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Penryn Campus

Penryn Campus (formerly Tremough Campus, Cornwall Campus and similar names) is a university campus in Penryn, Cornwall, England, UK. The campus is occupied by two university institutions: Falmouth University and the University of Exeter, with the shared buildings, facilities and services provided by Falmouth Exeter Plus.

Located on a site bought in 1998, the campus was developed via the Combined Universities in Cornwall (CUC) scheme with finance from the EU and the UK Government and was opened in 2004.

History
The 70 acre site was a convent school for the local community which was bought in 1998 by Falmouth College of Arts, as it was then known. Tremough Convent School educated girls aged 3–18 and closed 31 July 1998. The Universities of Exeter and Plymouth both expressed an interest in the project. The University of Plymouth later withdrew, leaving University of Exeter in partnership with Falmouth University: the site is held on a 125-year lease. The campus was developed as part of the Combined Universities in Cornwall (CUC) initiative and was officially opened in 2004. The bulk of the investment in the campus derived from European Union Objective One funding, matched by UK Government funding provided through the South West Regional Development Agency (SWRDA).

In 2011 as part of Phase II of developments on Tremough Campus, the name of the campus was changed to "University Campus Tremough". In 2012 Tremough Campus Services, the charity formed by Falmouth University and the University of Exeter to manage university activities in the Falmouth and Penryn area, changed its name to Falmouth Exeter Plus. The shared campus was officially opened for the 2004/5 academic year as "CUC Tremough Campus."

In 2013, with the continued growth of the University of Exeter and the recent inauguration of Falmouth University, further discussions were undertaken in how the now three university campuses in Cornwall (Treliske in Truro, Tremough in Penryn and Woodlane in Falmouth) would be represented. On 18 July 2013, University Campus Tremough changed its name to "Penryn Campus" in line with the already adopted Truro and Falmouth campuses.

The student population on the campus is around 6,000.

Major departments
The campus is the home of Camborne School of Mines and the Institute of Cornish Studies, both of which are departments of the University of Exeter.

The Environment and Sustainability Institute (ESI) is a £30 million research centre with a remit to find solutions to problems of environmental change. It has three research themes: clean technologies, natural environment, and social science and sustainability. It was officially opened in April 2013, and houses over 140 researchers, professors, lecturers and PhD students. Professor Juliet Osborne (Chair of Applied Ecology at the ESI) succeeded |Professor Kevin Gaston as Director of the ESI in May 2017.

Buildings
The four-storey Daphne du Maurier (DDM) building houses teaching facilities that include science and engineering laboratories, IT facilities, library and lecture and seminar rooms. Falmouth University's Design Centre occupies much of the south of the building, while most of the top floor is used by University of Exeter's Centre for Ecology and Conservation and Camborne School of Mines.

An extension of the building's library, lecture facilities and relocation of the career offices, collectively known as The Exchange (EX) was completed on the north-east side of the current building for the 2012/13 academic year. The endeavour is to support expected growth from 3,500 to 5,000 students on the campus. In 2016 a new sports centre, gym and nursery was opened.

The Peter Lanyon (PL) building, located between the Daphne du Maurier building and Block I of Glasney Parc is a zig-zag-shaped building housing further lecture, seminar and study facilities (particularly for University of Exeter's humanities subjects taught at the campus), and containing University College Falmouth's Photography Centre and having a link corridor to the older Media Centre.

The Performance Centre (PC), now known as The Academy of Music and Theatre Arts (AMATA), was completed in Summer 2010 at the south of the campus and is predominantly a facility for the subjects formerly taught at the Dartington College of Arts, following the move of Dartington College of Arts to Falmouth from Totnes, Devon, in 2004. Two further buildings were completed for the 2012/13 academic year: The Environmental and Sustainability Institute (ESI) at the very top of the campus, and the Academy for Innovation and Research (AIR) towards the northern entrance. Both of these are predominantly research buildings for Exeter and Falmouth respectively.

The original Tremough House (TH) which had been owned by the Foxe family, is used as administrative offices and further seminar space in addition to being the offices of the English department, whilst the old chapel has been converted into a lecture theatre. The walled Italianate gardens and orchard between Tremough House and the Performance Centre are still intact and well maintained, with the annual FXU end of year Garden party held in these gardens.

The Tremough Innovation Centre (TIC) is a three-storey building on land acquired by Cornwall Council adjacent to the Campus. It provides resources for new and existing businesses. The building opened in January 2012 and it is managed by University of Plymouth, which also manages a similar innovation centre in Pool.

Services
With differing academic emphasis, but with an obvious need to provide student accommodation and non-academic staff for the smooth running of the campus facilities, the two universities collectively established the charity Tremough Campus Services. It is responsible for the overall maintenance of the site including the gymnasium, catering services, bars, shops and the student accommodation with profits going back to the two institutions. The charity also manages services on University College Falmouth's Woodlane Campus and further accommodation at Tuke House in Falmouth which was opened in 2006. From 2012/13 the organisation was renamed to "Falmouth Exeter Plus" with a new logo and website.

Accommodation
Campus accommodation is at the student village made up of Glasney Parc, where there are 800 en-suite study bedrooms with shared kitchens in twelve 2–3 storey buildings (A Block to O Block), and Glasney View, where there are 600 further rooms of similar facility in 14 3 storey buildings (VA Block to VN Block). Most general accommodation related services such as collection of postal packages and report of accommodation faults are dealt with in 'Glasney Lodge' (Formerly the Porter's Lodge) located towards the top of the student village opposite Glasney Parc's K-O blocks.

An accommodation strategy was compiled in November 2010 with the aim to expand university accommodation outside the campus to accommodate a forecast growth of 800 new students between September 2011 and September 2015. Construction commenced in August 2011 of new student accommodation suitable for up to 233 new students adjacent to Penryn Railway Station, around 10 minutes walk from Tremough Campus, and another five blocks of on-campus accommodation were under construction providing an extra 224 rooms. Both developments were expected to be completed in time for the 2012/13 academic year. For the first time in 2012/13 a limited amount of accommodation, both on campus and at Penryn Station, was made available to returning students further into their degrees than first year.

Student activities
The Students' Union on site, referred to as the SU (Falmouth and Exeter Students' Union), provides student representation across all aspects of the campus. They are represented at the highest levels of decision making on the campus. In addition to its representative role, the SU is also responsible for putting on the annual Freshers' Fortnight program of events for new students, as well as many other events throughout the academic year.

Social life on campus centres around a building known as the Stannary. The Lower Stannary is used as a restaurant during the day and is the venue for any larger events on campus; the Upper Stannary is a mezzanine recreational area. The entire Stannary plays host to many Freshers' Fortnight events, as well as various nights throughout the year. "Koofi," a new cafe situated on the back of the Porter's Lodge building in Glasney Parc, opened to students in October 2010.

There is a wide range of sports and recreation activities available to students, ranging from Hockey and Football to Musical Theatre and Bee Keeping. SU activities are open to all University College Falmouth and University of Exeter in Cornwall students whether they are based at the Tremough or Falmouth University's Woodlane Campus 4 mi away. Some of the sports teams are run under the Camborne School of Mines name despite players not being exclusively CSM or University of Exeter students.

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

title: Penryn Campus


text: Category:Scottish sculptors

title: Category:Scottish sculptors


text: Category:Scottish artists

title: Category:Scottish artists


text:
Martinique national football team

The Martinique national football team (Équipe de Martinique de football) represents the French overseas department and region of Martinique in international football. The team is controlled by the Ligue de Football de la Martinique (Martinique Football League), a local branch of French Football Federation (Fédération Française de Football). The association is not a member of the world governing body FIFA. On 7 August 2010, the team adopted the nickname Les Matinino, which pays tribute to the history of the island.

