for it. Hawkeye7 (talk) 22:23, 17 June 2013 (UTC)
 * See Mathematics Genealogy Project. Note that Estabrook earned a master's degree with Ulam, not a Ph.D.  Deer*lake (talk) 18:53, 21 June 2013 (UTC)

 * The quotation by Otto Frisch survived, but its context did not. In view of the section above: "Disputed: Ulam's contribution to the nuclear chain reaction", this context, which comes directly from Ulam's autobiography, is significant because it puts on record Ulam's recognition of Frisch as a discoverer of the possibility of chain reactions from fission.
 * Being a mathematician myself, I find the quote hilarious; non-mathematicians usually do not get it though. The bit about Frisch as the discoverer of the possibility of chain reactions from fission was you, not Ulam, and is wrong. He was not the first to note the possibility of a chain reaction. The achievement of Frisch and Peierls was to calculate the critical mass of uranium-235 and show that it would be small enough for a bomb that could be carried on board an aircraft. I've gone over their calculations and those of Heisenberg, and both are correct, but Heisenberg calculated the wrong thing. Hawkeye7 (talk) 22:23, 17 June 2013 (UTC)
 * On page 6 of his autobiography, Ulam wrote: "My friend Otto Frisch, the discoverer of the possibility of chain reactions from fission, … wrote:" ( a passage that includes the remark about decimal points ). Deer*lake (talk) 18:53, 21 June 2013 (UTC)

 * A suggestion that it was Ulam's uncle Michael, whose gambling inspired Nicholas Metropolis to name the statistical approach "The Monte Carlo method".
 * This is still in the article. It wasn't removed. Hawkeye7 (talk) 22:23, 17 June 2013 (UTC)
 * The article does not mention Michael in connection with Monte Carlo. Deer*lake (talk) 18:53, 21 June 2013 (UTC)

 * Ulam's epitaph, written by Paul Erdős, whose own self-suggested epitaph is notable.
 * I have restored this to the article. Hawkeye7 (talk) 22:23, 17 June 2013 (UTC)

Deer*lake (talk) 18:55, 17 June 2013 (UTC)

 * Bottom line: I am involved in lifting all the Manhattan Project articles to GA so as to form a Good Topic. Changes were made to move the article through the GA process. I believe that the article is better than that, and should go through FAC and appear on the front page, where there is something of a shortage of science-related articles. But this would be as a co-nomination with you, so I need to have you on board with this. Hawkeye7 (talk) 22:23, 17 June 2013 (UTC)

 * Sorry, you lost me when you ignored the query about Ulam's quotations that I left on your talk page. This is the second of four articles into which I have put major time and energy that has been hijacked.  After these experiences and after becoming aware of Jaron Lanier's ideas], I have no more time to waste on Wikipedia.     Deer*lake (talk) 20:33, 6 August 2013 (UTC)

 * Although it may be too soon to say for certain, it appears that Deer has left the project. His only activity in June besides this post were blanking his user and talk pages. His indictments of my limitations as an editor are certainly evidence-based (and I provided the evidence! ), and I'm sure Hawkeye occasionally gritted his teeth at some of my suggested revisions, but I'm also confident that Hawkeye would not have made any revision he believed would take the article backwards or that contradicted current policy.

During his whole mathematical life he excelled not only in proving interesting and deep theorems but perhaps even more in inventing new and stimulating problems and conjectures. (p. 447, last paragraph, ref=ERDOS)
 * I think the article was better than "good" before the GAN process started, and I think it is on balance improved as a result of the process ("pretty good"). I don't think it's quite to FAC yet, primarily because it still contains a couple paragraphs which appear to be lifted directly from other Manhattan article projects which aren't directly related to Ulam's work. If there's one thing I've learned about Ulam it's that he was much more than a bomb co-inventor. In fact, I think a second quote from Erdos belongs in the legacy and/or opening paragraph:

 * However, in light of recent events, I'll wait to see if there's any consensus on this before boldly editing. I really was just passing through and picked this article because it looked interesting and had an experienced nominating editor who might safeguard against any rookie mistakes on my part. From my standpoint, mission accomplished, but at too high a cost. I don't want anyone else to feel marginalized because of my edits.

 * Since Hawkeye is doing this work to get a "Good Topic" status for Manhattan Project, I would suggest another editor take on the FAC process for Ulam with him, focusing on the BIOG/A criteria (esp. #4, staying focused on the main topic without going into unnecessary detail and using summary style).

Dictioneer (talk) 21:44, 20 June 2013 (UTC)

 * That is sad news. I had no problems with your review. I would not have made any changes that I did not agree with. I agreed with the removal of material that I felt was tangential if not off topic. It is easy to do this when you are writing an article. I often find that with an article like James Conant or Vannevar Bush, the GA reviewers know that the article is destined for FAC, and review it accordingly.

 * I also made a lot of changes, even before you got here. I was the one who scrapped the quotes section. I removed unsourced material and re-worked a lot of prose. Further changes have been made in response to the I believe that the article is much better than when we started, but I also believe that it is much better than it would have been if I had written it from scratch.

 * I hope that you will continue to review articles I have been working on. I have plenty more to come.

 * It stands to reason that since I am a techno-military historian, that the bomb development will be well covered. The bit that still bothers me about the Ulam article is in the Legacy section, where it rattles off the names of various mathematical theorems. I would like the article to include more mathematics. Hawkeye7 (talk) 03:05, 21 June 2013 (UTC)

Change to ref in Teller–Ulam design section
There's been a recent change to the article, adding what appears to be accurate, relevant, and interesting detail to the Teller-Ulam design section:  "Ulam had used his expertise in Combinatorics to analyze the chain reaction in deuterium, which was much more complicated than the ones in uranium and plutonium, and he concluded that no self sustaining chain reaction would take place at the (low) densities that Teller was considering.<*ref*>Lecture by Stan Ulam in Denton, Texas, at a Conference on the History of Applied Mathematics, in the late 1970's.<*ref*>"

The citation looks shaky to me. I assume this is fine for an article at GA status, but I doubt it would survive FAC, which I understand is where it may go in the not-too-distant future. I came up with an alternative that appears to support the text:

Title: The Disunity of Science: Boundaries, Contexts, and Power; edited by: Peter Galison, David J. Stump; Chapter 5: Computer Simulations and the Trading Zone; page: 135; author: Peter Galison;publisher = Stanford University Press; date = 1996

url=http://books.google.com/books?id=2HEYgFz_kioC&pg=PA135&lpg=PA135

It was posted by an IP user, that's why I'm bringing it here. If anyone has a better citation, be old and add it; otherwise I’ll add this one to the article next week. Dictioneer (talk) 20:22, 19 September 2013 (UTC)

External links modified
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title: Talk:Stanisław Ulam


text:
Pierre Bonnard

Pierre Bonnard (3 October 1867 –23 January 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.

Early life and education
Pierre Bonnard was born in Fontenay-aux-Roses, Hauts-de-Seine on 3 October 1867. His mother, Élisabeth Mertzdorff, was from Alsace. His father, Eugène Bonnard, was from the Dauphiné, and was a senior official in the French Ministry of War. He had a brother, Charles, and a sister, Andrée, who in 1890 married the composer Claude Terrasse.

He received his education in the Lycée Louis-le-Grand and Lycée Charlemagne in Vanves. He showed a talent for drawing and water colors, as well as caricatures. He painted frequently in the gardens of his parents' country home at Le Grand-Lemps near La Côte-Saint-André in the Dauphiné. He also showed a strong interest in literature. He received his baccalaureate in the classics, and, to satisfy his father, between 1886 and 1887 earned his license in law, and began practicing as a lawyer in 1888.

While he was studying law, he attended art classes at the Académie Julian in Paris. At the Académie Julien he met his future friends and fellow artists, Paul Sérusier, Maurice Denis, Gabriel Ibels and Paul Ranson.

In 1888, Bonnard was accepted by the École des Beaux-Arts, where he met Édouard Vuillard and Ker Xavier Roussel. He also sold his first commercial work of art, a design for a poster for France-Champagne, which helped him convince his family that he could make a living as an artist. His first studio was on the rue Lechapelais.

In 1889–1890, Bonnard performed military service as a soldat de deuxième classe in the 52nd Infantry Regiment. After leaving the Army, Bonnard did not return to the Law, but rather to art, becoming an artist.

Personal life
From 1893 until her death, Bonnard lived with Marthe de Méligny (1869–1942), and she was the model for many of his paintings, including many nudes. Her birth name was Maria Boursin, but she had changed it before she met Bonnard. They married in 1925. In the years before their marriage, Bonnard had love affairs with two other women, who also served as models for some of his paintings, Renée Monchaty (the partner of the American painter Harry Lachmann) and Lucienne Dupuy de Frenelle, the wife of a doctor; it has been suggested that Bonnard may have been the father of Lucienne's second son. Renée Monchaty committed suicide shortly after Bonnard and de Méligny married.

Early career – the Nabis
Bonnard received pressure from a different direction to continue painting. While he had received his license to practice law in 1888, he failed in the examination for entering the official registry of lawyers. Art was his only option. After the summer holidays, he joined with his friends from the Academy Julien to form Les Nabis, an informal group of artists with different styles and philosophies but common artistic ambitions. As he later wrote, Bonnard was entirely unaware of the impressionist painters, or of Gauguin and other new painters. His friend Paul Sérusier showed him a painting on a wooden cigar box he made after visiting Paul Gauguin at Pont-Aven, using patches of pure color in the style of Gauguin. In 1890, Maurice Denis, at age twenty, formalized the doctrine in which a painting was considered "a surface plane covered with colors assembled in a certain order."

Some of the Nabis had highly religious, philosophical or mystical approaches to their paintings, but Bonnard remained more cheerful and unaffiliated. The painter-writer Aurelien Lugné-Poe, who shared a studio at 28 rue Pigalle with Bonnard and Vuillard, wrote later, "Pierre Bonnard was the humorist among us; his nonchalant gaiety, and humor expressed in his productions, of which the decorative spirit always preserved a sort of satire, from which he later departed."

In 1891, he met Toulouse-Lautrec and, in December 1891, showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year, Bonnard also began an association with La Revue Blanche, for which he and Édouard Vuillard designed a frontispiece. In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville.

The style of Japanese graphic arts became an important influence on Bonnard. In 1893, a major exposition of works of Utamaro and Hiroshige was held at the Durand-Ruel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard.

He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892, he began creating lithographs, and painted Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse.

In 1894, he turned in a new direction and made a series of paintings of scenes of the life of Paris. In his urban scenes, the buildings and even animals were the focus of attention; faces were rarely visible. He also made his first portrait of his future wife, Marthe, whom he married in 1925. In 1895, he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany.

In 1895, he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Amboise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.

Later years (1900–1938)
Throughout the early 20th century, as new artistic movements emerged, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping constant the characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also produced 109 lithographs for Parallèment, a book of poems by Paul Verlaine. He also took part in an exhibition with the other Nabis at the Bernheim Jeaune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905, he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908, he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909 and, in 1911, began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.

During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La Pastorale, Méditterranée, La Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists.

In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925, he purchased a villa in Cannes.

Final years and death (1939–1947)
In 1938, Bonnard and Vuillard's works were featured at an exposition at the Art Institute of Chicago. The outbreak of World War II in September 1939 forced Bonnard to depart Paris for the south of France, where he remained until the end of the war. Under the German occupation, he refused to paint an official portrait of French collaborationist leader Marechal Petain, but accepted a commission to paint a religious painting of Saint Francis de Sales, with the face of his friend Vuillard, who had died two years earlier.