Overview
As an overseas department of the French Republic, Martinique is not a member of FIFA and is therefore not eligible to enter the FIFA World Cup or any competition organised first-hand by the organisation. Martiniquais, being French citizens, are eligible to play for the France national football team. Martinique is, however, a member of CONCACAF and CFU and is eligible for all competitions organised by either organisation. Indeed, according to the status of the FFF (article 34, paragraph 6): "[...]Under the control of related continental confederations, and with the agreement of the FFF, those leagues can organize international sport events at a regional level or set up teams in order to participate to them."

Martinique's highest honour to date was winning the Caribbean Cup in 1993. Martinique also was a two-time winner of the CFU Championship, a precursor to the Caribbean Cup. A more recent success was winning the 2010 Coupe de l'Outre-Mer. The team defeated Réunion 5–3 on penalties to claim the title. The Martinique team has participated in three CONCACAF Gold Cups and its best finish in the competition was in 2002 when the team reached the quarterfinals where they lost to Canada 6–5 on penalties.

Results and fixtures
The following is a list of match results in the last 12 months, as well as any future matches that have been scheduled.

Current squad
The following players were called up for the friendly match against Suriname in March 2024.

Caps and goals as of 24 March 2024, after the match against Suriname.

Recent call-ups
The following players have also been called up to the Martinique squad in the past 12 months.

Player records

 * Players in bold are still active with Martinique.

CONCACAF Gold Cup
Martinique has participated in eight of the seventeen CONCACAF Gold Cups contested. The team's first appearance in the competition was in 1993. The team was eliminated in the first round, however, not without procuring its first point in the competition after earning a 2–2 draw against Canada. Martinique's next appearance in the competition came in 2002. The team achieved its best performance reaching the quarterfinals where they lost to Canada 6–5 on penalties. The following year, Martinique appeared in the competition again, however, the team departed the tournament without scoring a goal.

 * *Draws include knockout matches decided via penalty shoot-out.
 * **Gold background colour indicates that the tournament was won. Red border colour indicates tournament was held on home soil.

CFU Caribbean Cup
From 1978–1985, Martinique participated in the CFU Championship, a precursor to the Caribbean Cup. Of the six championships played, Martinique featured three final rounds. Les Matinino won the competition twice in 1983 and 1985. Martinique appeared in fourteen Caribbean Cups. The Martinique team was the organization with the smallest population to have won the competition. Martinique won their first and only Caribbean Cup title in 1993. The tournament was played in Jamaica and Martinique defeated the hosts 6–5 on penalties in the final match. The following year, Martinique finished runner-up to Trinidad and Tobago. The team finished in third place on three occasions in 1992, 1996, and 2001.

Honours

 * CFU Championship & Caribbean Cup:
 * Winners (3): 1983, 1985, 1993
 * Coupe de l'Outre-Mer:
 * Winners (1): 2010

title: Martinique national football team


text:
New Sabah Times

The New Sabah Times is a newspaper in Sabah, Malaysia. The Sabah Times commenced publication on 21 January 1953, published by Donald Stephens (later Tun Fuad Stephens) and had a daily circulation of approximately 1000. It was the only English-language daily newspaper. The North Borneo News, first published in 1948 in Sandakan was a fortnightly, then weekly periodical with a circulation of approximately 750. It mainly reported Advisory Council news, excerpts from other newspapers and some local and overseas news. Donald Stephens was a reporter for the publication. It began publishing daily in April 1954 but soon amalgamated with the Sabah Times later in 1954 under joint editorship. It included a page of romanised Malay and Dusun to give it wider appeal and increased its circulation.

In March 1995, the newspaper shut down. In March 1998, the newspaper was acquired by Inna Kinabalu Sdn Bhd. and revived as the New Sabah Times. In late December, the newspaper's management announced that the New Sabah Times was shutting down due to declining circulation and advertising revenue.

History
The Sabah Times commenced publication on 21 January 1953, published by Donald Stephens (later Tun Fuad Stephens), and made possible with $1000 given to him by his brother Ben, and had a daily circulation of approximately 1000. It was the first English-language daily newspaper in British North Borneo. Donald Stephens later became the first Chief Minister when Sabah gained its independence from British and joined Malaysia on 16 September, 1963.

The Sabah Times first shut down on 24 March 1995. The newspaper was revived as the New Sabah Times on 8 March 1998 after being bought by the publishing company Inna Kinabalu Sdn. Bhd. For a time, the newspaper was regarded as one of the fastest growing newspapers in Sabah. While the newspaper was primarily an English-language publication, it also had Malay and Kadazandusun language editions. The newspaper relied on print subscriptions but also had an electronic paper edition.

On 8 December 2020, the newspaper announced that it would be closing down on 20 December, which was later moved to 31 December 2020. With the closure of the New Sabah Times, the Daily Express and the Sarawak–based The Borneo Post remain the only English-language newspapers in Sabah.

title: New Sabah Times


text:
Talk:Basileus

Question

Untitled
Can anyone throw light on why the Wallstreet Gold article "Render Untoi Causer Part II" from  says:- The Euro symbol itself however, when decided in 1995, was chosen by the nearest thing Europe had to a basileus. "The European Commission organised an internal competition to come up with the symbol," the EC explains. "Some 30 drafts were considered – ten of which were tested on the public – and the final design was selected from two short-listed proposals by the then President of the Commission, Jacques Santer, and Commissioner Yves Thibault de Silguy." I can't see the resemblance in € as a Basileus? --Robbygay (talk) 02:07, 3 September 2012 (UTC) Small correction and reference added --Robbygay (talk) 02:11, 3 September 2012 (UTC)

Comments
Are you sure that Justinian II was the first Roman emperor to use the title of Basileus? I've read in several places that Heraclius was the first to use it. Kuralyov 20:55, 22 Oct 2004 (UTC)

Under the section "Archaic basileus," an article by Robert Drews is mentioned, but not cited. Although the section includes a link to the Wikipedia page about Robert Drews, and the year in which the article was published (1983), I would recommend citing the article as well. Edowker 13:09, 17 September 2017

Wasn't this the other way around?
''This use of the word was new — when the Romans had originally conquered the Mediterranean, the imperial title "Caesar Augustus" was initially translated as "Kaisar Sebastos", and later Hellenized to "Kaisar Augoustos". "Imperator", another imperial title, was translated as "Autokrator". Interestingly, "BASILEUS" was initially stamped on Byzantine coins (in lieu of the standard Latin abbreviations "C.IMP." for "Caesar Imperator") in Latin script. Only somewhat later was the Greek script universally used.''