In 1947 he finished his last painting, The Almond Tree in Blossom, a week before his death in his cottage on La Route de Serra Capeou near Le Cannet, on the French Riviera. The Museum of Modern Art in New York City organized a posthumous retrospective of Bonnard's work in 1948, although originally it was meant to be a celebration of the artist's 80th birthday.

Japanism

Japanese art played an important part in Bonnard's work. He was first able to see the works of Japanese artists via the Paris gallery of Siegfried Bing. Bing brought works by Hokusai and other Japanese print makers to France, and from May 1888 through April 1891 published a monthly art journal, Le Japon Artistique, which included color illustrations in 1891. In 1890, Bing organized an important exhibition of seven hundred prints he had brought from Japan, and made a donation of Japanese art to the Louvre.

Bonnard used the model of Japanese kakemono scroll art—long, vertical panels—in his series of paintings Women in the garden (1890–91), now in the Museé d'Orsay. Originally designed to appear together as a single screen, Bonnard decided to display Women in the garden as four separate decorative panels. The female forms are reduced to flat silhouettes, and there is no rendering of depth in the picture. The faces are turned away from the viewer and the pictures are entirely dominated by the colors and bold patterns of the costumes and the backgrounds. The models are his sister Andreé and his cousin Berthe Schaedin. Bonnard often pictured women in checkered blouses, a design he said he had discovered in Japanese prints.

Graphic arts
Bonnard wrote, "Notre génération a toujours cherché les rapports de l'art avec la vie" (Our generation always was searching for connections between art and life). Bonnard and the other Nabis were particularly interested in integrating their art into popular forms, such as posters, journal covers and illustrations, and engravings in books, as well as into ordinary household decoration, in the form of murals, painted screens, textiles, tapestries, furniture, glass and dishes.

At the beginning of his career, Bonnard designed posters for a French champagne firm, for which he gained public attention. He later produced many sets of engravings illustrating the works of the avant-garde authors of his time.

Method
Bonnard is known for his intense use of color, especially via areas built with small brush marks and close values. His often complex compositions—typically of sunlit interiors and gardens populated with friends and family members—are both narrative and autobiographical. Bonnard's fondness for depicting intimate scenes of everyday life, has led to him being called an "Intimist"; his wife Marthe was an ever-present subject over the course of several decades. She is seen seated at the kitchen table, with the remnants of a meal; or nude, as in a series of paintings where she reclines in the bathtub. He also painted several self-portraits, landscapes, street scenes, and many still lifes, which usually depicted flowers and fruit.

Bonnard did not paint from life but rather drew his subject—sometimes photographing it as well—and made notes on the colors. He then painted the canvas in his studio from his notes. "I have all my subjects to hand," he said, "I go back and look at them. I take notes. Then I go home. And before I start painting I reflect, I dream."

He worked on numerous canvases simultaneously, which he tacked onto the walls of his small studio. In this way, he could more freely determine the shape of a painting; "It would bother me if my canvases were stretched onto a frame. I never know in advance what dimensions I am going to choose."

Critical reception and legacy
Claude Roger-Marx remarked that Bonnard "catches fleeting poses, steals unconscious gestures, crystallises the most transient expressions".

Although Bonnard avoided public attention, his work sold well during his life. At the time of his death, his reputation had been eclipsed by subsequent avant-garde developments in the art world; reviewing a retrospective of Bonnard's work in Paris in 1947, Christian Zervos assessed the artist in terms of his relationship to Impressionism, and found him wanting. "In Bonnard's work," he wrote, "Impressionism becomes insipid and falls into decline." In response, Henri Matisse wrote: "I maintain that Bonnard is a great artist for our time and, naturally, for posterity."

Bonnard was described, by his own friend and historians, as a man of "quiet temperament" and one who was unobtrusively independent. His life was relatively free from "the tensions and reversals of untoward circumstance." It has been suggested that: "Like Daumier, whose life knew little serenity, Bonnard produced a work during his sixty years' activity that follows an even line of development."

Bonnard has been described as "the most thoroughly idiosyncratic of all the great twentieth-century painters", and the unusual vantage points of his compositions rely less on traditional modes of pictorial structure than voluptuous color, poetic allusions and visual wit. Identified as a late practitioner of Impressionism in the early 20thcentury, he has since been recognized for his unique use of color and his complex imagery. "It's not just the colors that radiate in a Bonnard," writes Roberta Smith, "there's also the heat of mixed emotions, rubbed into smoothness, shrouded in chromatic veils and intensified by unexpected spatial conundrums and by elusive, uneasy figures."

Two major exhibitions of Bonnard's work took place in 1998: February through May at the Tate Gallery in London, and from June through October at the Museum of Modern Art in New York City. In 2009, the exhibition "Pierre Bonnard: The Late Interiors" was shown at the Metropolitan Museum of Art. Reviewing the exhibition for the magazine The New Republic, Jed Perl wrote: "Bonnard is the most thoroughly idiosyncratic of all the great twentieth-century painters. What sustains him is not traditional ideas of pictorial structure and order, but rather some unique combination of visual taste, psychological insight, and poetic feeling. He also has a quality that might be characterized as perceptual wit—an instinct for what will work in a painting. Almost invariably he recognizes the precise point where his voluptuousness may be getting out of hand, where he needs to introduce an ironic note. Bonnard's wit has everything to do with the eccentric nature of his compositions. He finds it funny to sneak a figure into a corner, or have a cat staring out at the viewer. His metaphoric caprices have a comic edge, as when he turns a figure into a pattern in the wallpaper. And when he imagines a basket of fruit as a heap of emeralds and rubies and diamonds, he does so with the panache of a magician pulling a rabbit out of a hat."