Didn't it go from Καίσαρ Ἀυγούστους to Καίσαρ Σεβαστός? Augustus is the Latin word, Sebastos the native Greek. --Jpbrenna 03:02, 19 Jun 2005 (UTC)
 * No, it was initially fully translated and only later, when Αύγουστος became a familiar word due, among other things, to the universal adoption of the Roman calendar, was Αύγουστος adopted uniformly. Chronographos 01:22, 22 August 2005 (UTC)

Basileus in another countries
As I know Byzantine emperors recognized title of basileus not only for rulers of Franks and Bulgarians, but also Persian rulers and Trapezuntine emperors (as "basileuses of East"). What's about rulers of Holy Roman Empire of German nation, of Georgia, of Armenia, Seljuk and Ottoman sultans, who knows? And Trapazuntine emperors could recognize this title for another monarchs/ For example, Serbian rulers (Byzantine emperors didn't recognize imperial title of Serbia). —Preceding unsigned comment added by 212.86.230.114 (talk) 11:58, 23 April 2008 (UTC)

External links modified
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Use of title in the Greco-Bactrian Kingdom
Hello Materialscientist. Can you explain why you reverted this, diff? I see that the editor who made the contribution has since been blocked indefinitely for sockpuppetry, but this was actually an improvement. Under the section Use of basileus in classical times, you can see a "coin of the Greco-Bactrian/Indo-Greek king Agathocles of Bactria (r. 190–180 BC), bearing the title of basileōs". Thanks for your time. Demetrios1993 (talk) 04:41, 20 July 2021 (UTC)

title: Talk:Basileus


text: User talk:81.178.176.67

title: User talk:81.178.176.67


text:
Bradfield Scheme

The Bradfield Scheme, a proposed Australian water diversion scheme, is an inland irrigation project that was designed to irrigate and drought-proof much of the western Queensland interior, as well as large areas of South Australia. It was devised by Dr John Bradfield (1867–1943), a Queensland born civil engineer, who also designed the Sydney Harbour Bridge and Brisbane's Story Bridge.

The scheme that Bradfield proposed in 1938 required large pipes, tunnels, pumps and dams. It involved diverting water from the upper reaches of the Tully, Herbert and Burdekin rivers. These Queensland rivers are fed by the monsoon, and flow east to the Coral Sea. It was proposed that the water would enter the Thomson River on the western side of the Great Dividing Range and eventually flow south west to Lake Eyre. An alternative plan was to divert water into the Flinders River.

G. W. Leeper of the school of agricultural science at the University of Melbourne considered the plan to be lacking in scientific justification.

In 1981, a Queensland NPA subcommittee proposed a variation of the scheme.

Possible benefits
The water was expected to provide irrigation for more than 3000 mi2 of agricultural land in Queensland. The scheme would reduce the massive natural erosion problems in areas of Central Queensland. The scheme had the ability to generate 370 MW of power and the potential to double that amount.

It is claimed that extra water and vegetation in the interior may then produce changes to the climate of Australia, however various studies have concluded that this is unlikely. This may increase the rainfall in areas of southern Queensland and northern New South Wales. Extra rainfall may drought-proof Eastern Queensland, and thereby improve river inflows to the Murray-Darling River system. It is claimed that a full Lake Eyre would moderate the air temperature in the region by the absorption of sunlight by the water instead of heat radiation from dry land into the air. No evidence to support the theory that an inland sea would increase rainfall has ever been produced, nor have any of the other claims been supported.

It would provide large areas suitable for the production of algae fuel, a type of biofuel. The catchment area of the Herbert River holds a population of approximately 18,000, 75% of whom dwell in the lower flood plain area. Diverting some water from this river would reduce the risk of flood.

Objections
Bradfield's scheme and others have been criticised because they are not practical. This scheme has been criticised because of the high capital and ongoing running costs which would make the project uneconomical. Former Minister for Agriculture and Drought David Littleproud opposed the scheme saying it was outdated and discredited.

Elevation measurements were taken with a barometer, leading to inaccuracies in land heights and mistakes in the proposal. In most cases no flow record of the rivers were available to Bradfield. He used an empirical formula which assumed 33% of the water flow would be lost to evaporation and seepage. The estimated water available for the scheme was 114 m3/s.

The extreme evaporation rate in the interior is another negative determinant. No clear evidence has been provided that the amount of water supplied will exceed the evaporation rate. The reduction in river discharge to the Great Barrier Reef Lagoon may diminish coastal fisheries by reducing the supply of terrestrial organic matter to the coastal and estuarine environment.

In 1947, W.H.R. Nimmo conducted a critical review of the scheme. He proved that Bradfield's estimates of the amount of water available from the easterly flowing rivers were about two and half times greater than it actually was. The error was attributed to the methodology used to calculate flow estimates which was based on German rivers where the average temperature was much less than in northern Australia.

A 2022 CSIRO investigation found the scheme to be completely unviable due to a lack of reliable water.

Support
The Bradfield Scheme has not received broad political support from any of the major Australian parties in recent times, but it has been pushed by individual politicians such as Bob Katter, who advocated the plan whilst he was a member of the Nationals for the state seat of Flinders during the 1980s, and continues to support it as an independent, representing the federal seat of Kennedy. In February 2007, the then Queensland Premier Peter Beattie urged the Federal Government to look at a modern version, saying it is better to find more water than to cut back on current supplies. However, Beattie preferred desalination.

In May 2019, former Nationals leader Barnaby Joyce and Pauline Hanson's One Nation party also support the scheme.

In November 2019, the Liberal National Party of Queensland, through the opposition leader Deb Frecklington, provided support of the project as a long term investment.

title: Bradfield Scheme


text:
Limulus

Limulus is a genus of horseshoe crab, with one extant species, the Atlantic horseshoe crab (Limulus polyphemus). One fossil species is currently assigned to the genus though several other species have been named, which have since been assigned to other genera.

Currently valid species include:
 * Limulus polyphemus (Linnaeus, 1758)
 * Limulus coffini† Reeside & Harris, 1952 - Pierre Shale, United States, Late Cretaceous (Maastrichtian)

Doubtful species include:
 * Limulus nathorsti† Jackson, 1906 - Jurassic, Sweden

Tentative species:
 * "Limulus" decheni† Zinken, 1862 - Paleogene, Germany (considered by some intermediate between Limulus and Tachypleus)

title: Limulus


text: File:Yhalfsize.png

title: File:Yhalfsize.png


text:
User talk:Amertner

Welcome
If you have any comments, feel free to edit this page and say what you think!

Allan Mertner October, 2004

Coincidence
Hi,

I guess the odds of finding two former residents of both Ottawa and Denmark are pretty slim. Now we could make a club. I lived in Charlottenlund and later Solrød Strand. I haven't exactly lived in the UK, but I did work in London for the spring and summer of 2001. I enjoyed my time there. Anyway, I'm glad to hear from you, and I hope you enjoy your time at Wikipedia.

Peregrine981 04:08, Oct 23, 2004 (UTC)

Nomination of Tideway Systems for deletion
A discussion is taking place as to whether the article Tideway Systems is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Tideway Systems until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article.  HighKing++ 19:08, 10 December 2020 (UTC)

Managing a conflict of interest
Hello, Amertner. We welcome your contributions, but if you have an external relationship with the people, places or things you have written about on Wikipedia, you may have a conflict of interest (COI). Editors with a conflict of interest may be unduly influenced by their connection to the topic. See the conflict of interest guideline and FAQ for organizations for more information. We ask that you:

 * avoid editing or creating articles about yourself, your family, friends, colleagues, company, organization, clients, or competitors;
 * propose changes on the talk pages of affected articles (you can use the edit COI template);
 * disclose your conflict of interest when discussing affected articles (see );
 * avoid linking to your organization's website in other articles (see );
 * do your best to comply with Wikipedia's content policies.

In addition, you are required by the Wikimedia Foundation's terms of use to disclose your employer, client, and affiliation with respect to any contribution which forms all or part of work for which you receive, or expect to receive, compensation. See Paid-contribution disclosure.