In 2016, the Legion of Honor in San Francisco hosted an exhibit "Pierre Bonnard: Painting Arcadia", featuring more than 70 works spanning the artist's entire career.

Bonnard's record price in a public sale was for Terrasse à Vernon, sold by Christie's in 2011 for €8,485,287 (£7,014,200).

In 2014, the painting La femme aux Deux Fauteuils (Woman with Two Armchairs), with an estimated value of around €600,000 (£497,000), which had been stolen in London in 1970, was discovered in Italy. The painting, together with a work by Paul Gauguin known as Fruit on a Table with a Small Dog had been bought by a Fiat employee in 1975, at a railway lost-property sale, for 45,000 lira (about £32).

Bonnard features heavily in the 2005 Booker prize winning novel, The Sea by John Banville. In the novel, the protagonist and art historian Max Morden is writing a book about Bonnard and discusses the painter's life and work throughout.

Bonnard is played by Vincent Macaigne and Marthe by Cécile de France in the 2023 French film directed by Martin Provost Bonnard, Pierre and Marthe, which focuses on the couple's romance. The movie premiered at the 2023 Cannes Film Festival.

title: Pierre Bonnard


text:
List of political parties in Northern Ireland

Political parties in Northern Ireland lists political parties in Northern Ireland. The Northern Ireland Assembly is elected by single transferable vote and the composition of the Northern Ireland Executive is by power sharing determined by the D'Hondt system, among the members elected to the Assembly. Party affiliation is generally based on religious and ethnic background.

Although Northern Ireland is a part of the United Kingdom, it has a quite distinct party system from the rest of the country, as the Labour Party and Liberal Democrats do not contest elections there (though the Liberal Democrats have links with the Alliance Party), and the Conservative Party has received only limited support in recent elections.

Some parties, such as Sinn Féin and the Workers' Party, are organised on an all-Ireland basis. Others such as the Conservative Party are organised on an all-United Kingdom basis. There are many Northern Ireland-specific parties and these, on the whole, predominate.

The distinction between "unionist/loyalist", "nationalist/republican" and "other" is not always easy with some parties and individuals. Some have defined themselves less by their position on the "Border Question" than on other political issues.

For example, the former Republican Labour Party/Social Democratic and Labour Party MP Gerry Fitt's career suggests he was first and foremost a socialist rather than a nationalist and he eventually left the SDLP claiming it had drifted from its founding intentions. Similarly the Workers' Party has its roots in the republican Official IRA but nowadays is considered to be a non-violent socialist and nationalist party. Several parties strive to be avowedly non-sectarian and would not consider themselves to be either unionist or nationalist. The Northern Ireland Assembly requires MLAs to designate themselves either "Unionist", "Nationalist" or "Other." This is a designation that is particularly resented by those who designate as "Other", as they have no input on who becomes First or Deputy First Minister.

There are some who see the terms "Unionist"/"Loyalist" and "Nationalist"/"Republican" as being of more relevance to the community that the party seeks to represent rather than the position on the border question. Several of the "Other" parties strive to be non-sectarian but have a clear position on the border.

Unregistered parties
Candidates for unregistered parties may choose either to be listed as "Non-Party", or to leave the section blank on the ballot paper, in the same manner as independent candidates.
 * 32 County Sovereignty Movement - Does not contest elections, operates as a pressure group
 * Anti-Imperialist Action Ireland - Does not contest elections
 * Republican Sinn Féin (RSF)
 * National Party
 * Fine Gael
 * Reform UK

Unionist and loyalist

 * Belfast Labour Party
 * British Ulster Dominion Party
 * Commonwealth Labour Party
 * Independent Unionist Association
 * Labour Unionist Party
 * NI21
 * UKIP Northern Ireland
 * Northern Ireland Unionist Party - deregistered 2008
 * Protestant Coalition
 * Ulster Defence Party* (UDP)
 * Protestant Unionist Party (evolved into the DUP)
 * Ulster Constitution Party
 * Ulster Democratic Party
 * Ulster Loyalist Democratic Party
 * Ulster Popular Unionist Party
 * Ulster Progressive Unionist Association
 * Ulster Protestant League
 * Ulster Resistance
 * Ulster Unionist Labour Association
 * Unionist Party of Northern Ireland
 * United Kingdom Unionist Party - deregistered 2008
 * United Ulster Unionist Council
 * United Ulster Unionist Party
 * United Unionist Coalition (UUC)
 * Vanguard Progressive Unionist Party
 * Volunteer Political Party

Nationalist and Republican

 * All Ireland Anti-Partition League
 * Federation of Labour
 * Fianna Uladh
 * Irish Anti-Partition League
 * Independent Socialist Party
 * Irish Independence Party
 * National Democratic Party
 * National League of the North
 * National Unity
 * Nationalist Party
 * Northern Council for Unity
 * Official Sinn Féin (now Workers' Party)
 * People's Democracy
 * Red Republican Party
 * Republican Congress
 * Republican Labour Party
 * Saor Éire
 * Socialist Republican Party
 * Unity

Others

 * Commonwealth Labour Party
 * Communist Party of Ireland (Marxist-Leninist)
 * Communist Party of Northern Ireland
 * Irish Labour Party (contests elections in the Republic)
 * Labour coalition
 * Labour Party of Northern Ireland
 * Northern Ireland Labour Party
 * Northern Ireland Women's Coalition
 * Newtownabbey Labour Party
 * Newtownabbey Ratepayers Association
 * Natural Law Party
 * Social Democratic Party - The post-1988 rump of the party stood in a Northern Ireland by-election in 1990; the party as a whole existed and was more prominent in Great Britain from 1981 to 1988 although the post-1990 rump group still exists.
 * Ulster Independence Movement
 * Ulster Liberal Party
 * Ulster Movement for Self-Determination
 * United Labour Party (Northern Ireland)
 * Ulster Third Way - deregistered 2005
 * Veritas - Dissolved June 2015
 * Vote for Yourself Party - disbanded April 2009, de-registered 8 June 2009
 * World Socialist Party (Ireland) - Dissolved in the 1990s

Party leaders
Party leaders serving 10 years or more are


text:
Howard Hanson

Howard Harold Hanson (October 28, 1896 – February 26, 1981) was an American composer, conductor, educator, music theorist, and champion of American classical music. As director for 40 years of the Eastman School of Music, he built a high-quality school and provided opportunities for commissioning and performing American music. In 1944, he won a Pulitzer Prize for his Symphony No. 4, and received numerous other awards including the George Foster Peabody Award for Outstanding Entertainment in Music in 1946.

Early life and education
Hanson was born in Wahoo, Nebraska, to Swedish immigrant parents, Hans and Hilma (née Eckstrom) Hanson. In his youth he studied music with his mother. Later, he studied at Luther College in Wahoo, receiving a diploma in 1911, then at the Institute of Musical Art, the forerunner of the Juilliard School, in New York City, where he studied with the composer and music theorist Percy Goetschius in 1914.

Afterward he attended Northwestern University, where he studied composition with church music expert Peter C. Lutkin and Arne Oldberg. Hanson also studied piano, cello, and trombone. He earned his BA degree in music from Northwestern in 1916, and began his teaching career as a teacher's assistant.

Career
In 1916, Hanson was hired for his first full-time position as a music theory and composition teacher at the College of the Pacific in California. Only three years later, the college appointed him Dean of the Conservatory of Fine Arts in 1919. In 1920, Hanson composed The California Forest Play, his earliest work to receive national attention. Hanson also wrote a number of orchestral and chamber works during his years in California, including Concerto da Camera, Symphonic Legend, Symphonic Rhapsody, various solo piano works, such as Two Yuletide Pieces, and the Scandinavian Suite, which celebrated his Lutheran and Scandinavian heritage.

In 1921 Hanson was the first winner of the Prix de Rome in Music (the American Academy's Rome Prize), awarded for both The California Forest Play and his symphonic poem Before the Dawn. Thanks to the award, Hanson lived in Italy for three years. During his time in Italy, Hanson wrote a Quartet in One Movement, Lux Aeterna, The Lament for Beowulf (orchestration Bernhard Kaun), and his Symphony No. 1, "Nordic", the premiere of which he conducted with the Augusteo Orchestra on May 30, 1923. The three years Hanson spent on his Fellowship at the American Academy were, he considered, the formative years of his life, as he was free to compose, conduct without the distraction of teaching—he could devote himself solely to his art. (It has been incorrectly stated that Hanson studied composition and/or orchestration with Ottorino Respighi, who in turn had studied orchestration with Nikolay Rimsky-Korsakov. Hanson's unpublished autobiography refutes the statement, attributed to Ruth Watanabe, that he had studied with Respighi.) While Hanson may not have pursued formal studies with Respighi while in Rome, he apparently did receive advice from him. In addition, Respighi invited Hanson to attend rehearsals and performances of his orchestral concerts. As a result of these interactions, Hanson credited Respighi as a significant influence on his use of orchestral textures and instrumentation. In addition, he cited the works of several other composers as being influential while studying in Rome including: Nicolai Rimsky-Korsakov, Gustav Holst, Giovanni Palestrina and Richard Wagner.

Upon returning from Rome, Hanson's conducting career expanded. He made his premiere conducting the New York Symphony Orchestra in his tone poem North and West. In Rochester, New York in 1924, he conducted his Symphony No. 1. This performance brought him to the attention of George Eastman.

In 1924, Eastman chose Hanson to be director of the Eastman School of Music. Eastman, inventor of the Kodak camera and roll film, was also a major philanthropist, and used some of his great wealth to endow the Eastman School of Music at the University of Rochester.

Hanson held the position of director for forty years, during which he created one of the most prestigious music schools in America. He accomplished this by improving the curriculum, bringing in better teachers, and refining the school's orchestras. Also, he balanced the school's faculty between American and European teachers, even when this meant passing up composer Béla Bartók. Hanson offered a position to Bartók teaching composition at Eastman, but Bartók declined as he did not believe that one could teach composition. Instead, Bartók wanted to teach piano at the Eastman School, but Hanson already had a full staff of piano instructors.

In 1925, Hanson established the American Composers Orchestral Concerts. He followed that in 1931 by establishing the annual Festivals of American Music. These week long concerts were free to the public and featured established works by American composers as well as premiers of new compositions. They included performances of: orchestral works, chamber music, band and wind ensemble music, vocal and chamber music, opera and ballet. The festival concerts were eagerly anticipated by audiences in Rochester until 1971 and were also broadcast regularly over national radio networks from the Eastman Theater. Critics have often observed that over the course of four decades "more music has been played at these concerts than in all the rest of the United States put together."

Hanson's interest in educating the general public through innovative means became apparent as early as 1938. At this time he engaged the talents of student ensembles at the Eastman School to present Milestones in the History of Music on the radio. This weekly series of programs presented a sweeping survey of the history of Western music which was broadcast locally in Rochester, New York on WHAM and nationally on the NBC Red Network. In recognition of these efforts, the Peabody Award for outstanding service to music was awarded to Hanson, the Eastman School and WHAM in 1946. Hanson also engaged his student ensembles to present a similar series for the CBS radio network which he entitled Milestones in American Music. This series presented orchestral, choral and chamber music composed by eighty two American composers from the mid 19th century to modern times. As Hanson himself indicated this was "the first attempt at a rather complete presentation of the American picture in music."