Also, editing for the purpose of advertising, publicising, or promoting anyone or anything is not permitted. Thank you. MrOllie (talk) 23:43, 5 February 2024 (UTC)

title: User talk:Amertner


text: User talk:207.166.19.37

title: User talk:207.166.19.37


text:
Talk:Tristan chord

Liszt and the Tristan Chord
Alan Walker in his Liszt biography says that Wagner may have heard the Tristan chord in one of Liszt's songs. The song was 'Ich mochte hingehn' and was composed 10 years before Wagner started to work on Tristan and Isolde. Though Beethoven and Chopin may have used the chord before, the interesting thing about this example is that Liszt uses it in a way almost identical to Wagner, according to Walker. If the music for this could be found, perhaps it would be an interesting addition to this page.--DStong [17:37, 27 April 2007]
 * I don't know how old this request is, but in case anyone's curious, "Ich möchte hingeh'n" does indeed have a remarkably similar passage, but modern scholarship has revealed that while the song dates from 10 years before the opera, the passage was added to it after Tristan, and is effectively a quotation. Alan Walker was quoting out-of-date literature, and reviews of his Liszt biography have pointed this out. Junggai (talk) 11:10, 13 March 2010 (UTC)

MIDI file
Can the MIDI file on this page be changed so at least it's at the correct tempo? It's too fast right now. Try eighth note equals 80 or quarter equals 40.

And what's the title and opus number of the Beethoven example?

Ryan

 * Welcome. Currently the midi file can't be changed, as midi files can't currently be uploaded to Wikipedia, see Wikipedia talk:Sound. I will attempt to create an .MP3 (or even .ogg) file in a more correct tempo.
 * If you clicked on the Beethoven example you would have been taken to a page which would tell you more about the picture. If you simply rest the mouse on the graphic text appears which reads, "Beethoven's Sonata Op. 31 No. 3". Hyacinth 21:54, 22 Oct 2004 (UTC)

Yes, there seems to be a bit of a problem with the tempo of the file - myself and User:Opus33 discussed it a little (I thought we'd had the discussion on this page, but obviously not). I made the file with Lilypond to play at dotted crotchet = 35 but, unfortunately, while the file sounds fine if I play it in Winamp, it's too fast if I play it through my browser. So there is some sort of problem with the file, but exactly what's causing it, I don't know. If I get time I'll try to fix it (of course, I'll be very grateful if somebody else does it before me). --Camembert

Adding music
I'd like to add a whole chunk of text illustrated with musical examples to this article, but I haven't got access to music writing software. Is there anyone out there who could construct musical examples from instructions I give them?

Thanks, Anselm

 * I could probably do that, assuming that the examples aren't too long. EldKatt (Talk) 13:47, 6 September 2005 (UTC)

Thanks, EldKatt. The musical examples will only be a bar or two each, but there will be quite a few of them. They'll all be on the conventional piano score format.

Just as a trial run, if I gave you the following instruction, would it be clear enough for you to produce a musical example? I've used the pitch notation in the Wikipedia article "Scientific Pitch Notation", and the "|" character to denote barlines. (The music is the imperfectly remembered opening of a Bach chorale from the Riemenschneider 371.)

Sop: Bb4 | A4 A4 G4 (all 1/4 notes) Alt: G4 | G4 F#4 G4 (all 1/4 notes) Ten: D4 | Eb4 D4 C4 Bb3 (1/4 note | 1/4 note 1/8 note 1/8 note 1/4 note) Bas: G3 | C3 D3 G2 (all 1/4 notes)

Being a new Wikipedian, is it OK to carry on this discussion on these pages, or would it be better carried on somewhere else? (Assuming you want to go on with it, that is!)

Anselm

 * Your instructions make perfect sense, although a simpler way of writing the note lengths might be desirable (use your imagination, as long as it makes sense). I don't have an endless supply of time, though, so about how many is quite a few?

 * To answer your final question: if we're the only ones who need to communicate, it'd probably be better to use user talk pages. EldKatt (Talk) 14:46, 14 September 2005 (UTC)

See also Images and Requested pictures. If you can point me towards your source I would be willing to create images from that (as opposed to through lengthy written descriptions by yourself). Hyacinth 00:54, 7 September 2005 (UTC)

Thanks for the offer, Hyacinth, but I'm afraid lengthy written descriptions may be necessary - it's hard to tell before we've launched into the article. I have to construct theoretical musical examples for the most part, so images won't do. Also, I've noted your e-problems on your talk page, and it sounds as if you could do without a long-term project (such as this one might turn out to be) for the meanwhile!

Anselm

Golliwogg's Cakewalk
While the Tristan chord is implied in Golliwogg's Cakewalk, it is not quoted note for note or even interval for interval. The three chords that appear are an implied F major chord (From the bass up, A-A-F), A C7 chord (C-Bb-E), and an interesting chord, Ab Minor with an added 11 (Ab-Db-Cb-Eb). The latter chord is a very intriguing. Since the Db is added, it functions as a dominant in the key of Gb. This is reinforced by the next phrase, which resolves to Gb major. This chord, however, cannot be the Tristan chord as there is no tritone between any of these intervals. So the quote here is more a quote of the opening of Tristan and Isolde, rather than the chord itself. Am I interpreting this incorrectly? Kntrabssi 17:54, 22 March 2006 (UTC)

Idioteque
This chord is not in Radiohead's Idioteque. It might be in Mild und Leise somewhere but it's not in the part that Radiohead sampled. Bob

The Beethoven example
Is not the the "tristan chord", the chord is shown to be composed of Ab, F, Eb and Cb, regardez:

where in actualy fact it is a C natural as you can see here [blacklisted link removed]. therefore i am removing it an replacing it with an instance of the "tristan chord" coming up in Chopin. Aarandir 10:33, 29 July 2006 (UTC)
 * Alternative source:

 * Are you saying that the asterisk-marked chord should have a C natural instead of a C flat? You were probably looking at the wrong place in the score: the cited chord occurs in the fourth bar of the last line of the first page in the document you cite, and it does indeed have a C flat even there. If I'm getting you wrong, I apologize, but you might like to reconsider your removal. EldKatt (Talk) 11:26, 29 July 2006 (UTC)
 * P.S. For the record, there is an error in the example, though: The left-hand quavers in the penultimate bar should also have C flat instead of C natural. But I digress somewhat. EldKatt (Talk) 11:30, 29 July 2006 (UTC)

 * I've amended the image. It should be correct now. - Rainwarrior 22:25, 8 September 2006 (UTC)

My god i feel such a turd, yes you are right i failed to notice beethoven bought in the main motif as it were into minor, yes you can revert my edit. Aarandir 14:42, 30 July 2006 (UTC)

thats actually quite intresting, i had no idea beethoven could be so liberal in his harmonies. hes used a chord composed of Ab, F Eb and C in the beggining which is a major chord with an added 6th which ive never seen in any classical music before, and hes also used the "tristan chord" which doesnt resolve where i expect it to. intresting, yes keep the beethoven example, my chopin exam is rubbish and hard to recognise Aarandir 14:47, 30 July 2006 (UTC)

the thing is, ive NEVER understood the fuss about the "tristan chord" (in fact i dislike it being credited to wagner when i can see it in bach), perhaps its my ignorance, perhaps i have a point, the only unique thing i can see that wagner HAS done is made it resolve where you werent expecting it; from Ab minor with an augmented 6th (Ab, Cb, Eb and F) resolving or landing rather on E major 6th (E, G#, B, and D). In my life expereince the "tristan chord" which consists of an augmented fourth, a major third and a perfect fourth usally resolves itself by tuning the aug 4th in a perfect 4th (so if you started on F the B natural will become Bb) and the major third becoming a minor third (so the Eb turning into D). this is evident in my bach example, The D minor with added aug 6th resolves by diminishing the A and F into G# and E and also in the chopin scherzo, the E G B and C# resolve happily onto E F# A# C#(F# major 6th). Aarandir 11:56, 31 July 2006 (UTC)
 * I believe the fuss is because in Tristan und Isolde it's (a) the very first chord in the piece; and (b) it's held for more than a moment, giving the listener time to wonder (subconsciously) how it might resolve, if at all. (The second and subsequent times you hear the piece, you'll know what happens, but subconsciously the uncertainty is probably repeated each time. Cue music psychology.) Regards, David Kernow 02:17, 1 August 2006 (UTC)