Later in 1939, he founded the Eastman-Rochester Orchestra, which consisted of first chair players from the Rochester Philharmonic Orchestra, faculty members from the Eastman School of Music and selected students from the Eastman School. For thirty years from 1939 to 1969 Hanson made over one hundred recordings for RCA Victor, Mercury Records and Columbia Records with the Eastman-Rochester Orchestra, not only of his own works, but also those of other American composers such as: Charles Ives, Wayne Barlow, John Alden Carpenter, Charles Tomlinson Griffes, Alan Hovhaness, Homer Keller,  John Knowles Paine, Burrill Phillips, Walter Piston, Bernard Rogers, Roger Sessions, Leo Sowerby and William Grant Still. Hanson estimated that more than 2000 works by over 500 American composers were premiered during his tenure at the Eastman School.

To celebrate the 50th anniversary of the Boston Symphony Orchestra, Serge Koussevitzky commissioned Hanson's Symphony No. 2, the "Romantic", and premiered it on November 28, 1930. This work was to become Hanson's best known. One of its themes is performed at the conclusion of all concerts at the Interlochen Center for the Arts. Now known as the "Interlochen Theme", it is conducted by a student concertmaster after the featured conductor has left the stage. Traditionally, no applause follows its performance. It is also widely known for its use in the final scene and end credits of the 1979 Ridley Scott film Alien.

In some ways Hanson's opera Merry Mount (1934) may be considered the first fully American opera. It was written by an American composer and an American librettist on an American story, and was premiered with a mostly American cast at the Metropolitan Opera in New York in 1934. The Opera received fifty curtain calls at its Met premiere, a record that still stands. In 1935, he wrote "Three Songs from Drum Taps", based on the poem by Walt Whitman.

Frederick Fennell, conductor of the Eastman Wind Ensemble, described Hanson's first band composition, the 1954 Chorale and Alleluia as "the most awaited piece of music to be written for the wind band in my twenty years as a conductor in this field". Chorale and Alleluia is still a required competition piece for high school bands in the New York State School Music Association's repertoire list.

By 1957, Hanson was inspired once again by the poetry of Walt Whitman and completed his Song of Democracy to mark the hundredth anniversary of the National Education Association and the fiftieth anniversary of the Music Educator's National Conference. Hanson conducted its official premier with the National Symphony Orchestra in Washington D.C. before an audience of 23,000. This followed an unofficial performance in 1957 for President Eisenhower by Howard University's African-American Chorus which subsequently performed the work in Constitution Hall a month later. By synthesizing his own musical idealism with Whitman's robust optimism, Hanson composed a work which reflects the boundless possibilities of youthful creativity. The work incorporates a clear signature motto to his "Romantic" Symphony during the orchestral prelude as well as a largely harmonic setting for the chorus which culminates in a fervent hymn. Following its premier, Song of Democracy became a particularly favorite composition among all-city high school choruses and promoted the ideal vision of an inclusive democratic society which embodies tolerance and a respect for human rights.

During the 1950s and 1960s Howard Hanson continued to adapt innovative techniques in an effort to educate as large an audience as possible, even as revolutionary changes in mass media emerged in America. For example, he collaborated with the Ford Foundation during this period in order to produce a series of television films on composition. He also served as a member of the Music Advisory Panel of the American National Theatre and Academy along with Virgil Thomson, William Schuman and Milton Katims. This panel consisted of leading composers and academics who evaluated candidates for the Department of State's Cultural Presentations program. Musicians who were accepted into this program represented America's cultural diplomacy initiatives in concert venues throughout the world during the Cold War. Later in the 1960s, he also hosted and conducted the Los Angeles Philharmonic in several series of young peoples concerts for school children in the Los Angeles area. In 1960, Hanson also published a book Harmonic Materials of Modern Music (1960). Though not an example of integral music theory, it contained fruitful ideas and analytic algorithms which were incorporated in later theories such as set theory of Allen Forte. The idea of 'modal modulation' (Hanson's term) echoed in the Yuri Kholopov's 'variable mode' doctrine.

Following his retirement as Director of the Eastman School of Music in 1964, Hanson was appointed as the first director of the newly established Institute for American Music at the University of Rochester. In this new role, Hanson continued his efforts to foster a widespread understanding and appreciation of American music through performances, publications and recordings. Operating funds for the institute were largely derived from royalties generated from compositions and recordings which were executed by Hanson during his tenure at the Eastman School. Following his death in 1981, Hanson's wife Peggy assumed his responsibilities at the institute until her passing in 1996. It has been observed that nearly every American composer since World War I is indebted in some degree to Howard Hanson for his efforts to educate the public and future generations of professional musicians about American music.

Hanson was elected as a member of the National Institute of Arts and Letters in 1935, President of the Music Teachers' National Association from 1929 to 1930, and President of the National Association of Schools of Music from 1935 to 1939. From 1946 to 1962, he was active in United Nations Educational, Scientific and Cultural Organization (UNESCO). UNESCO commissioned Hanson's Pastorale for Oboe and Piano, and Pastorale for Oboe, Strings, and Harp, for the 1949 Paris conference of the world body.

During the course of his career Hanson also served as a guest conductor for several leading orchestras including: the New York Philharmonic, the Boston Symphony Orchestra, and the NBC Symphony Orchestra. He was also a frequent conductor of the Rochester Philharmonic Orchestra at the Eastman Theater in Rochester, New York. In addition, he was the founder of the Eastman Philharmonia orchestra at the Eastman School of Music. This ensemble consisted of elite upperclassmen from the Eastman School of Music and was noted for concertizing throughout the country. Under Hanson's leadership, it was selected to participate in the United States Department of State's international cultural exchange program during the 1961–1962 season. Hanson took the Eastman Philharmonia on a European tour which passed through Paris, Cairo, Moscow, and Vienna, among other cities. The tour showcased the growth of serious American music for Europe and the Middle East. Hanson's performances with the orchestra received critical acclaim in thirty four cities and sixteen countries throughout Europe, the Middle East and Russia.

Marriage
Hanson met Margaret Elizabeth Nelson at her parents' summer home on Lake Chautauqua at the Chautauqua Institution in New York. Hanson dedicated the Serenade for Flute, Harp, and Strings, to her; the piece was his musical marriage proposal, as he could not find the spoken words to propose to her. They married on July 24, 1946, in the same house where they had first met.

Legacy and honors

 * Hanson was an initiate of two chapters of Phi Mu Alpha Sinfonia fraternity: the Iota chapter at Northwestern University in 1916, and the Alpha Nu chapter at Eastman in 1928. He was recognized as a national honorary member in 1930, and presented with the Charles E. Lutton Man of Music Award at the national convention in Cincinnati, Ohio in 1954.
 * After he composed the Hymn of the Pioneers to celebrate the 300th anniversary of the first Swedish settlement in Delaware, Hanson was selected as a fellow of the Royal Swedish Academy in 1938.
 * In 1944, Hanson was awarded the Pulitzer Prize for Symphony No. 4, subtitled Requiem.
 * In 1945, he became the first recipient of the Ditson Conductor's Award for his commitment to American music.
 * In 1946, Hanson was awarded the George Foster Peabody Award "for outstanding entertainment programming" for a series he presented on the Rochester, New York radio station WHAM in 1945.
 * Hanson was elected to the American Philosophical Society in 1950.
 * In 1953, Hanson helped to establish the Edward B. Benjamin Prize "for calming and uplifting music" written by Eastman students. Each submitted score was read by Hanson and the Eastman Orchestra. Winners of the Benjamin Prize appeared on Hanson's recording Music for Quiet Listening.
 * In 1959, Hanson won the first Lancaster Symphony Orchestra Composer's Award, which is the oldest award of its kind in America and is awarded annually to a contemporary composer by the Lancaster Symphony Orchestra, Lancaster, Pennsylvania (established in 1947). Hanson was a friend and colleague of the Founding Conductor of the Lancaster Symphony Orchestra, the late Louis Vyner.
 * In 1960, Hanson published Harmonic Materials of Modern Music: Resources of the Tempered Scale, a book that would lay the foundation for musical set theory. Among the many notions considered was what Hanson called the isomeric relationship, now usually termed Z-relationship.
 * Hanson was on the Board of Directors of the Music Educators National Conference from 1960 to 1964.
 * Hanson was elected to the American Academy of Arts and Sciences in 1961.
 * Hanson's Song of Democracy, on a Walt Whitman text, was performed at the inaugural concert for incoming U.S. President Richard Nixon in 1969. Hanson proudly noted this was the first inaugural concert to feature only American music.
 * In recognition of Hanson's achievements, the Eastman Kodak company donated $100,000 worth of stock to the Eastman School of Music in 1976. Hanson stipulated that the gift be used to fund the Institute of American Music.
 * Hanson was a Distinguished Nebraskans Award Recipient in 1976.

Popular culture
Excerpts from Hanson's Second Symphony were used to accompany several exterior sequences and the end credits in the released versions of Ridley Scott's 1979 horror movie Alien without his permission, but the composer decided not to fight it in court —they replaced certain sections of Jerry Goldsmith's original score at the behest of 20th Century Fox. This highlighted music can still be found on all DVD, Blu-Ray and 4K versions of Alien. The version used in the film is the 1967 recording by the National Philharmonic Orchestra, conducted by Charles Gerhardt. Apparently, Hanson told Gerhardt that, of all the available recordings, he found Gerhardt's to be the most 'sympathetic'.

Death
Hanson died at Strong Memorial Hospital in Rochester, New York at the age of 84. He was survived by his wife Margaret Elizabeth Nelson.

Compositional style
Hanson's music has been described as part of the Neo-Romantic movement in music which endeavored to continue the traditions of the Romantic era into the 20th century. His Symphony No. 2, for example, has been cited as a Neo-Romantic manifesto. He has also been identified by critics as an "American Neoromantic composer par excellence" whose compositions were conceived in the grand romantic tradition of Antonin Dvorák. In addition, his early symphonies have been characterized as "splendidly effusive, gorgeously orchestrated, rich in harmonic texture".

It should also be noted, however, that Hanson's compositions also incorporated experimentation with modern musical idioms. Many of the passages in his works are based upon modal scales which call to mind Gregorian chants. In addition, he made extensive use of extended tertian chords, motoric ostinati in rapid passages and alternating triadic chords. Several of his liturgical and choral compositions also reflected themes derived from Swedish Lutheran hymns. Elements of Nordic austerity identified in his music have also prompted some observers to compare him to Jean Sibelius.

It has also been noted that one of Hanson's hallmarks as a composer is his utilization of melodic lines which flow seamlessly in a manner which is almost improvisational, unpretentious, and very American. The composer and critic David Owens indicated that Hanson clearly embraced the use of tonal beauty in his compositions in order to give expression to a conservative musical ideal. By carefully blending his use of tonality with a masterful understanding of orchestral depth, Hanson succeeded in producing compositions which Owen described as being both memorable and compelling.

Perhaps Hanson described his music best when he portrayed it as metaphorically "springing from the soil of the American midwest. It is music of the plains rather than of the city and reflects, I believe, something of the broad prairies of my native Nebraska."