So if anything the fuss is about where it resolves rather than what the chord consists of? fair enough. Aarandir 09:36, 1 August 2006 (UTC)
 * Well, I'd say not so much as to where or how it resolves but that at the start of Tristan und Isolde our (subconscious) attention is drawn to the chord itself, as it is held for more than a moment and nothing else occurs during that time. It was also a very unusual chord with which to start a piece of music, i.e. not suggesting any particular tonality or resolution. (Cue writings about Tristan and Isolde's longing and unresolved love, etc, etc.) Yours, David 11:55, 1 August 2006 (UTC)

intresting. thankyou, i can come to appreciate and respect this chord and its use now. just wondering now why there isnt a big kerfuffle about chopin starting his scherzo in B minor with the same chord, held for even longer... Aarandir 13:17, 1 August 2006 (UTC)
 * True, although I suppose whether or not it's held for longer depends on how fast the scherzo is taken; but this is beside the point that it's not only the very first chord heard in the piece but the very first event, made all the more attention-grabbing by being played ffz. Perhaps it wasn't seized on by theorists because Chopin's use was so much a gesture (the ffz chord = "Listen!", "Here comes something dramatic!", etc ...followed by a perfect cadence into the piece's key) or maybe because it occurred in a piece for piano rather than an overture to (and leitmotif of) a Wagner opera, the latter more likely to draw theorists' attention... These are just guesses, as I really have no idea. Somebody somewhere with music credentials has probably found or invented a plausible story or three. Regards, David 02:54, 2 August 2006 (UTC)

i just dislike wagner (understandbly in my opinion) and thats probably clouding my opinion on the chord. yes, indeed i've come to respect it (and to some extent wager) more but it seemed like an awfully big fuss on an awfully insignificant part of the prelude, but i realise that it is the first chord, is held for long(er), doesnt resolve how we expect it and how it fits in with the longing thats associated with the romance between the two lovers. to be frank it boils down to the fact that i dislike Wagner, its rather conspicous why. Aarandir 22:41, 2 August 2006 (UTC)
 * So far I've only enjoyed some of the music by Wagner that doesn't involve wobbly singing – yes, what a giveaway, I must be a philistine to some folks and probably by definition "dislike Wagner" – but (a) who cares; and (b) I'm always game to try it if I'm sold on someone's enthusiasm for it or the like. Enjoy, David 02:19, 3 August 2006 (UTC)

yes, wagner is only midly entertaining compared to chopin in my opinion. its like comparing the great fire of london to a tiny family BBQ, the analogy doesnt really work with chopin and wagner, but i'm quoting russel brand who is pure genius! right, thanks for explaining the significance of the chord and putting it in some kind of context, cheers David. Aarandir 09:36, 3 August 2006 (UTC)

 * I think David's explanation above (starting in a way "not suggesting any particular tonality or resolution") is a quite relevant one. It leaves the listener in total uncertainty about what's going to happen, in a rather successful way; not so much because of how the Tristan chord itself is harmonically built up, but because of the context. (And I'm not saying this as a Wagner enthusiast; I'm not overly fond of him.) I'm reminded of Beethoven's ninth symphony, which begins in a similarly mysterious, and highly original, manner, although harmonically it's about as simple as it could get. EldKatt (Talk) 22:56, 4 August 2006 (UTC)

 * Not interesting to trained, modern ears. To me, as a Savant, the first time I heard it, I can recall that my brain only perceived the basic m7b5 chord, in essence, a minor 6.  I guess you could call that a different point of view.  Surely, music is not at all lost its magic in my mind, quite the opposite, but what does get my attention is something very unique, like ELO's Livin Thing (C Am Ab Fm Em Dm in a basic 4 rock song), or Queen's Bohemian Rhapsody (there's too many to mention, like the beautiful end, which is listening to it, Eb Bb/D Cm G Cm G Cm Bb Eb D7/F# Gm Ab#11 Ebmaj7 Abmaj7/C Gm Cm Gm Cm Abm Abmaj7/Bb Eb Ab#11/Eb Eb Ebdim7 Bb/D Bbm/Db C7b9 F Bb/F F Fdim7 Gm7/F F), how's that for a way to end a song? ReignMan (talk) 04:29, 20 August 2008 (UTC)

 * And on that topic, songs that contain a "Tristan" chord? Not counting the exact key, popular songs with a m7b5 would be Change The World ("I could be the sunlight" is on a D#m7b5), "While My Guitar Gently Weeps" ("lover that's sleeping" - Am/F# or F#m7b5, all verses in that same spot), Free As a Bird (the life that we once knew F#m7b5), etc.  Interesting that the first example is Clapton, the second is Clapton and the Beatles, and the third is The Beatles...ReignMan (talk) 04:44, 20 August 2008 (UTC)

Bach example
I'm removing the Bach example. It's a perfectly ordinary subdominant (in the key of A minor) added sixth chord, resolving to a dominant seventh chord. While it does contain the pitches of a Tristan chord, they're spelled differently and, above all, stacked differently: If this example fits here, so should every other minor added sixth chord in the history of music, making for a great body of largely irrelevant examples of "the Tristan chord before Wagner". The issue of restacking also raises the question of whether the Chopin example belongs here—I think not, since it also is a largely different chord, but I will leave this open for comments for a while before taking action. EldKatt (Talk) 11:07, 10 September 2006 (UTC)
 * I agree that the Bach example is a little tenuous/contrived. I'd say the Chopin example has more in its favo/ur, but would make the contrast I mentioned in the previous thread. Yours, David Kernow 13:46, 10 September 2006 (UTC)

Analyzed from a Thorough Bass Perspective
What I am about to write is OR on my part, but may be of interest to some editors here.

The "Tristan Chord" can almost be signed as a "chord of the second". The (D#) aug 6 is the only interval that stands in the way.

"Tristan Chord" on F: (D#) aug 6, (B) aug 4, (G#) aug 2

The "chord of the second" as codified by C. P. E. Bach in his Essay on the TRUE ART OF PLAYING KEYBOARD INSTRUMENTS on pg. 256:

[The aspects that agree with the Tristan Chord are bold]

 * 3. The chord may contain the major or minor sixth, the augmented or perfect fourth, the major, minor, or augmented second.

In Wagner’s example, the bass (considered the dissonance of the “chord of the second”) even resolves down a half step!

--Roivas (talk) 18:33, 13 December 2007 (UTC)

Opening Paragraph
The chord's intervals are being explained in a rather childish manner:
 * More generally, it can be any chord that consists of these same intervals, viz. (from the lowest note upward) an augmented fourth, a major third and a perfect fourth.

Intervals are measured from the bass. Can we find a source for this or delete the sentence? --Roivas (talk) 15:56, 14 December 2007 (UTC)

 * Only two year olds don't measure notes from the root! I changed the article accordingly. Hyacinth (talk) 04:03, 13 January 2008 (UTC)

Thanks. Good job.--Roivas (talk) 16:08, 14 January 2008 (UTC)

 * The problem is that people don't agree with what the root is of the Tristan chord. And many people say it must be found in this inversion. Also, classical theory does measure from the root. It's a I64 chord, not a I51 chord.

Tempo
I am no Tristan chord historian, but I don't think it was the tempo that made it innovative, and therefore, the tempo should not hold the dominant place it does in the first paragraph. It is misleading, and places undue emphasis on the tempo marking. I am reverting to my previous edit, but please correct me if I am missing something. Captbaritone (talk) 10:59, 3 February 2008 (UTC)

 * Where should that information go? Hyacinth (talk)

 * The last paragraph of the "The chord itself" section begins with a discussion of the importance of the slow tempo. If we feel the actual temp marking is of importance (and not just the fact that it was slow enough to not merely be a passing dissonance) it could be included here. Another option would be to include it in the musical example image. Your thoughts? Captbaritone (talk) 17:45, 5 February 2008 (UTC)

Modern Spelling
I had put that the so called tristan chord is a Fm7b5 chord. Someone deleted this as unhelpful. First' I'd like to see their musical credentials. I have many years of education in this specific area of theory, and am an Autistic Savant. This is not some enigma for the generations, it's a damn chord. To me, it sounds like what it is, 4 notes, big deal. Only an un-educated or stupid person would challenge such a simple statement. There is no arguing this point. So, please, help me keep it in the article. —Preceding unsigned comment added by ReignMan (talk • contribs) 19:41, 1 June 2008 (UTC)

 * Sometimes, spelling things, enharmonically, in a different way can change the meaning of the chord and its function. Credentials are irrelevant and often misleading.  Content for Wikipedia is provided by published sources.  You don't find jazz-chart style chord indications above the staff lines in the published scores of Wagner or any other 19th century composer.  You need to find a published source before adding content to an article.  I guess I'll find some way to live with the fact that I'm stupid and uneducated.  Things could be worse for me, I suppose.  Have a good day.--Roivas (talk) 19:13, 2 June 2008 (UTC).

 * If it is what it is then spelling doesn't matter and there is no need to add Fm7b5. Hyacinth (talk) 05:54, 20 August 2008 (UTC)

 * I have multiple copies of the published score. What does that have to do with it?  Changing the spelling of a chord does not change its function, this is a common misconception of the layman.  If I write a song that goes, C E#, Abb, (I iii# VIbb) will it be any different than a C F G (I IV V)?  Will you call me more creative?  Mathematically, it's the same.  In even tempered music, one flat is as good as any other sharp.

 * Now, of course, the people who are idiots will come out and begin to throw around temperament. But at the time, the only remaining instrument that had separate sharps and flats, to my knowledge, was the concertina.  All the instruments listed in the score had only one way to play a certain note (brass and woodwind alternate fingerings and "sul X" string functions notwithstanding, of course)  Theoretically, the strings and trombone have no basis of intonation, (except open strings, slide closed, etc, which are points of definate reference).

 * People who think they know music (and have, of course, no education in it), assume that a rose by any other name won't smell as sweet. You can take it out, but it won't be any less true.  The Fm7b5 will allow people to look at the chord, and see better what it is, as they (say, guitar players) go look it up and learn to play it.  It's better to list it in every way possible.  It reminds me of the food people who berate and denounce basic food items without a thought as to all the people starving to death in this world everyday.  I hope to never become such an arrogant ass in my field.  I'm glad you think my education, experience, and savantism don't mean anything, by the way. ReignMan (talk) 04:13, 20 August 2008 (UTC)

 * Don't call other users arrogant asses, even by implication. See Civility. "Comment on content, not on the contributor" - No personal attacks. Thanks.
 * One's education and experience mean little to nothing on Wikipedia. What matters is one's ability to collaborate in adding constructive content. Hyacinth (talk) 05:50, 20 August 2008 (UTC)

 * Please keep in mind the context we are working in. Wikipedia is not a manual, guidebook, or textbook, so we need not help instruct people to learn how to play a chord. Nor was there any need for you to take Roivas's comment that credentials are irrelevant out of context. Irrelevant does not mean meaningless, it means not relevant, and credentials are neither verifiable nor relevant among users on Wikipedia, except as those credentials contribute to your knowledge and politeness, as witnessed by the content you contribute and your behavior on talk pages. One's credentials are not proven by being rude and asserting one's superior intelligence. Hyacinth (talk) 06:13, 20 August 2008 (UTC)

 * Perhaps Fm7b5 belongs under Non-functional analyses. You could call it a very specific voicing of a half-diminished chord with the root on F, but the usefulness is limited. If someone is looking up Tristan chord, it is much, much more than that. --Blehfu (talk) 06:10, 20 August 2008 (UTC)

 * An Fm7b5 chord, also known as a half-diminished 7th chord, in the context of 19th century functional harmony, would be a predominant in Eb minor that would tend to resolve to a Bb major or Bb7 chord. The reason the Tristan chord is spelled with a G# instead of an Ab is because of the chromatic melodic line it follows:  G#,A,A#,B.  The D# is because it acts as a secondary leading tone, and you do not spell leading tones as flats (except in the phrygian mode in pre-tonal writing, but let's not go there) unless the tonic is a double-flat.  The reason it is inappropriate to call the chord an Fm7b5 is because it does not have the same function as the Tristan chord, exactly like the difference between a German augmented sixth chord and a dominant seventh chord.  A Bb7 chord in Eb major sounds totally different from one that occurs in the context of D minor, in which it would function as an augmented sixth chord.  To go with your "rose" analogy; a rose sitting next to one that smells sweeter will not smell as sweet in context, or it will smell sweeter if it is near a paper mill.  Context affects sensory perception very heavily, and thus it is context that makes this chord not an Fm7b5.  Furthermore, referring to it as "just a chord" is only looking at one aspect of the music.  If you listen to the music of, say, Palestrina, you would likely hear a lot of chords, but the concept of a chord did not even exist when he wrote music.  Rather, Palestrina wrote different melodies against each other in consonant intervals.  The melodic lines within the Tristan chord are enough grounds to say there is more going on than just a chord.

 * It would, however, be useful to specify that the Tristan Chord is enharmonic to an Fm7b5.--68.84.28.255 (talk) 17:21, 14 April 2009 (UTC)

 * Please refrain from adjusting the smoke and mirrors; the mysticism surrounding the Tristan chord is rather fragile. 69.136.104.26 (talk) 04:16, 17 May 2014 (UTC)

Cleanup: Further reading
Why and how does the further reading section need cleanup? Hyacinth (talk) 00:39, 13 July 2008 (UTC)
 * It possibly did in 2006 when the notice was put up. I have removed it. Smerus (talk) 05:45, 13 July 2008 (UTC)

Self-Published Article added by 87.114.89.64
I removed a link to the article "The Tristan Chord in Context," because it was a self-published article added by an anonymous IP; moreover I found the article to be of questionable academic quality, full of unsupported speculation and logical leaps, even seriously accusing Wagner of plagiarism based on some pseudo-statistics. After I had removed it, another anonymous IP put it back without discussion; the same IP just added another article by the same author to Music and Mathematics, so I'm assuming that this is someone promoting his own work. It's my understanding that this isn't allowed under NOR. If "87.114.89.64" or anyone else would like to weigh in about why the article deserves inclusion, please do so. This could only be my irrational opinion, so input would be appreciated. Junggai (talk) 10:43, 11 January 2010 (UTC)

User 87.114.89.64 has been warned many times about edit-warring, and continues to add the article without discussion. If this user continues, I'll report the incident to the 3RR noticeboard for attention. Junggai (talk) 14:24, 13 January 2010 (UTC)

 * I am a bit late to add to this discussion (19.09.2018), but I would like to clarify that I, Dr Ludger Hofmann-Engl, did not add my paper "The Tristan Chord in Context" to Wikipedia. Additionally I would like to know the academic credentials and music scientific knowledge of Junggai to make the claims that the quality of my paper is questionable, that it contains logical leaps and that I am using pseudo-statistics. At the very least Junggai should provide us with examples and details underpinning his or her claims.