Works
Included among Hanson's compositions are the following works:

Opera

 * Merry Mount (1933)

Orchestral

 * Symphonic Prelude (1916)
 * Symphonic Legend (1917)
 * Symphonic Rhapsody (1919)
 * Before the Dawn, Symphonic Poem (1920)
 * Exaltation, Symphonic Poem, Op. 20 (1920)
 * Symphony No. 1 in E minor, Op. 21 ("Nordic") (1922)
 * Lux aeterna, Symphonic Poem for Orchestra with Viola Obbligato, Op. 24 (1923–26)
 * Pan and the Priest, Symphonic Poem with Piano Obbligato, Op. 26 (1926)
 * Organ Concerto, Op. 27 (1926)
 * Symphony No. 2 in D♭ major Op. 30 ("Romantic") (1930)
 * Suite from the Opera "Merry Mount," Op. 31 (1938)
 * Symphony No. 3 Op. 33 (1936–38)
 * Symphony No. 4 Op. 34 ("Requiem") (1943; won Pulitzer Prize)
 * Serenade for Flute, Harp and Strings Op. 35 (1945)
 * Pastorale for Oboe, Harp and Strings Op. 38 (1949)
 * Fantasy-Variations on a Theme of Youth (1951)
 * Symphony No. 5 Op. 43, "Sinfonia Sacra" (1955)
 * Elegy in Memory of Serge Koussevitzky Op. 44 (1956)
 * Mosaics (1957)
 * Summer Seascape (1958)
 * Bold Island Suite (1961)
 * For the First Time (1963)
 * Symphony No. 6 (1967)
 * Dies Natalis (1967)
 * Symphony No. 7 ("A Sea Symphony") (1977)
 * Ballet Nymphs and Satyr (1979)

Choral

 * A Prayer of the Middle Ages
 * North and West, Symphonic poem with Chorus Obligato (1923)
 * The Lament for Beowulf, Op. 25 (1925)
 * Heroic Elegy for wordless chorus and orchestra (1927)
 * Three Songs from Drum Taps (Walt Whitman), Op. 32 for baritone, chorus & orchestra (1935)
 * The Cherubic Hymn, Op. 37 for chorus and orchestra (1949)
 * How Excellent Thy Name Op. 41, (1952)
 * Song of Democracy, Op. 44 (1957) for wind ensemble, string orchestra and SATB Choir
 * Song of Human Rights, Op. 49 (1963) (text from the Preamble of the Universal Declaration of Human Rights)
 * The One Hundred Fiftieth Psalm (Praise Ye The Lord) for chorus and orchestra (1965)
 * The One Hundred Twenty First Psalm for baritone, chorus and orchestra (1968)
 * Streams in the Desert for chorus and orchestra (1969)
 * The Mystic Trumpeter for narrator, chorus and orchestra (1970)
 * Lumen in Christo for chorus and orchestra (1974)
 * New Land, New Covenant oratorio (1976)

Band

 * Centennial March (1966)
 * Chorale and Alleluia (1954)
 * Dies Natalis II (1972)
 * Laude
 * Variations on an Ancient Hymn

Concertante

 * Concerto for Piano and Orchestra in G Major, Op. 36 (1948)
 * Concerto for organ, harp & strings in C, Op 22/3 (1921)
 * Summer Seascape No.2 for Viola and String Orchestra (1965)

Chamber

 * Quintet in F minor, for 2 Violins, Cello and Piano (1916)
 * Concerto da Camera in C Minor for Piano and String Quartet (1917), Op. 7
 * String Quartet (1923), Op. 23
 * Serenade for Flute, Harp and Strings (1946), Op. 35
 * Pastorale for Oboe and Piano (1949), reorchestrated as alternative Pastorale for Oboe, Harp and Strings (1950), both Op. 38
 * Fantasy Variations on a Theme of Youth (1951)
 * Elegy for Viola and String Quartet (1966)

Keyboard

 * Poèmes érotiques, Op. 9
 * Sonata in A Minor, Op. 11
 * Three Miniatures for Piano, Op. 12
 * Symphonic Rhapsody, Op. 14
 * Three Etudes, Op. 18
 * Two Yuletide Pieces, Op. 19

Music theory
Harmonic Materials of Modern Music (1960), Irvington.

Discography

 * A boxed set of Howard Hanson conducting the Eastman Philharmonia in his symphonies, piano concerto, etc., is available on the Mercury label. A companion set from Mercury, a compilation of Hanson conducting lesser known American works, is also available.
 * His Symphony No. 2 is probably his most recorded work. In addition to the composer's own recording, those by Erich Kunzel, Leonard Slatkin, Gerard Schwarz and Charles Gerhardt are also popular. Also, the Interlochen Center for the Arts uses part of this symphony as its theme (see detailed explanation above).
 * Naxos Records released a recording of the 1934 world premiere performance of Merry Mount in 1999. For copyright reasons it was not made available in the United States.

Recordings by Howard Hanson conducting his own compositions with the Eastman-Rochester Orchestra include:

 * Elegy in Memory of Serge Koussevitzky Op. 44 – Mercury Records (SR90150) – Hanson conducting the Eastman-Rochester Orchestra (1957)
 * The Lament for Beowulf Op. 25 – Mercury Records (SR90192) – Hanson conducting the Eastman-Rochester Orchestra (1958)
 * Song of Democracy Op. 44 – Mercury Records (#432 0008-2) – Hanson conducting the Eastman-Rochester Orchestra (1957)
 * Symphony No. 1 in E Minor Op. 21 (Nordic) – Mercury Records (#432 008-2) – Hanson conducting the Eastman- Rochester Orchestra (1960)
 * Symphony No. 2 in D-Flat Major Op. 30 (Romantic) – Mercury Records (#432 0008-2)- Hanson conducting the Eastman-Rochester Orchestra (1958)
 * Symphony No. 3 Op. 33 – Mercury Records (SR90449) – Hanson conducting the Eastman-Rochester Orchestra (1963)

Notable students
During the course of his forty-year tenure as Director of the Eastman School of Music, Howard Hanson also served as a member of the faculty of Composition. Several of his students won the Pulitzer Prize for Music including: Dominick Argento, John La Montaine and Robert Ward. In addition, several of his students enjoyed widespread recognition as composers including: Wayne Barlow, Jack Beeson, William Bergsma, Ulysses Kay, Kent Kennan, Peter Mennin, Louis Mennini, W. Francis McBeth, Gardner Read, and Margaret Vardell Sandresky.

title: Howard Hanson