 * Dr Ludger Hofmann-Engl — Preceding unsigned comment added by 192.8.152.50 (talk) 10:20, 19 September 2018 (UTC)

 * Nice of you to drop by, Herr Doktor Hofmann-Engl. It's not my job to act as a peer-reviewer for a self-published article that someone wants to add to a Wikipedia page, but if you really care to know why the claims in "The Tristan Chord in Context" wouldn't hold up to any kind of scholarly scrutiny, it basically boils down to the fact that it's trying to prove that Wagner plagiarized the Tristan chord from Chopin, or as the conclusion has it, committed "one the greatest thefts in music history." To do this would require demonstrating beyond a reasonable doubt that Wagner knew the work in question and that the passage is sufficiently similar. This paper accomplishes neither. It demonstrates only that Wagner knew of Chopin's existence (who didn't?), and then leaps somehow to the fact that he didn't mention Chopin in "Mein Leben" as evidence of his guilt! There's no attempt to establish that Wagner knew the Mazurka in question. The only "proof" offered is the existence of the same chord somewhere in the passage and the melodic similarity of the chromatic motion G#-A-A#-B; the paper claims there's only a 10% chance that the chord could appear by random chance, and 20% that the melody could be similar, while never defining how these statistics were arrived at. The fact that the chord in the Mazurka appears a whole measure earlier than the melodic motion is, astonishingly, explained away by claiming that Wagner jostled things around to reduce the appearance of plagiarism. As a composer, I think Herr Doktor Hofmann-Engl would agree that the importance of the "Tristan Chord" is not only the chord itself, but the way that voice-leading and harmonic motion combine with the duration of the chord to foreground it as a Fremdkörper, one that is approached in an unorthodox way and "resolved" to another dissonance that itself is never resolved. Chopin's passage, as striking as it is, does neither of those things. The chord in Chopin appears in passing, an entirely logical result of the chromatic voice-leading beforehand, and is resolved by similarly logical voice-leading to cadence in A minor. In Wagner, the strangeness of the chord is the point, and the fact that it seems to lead somewhere but never arrives (well, until the 'Liebestod' four hours later) is the source for its hold on the theoretical mind.
 * And, by the way, Wikipedia does not make a big deal out of credentials, but rather places their emphasis on clear editorial guidelines. As it happens, I have a PhD in Musicology, have published multiple scholarly articles and books, and am a research fellow at a certain prestigious Academy of Sciences. Nine years ago, when I read this paper and removed it from the page, I had accomplished none of those things. But that doesn't make the article any more scholarly, nor does it make my removal of a self-published article from the recommended reading list any less in line with Wikipedia's guidelines on original research. Junggai (talk) 10:39, 7 April 2019 (UTC)
 * Sorry for my late response, yet again. At least it was not a few years this time but only a few months. Junggai says that credentials are of no significance at wikipedia, but then he or she states his or her, possibly, imaginary credentials without any concrete reference. I tend to not make superficial puns, however what sort of name is Junggai in the first place? Still, I wish him or her good luck.
 * Dr L J Hofmann-Engl — Preceding unsigned comment added by 188.146.53.132 (talk) 19:37, 23 December 2019 (UTC)

d'Indy book (1903?)
I cannot find what this book is. Either it needs to be referenced or the whole statement of the subdominant interpretation should be deleted. More specifically, I would like to know so I can double check the image. I have a hard time believing that in the book it's published with parallel fifths. — Devin.chaloux (chat) 21:43, 19 March 2012 (UTC)

 * See File:D'Indy Tristan chord IV6-V small.PNG. Hyacinth (talk) 22:35, 19 March 2012 (UTC)

Image info

It appears we've stripped a lot of information out of the image of the chord. Hyacinth (talk) 01:55, 31 March 2012 (UTC)

Removed: Incorrect
The above was removed as incorrect, the chord being a(n E♭) major seventh. Hyacinth (talk) 22:47, 8 October 2012 (UTC)
 * Paul Lansky uses the Tristan chord and its inversions to make a chord progression for his piece "Mild und Leise". Radiohead would later go on to sample four chords of Lansky's progression for their song "Idioteque" off Kid A, released in 2000.

Discussion of chords is inappropriate when the author did not conceive of his work in those terms.
"Classical" composers prior to the early 20th century wrote their music horizontally, and their musical ideas were based on polyphonic ideas. It is anachronistic to superimpose vertical structures on their music, and worse, to do so prevents a correct understanding of the composer's musical ideas.

Wagner did not think in terms of chords as we understand them today when he wrote Tristan and Isolde. He thought in terms of passion and flow: of dissonance and resolution, and he purposely toyed with the music theory "rules" of his day in his interplay between "broken rules" and "correct" use of scales. Why do we try to superimpose a dumbed-down populist anachronistic vertical interpretation on his music, when the the music was not conceived in those terms? Wagner's music must be understood and appreciated on Wagner's terms. Not Nashville's terms.Wagner's music must be understood and appreciated on Wagner's terms. Not our own. — Preceding unsigned comment added by 98.227.124.149 (talk) 05:13, 1 September 2012 (UTC)

HMS Pinafore example
I can't see a convincing reference to the Tristan chord in HMS Pinafore. (Sullivan's best known usage is at the beginning of Iolanthe.) — Preceding unsigned comment added by 92.18.64.201 (talk) 12:13, 4 April 2018 (UTC)

Is this page much use to non-musicologists?
This page very quickly becomes bogged down in musicological theory that is only ever half-explained. As such the page fails to work on any level: a serious scholar of music would be better served by a well-edited book or article, whereas an uninformed but intelligent lay reader would find most of the content difficult to decipher, and move on not much the wiser. Is there a way to incorporate a lengthier general section on the intended / perceived effects and uses of the chord, by Wagner and others, before the page tails off into tendentious musical theory? Djewesbury (talk) 15:48, 7 October 2018 (UTC)
 * No. I read and play music and do not find it to be very enlightening. And what's this about "French"? Wastrel Way (talk) Eric

Just Intonation implications
This chord, in any meantone that can be considered a septimal meantone (i.e. where the aug 6th approximates 7/4), closely approximates the septimal chord 1/1 - 7/6 - 7/5 - 7/4. The specific root - 5th - 6th - 9th voicing is a fairly consonant voicing of this chord. Should this be mentioned in the article? Seems like it should, if this chord in this voicing was used during the meantone era. SeventhHarmonic (talk) 06:05, 9 January 2019 (UTC)

Context
"Martin Vogel points out the "chord" in earlier works by Guillaume de Machaut, Carlo Gesualdo, J. S. Bach, Mozart, Beethoven, or Louis Spohr[1] as in the following...."

To say the Tristan Chord had been used previous to Tristan (as it ist stated here) would be equivalent to saying that the colour "blue" has been used before Ives Klein used it (inventor of the "International Klein Blue"). Klein used this kind of blue in a special way. simliarly, wagner used a then well known structure in a new context. It's about context. You can't just look for every half-diminished chord and yell: "Look! There's a tristan chord!" It AT LEAST has to be a half-diminsihed chord on the b6 scale degree (Although it is, technically speaking, not that easy. but to have at least the same SOUND, you would have to do THAT). It's not just about the structure, but about the context that structure appears in. For example: with Beethoven's Piano Sonata No. 18 the problem is that the excerpt is in Eb-minor. The "tristan-chord" here is on the second degree (Fm7b5), which is really nothing special. Had beethoven written that chord as Bm7b5, the real Tristan-Sound would have been evocated. (If you wanted to do it enharmonically correct, you also would have to speak of it as a appogiatura to a french sixt, not a half-diminished). It would be better to delete these examples or to anotate that all the predecessors are just the same structure, but not the right context. But then again: then the page should be called "the half-diminished chord appearing somewhere in some works". it would be ridiculous if you would do something equivalent on the page of the the major triad.

About the Liszt-Chord: It's not even a Half-diminished structure, it's a diminished strucure in the beginning (the D!). At least the rest is identical, so it SOUNDS more like the beginning of Tristan. So did Wagner learn from Liszt? Of course, he admitted that. And he took the structure and made something great out of it. — Preceding unsigned comment added by 77.180.42.106 (talk) 10:55, 31 May 2022 (UTC)
 * If you want to dispute Martin Vogel's analysis and Jean-Jacques Nattiez' and others' apparent agreement, this is the wrong venue. IOW, that paragraph cites sources, and unless it can be shown that the article misrepresents them, that's all that counts. -- Michael Bednarek (talk) 13:08, 31 May 2022 (UTC)

title: Talk:Tristan chord


text:
Cicely Saunders

Dame Cicely Mary Strode Saunders (22 June 1918 – 14 July 2005) was an English nurse, social worker, physician and writer. She is noted for her work in terminal care research and her role in the birth of the hospice movement, emphasising the importance of palliative care in modern medicine, and opposing the legalisation of voluntary euthanasia.

Early life and education
Saunders was born in Barnet, Hertfordshire, to Philip Gordon Saunders, a chartered surveyor and landowner, and to Mary Christian Knight. She had two younger brothers, John Frederick Stacey Saunders and Christopher Gordon Strode Saunders.

After attending Roedean School (1932–37), Saunders began studying politics, philosophy, and economics at St Anne's College, Oxford in 1938. During the war, she decided to become a nurse and trained at Nightingale School of Nursing based at St Thomas's Hospital from 1940 to 1944. Returning to St Anne's College after a back injury in 1944, she took a BA in 1945, qualifying as a medical social worker in 1947 and eventually trained as a doctor at St Thomas's Hospital Medical School (now merged to form King's College London GKT School of Medical Education) and qualified MBBS in 1957.

Relationships
In 1948, Saunders fell in love with a patient, Ela Majer "David" Tasma, a Polish-Jewish refugee who, having escaped from the Warsaw Ghetto, worked as a waiter; he was dying of cancer. He bequeathed her £500 to be "a window in your home". This donation, which helped germinate the idea that would become St Christopher's Hospice, Sydenham, London, is memorialized with a plain sheet of glass at the hospice's entrance.

While training for social work, she holidayed with some Christians and was converted to Christianity. In the late 1940s, Saunders began working part-time at St Luke's Home for the Dying Poor in Bayswater, and it was partly this which, in 1951, led her to begin studying to become a physician.

Hospice
A year later, she began working at St Joseph's Hospice, a Catholic establishment in Hackney, East London, where she would remain for seven years, researching pain control. There she met a second Pole, Antoni Michniewicz, a patient with whom she fell in love. His death, in 1960, coincided with the death of Saunders's father in 1961, and another friend, and put her into what she later called a state of "pathological grieving". But she had already decided to set up her own hospice, serving cancer patients, and said that Michniewicz's death had shown her that "as the body becomes weaker, so the spirit becomes stronger".

Saunders said that after 11 years of thinking about the project, she had drawn up a comprehensive plan and sought finance after reading Psalm 37: "Commit thy way unto the Lord; trust also in him; and he shall bring it to pass." She succeeded in engaging the support of Albertine Winner, the deputy chief medical officer at the Ministry of Health at the time. Later, as Dame Albertine Winner, she served as chair of St Christopher's. In 1965, Saunders was appointed Officer of the Order of the British Empire. In 1967, St Christopher's Hospice, the world's first purpose-built hospice, was established. The hospice was founded on the principles of combining teaching and clinical research, expert pain and symptom relief with holistic care to meet the physical, social, psychological and spiritual needs of its patients and those of their family and friends. St Christopher's Hospice was developed based on a care philosophy that "you matter because you are you, you matter to the last moment of your life", an approach requiring specialist care which led to a new medical specialty – palliative care – that could be adapted to different situations. Research shows that St Christopher's was quite different from hospitals in the 1960s, designed and managed as a "home from home" where the physical environment was important. It was a place where patients could garden, write, talk – and get their hair done. There was always, Saunders would emphasize, so much more to be done, and she worked in this spirit as its medical director from 1967, and then, from 1985, as its chairperson, a post she occupied until 2000 when she became president.

She was, however, reluctant for St Christopher's to admit patients with AIDS in the years after the syndrome first emerged. In a letter to the Secretary of State for Social Services, she stated, "we have strong reservations about the use of our existing inpatient facilities for AIDS patients", explaining in a memorandum to the Select Committee on Social Services: "A hospice ward is a very personal place, welcoming families, with their children, to be with the dying family member. Among them, I believe, there would be many who would extremely fearful of doing this if they knew AIDS patients were being admitted. However irrational, this fear is a very real matter, and would be an added burden on those facing the loss of loved ones."

Saunders was an Anglican. In 1977, she was awarded an honorary Lambeth doctorate by the Archbishop of Canterbury. She later was made a Dame of the Order of St Gregory the Great (awarded by the Pope)

In 1979, she was appointed Dame Commander of the Order of the British Empire (DBE). In 1981 she was awarded the Templeton Prize, the world's highest-value annual prize awarded to an individual. In 1989, she was appointed to the Order of Merit. In 2001, she received the world's largest humanitarian award, the Conrad N. Hilton Humanitarian Prize, on behalf of St Christopher's.

On 25 April 2005, another portrait of Saunders was unveiled at the National Portrait Gallery. Saunders was one of the subjects of Prime Minister Gordon Brown's book: Courage: Eight Portraits. She was a Fellow of the Royal College of Physicians, a Fellow of the Royal College of Nursing and a Fellow of the Royal College of Surgeons.

St Christopher's includes an arts team that provides art therapy, music therapy, drama therapy and community arts. The work of the arts team is reflected in two publications: End of Life Care: A Guide for Therapists, Artists and Arts Therapists and The Creative Arts in Palliative Care.

Marriage
In 1963, three years after the death of Michniewicz, Saunders became familiar with the paintings of Marian Bohusz-Szyszko, a Polish émigré and professor with a degree in fine art. They met and became friends, and she became a patron of his art. A substantial amount of his work is hung at St Christopher's Hospice.

Bohusz-Szyszko had a long-estranged wife in Poland, whom he supported, and was a devout Roman Catholic. In 1980, five years after the death of his wife, he married Saunders. She was 61 and he was 79. Bohusz-Szyszko died in 1995, at the age of 94, spending his last days at St Christopher's Hospice.

Charitable organisation
In 2002, Saunders co-founded a new charitable organisation, Cicely Saunders International, of which she was the founding trustee and president. The charity's mission is to promote research to improve the care and treatment of all patients with progressive illness and to make high-quality palliative care available to everyone who needs it – hospice, hospital or home. The charity has co-created the world's first purpose built institute of palliative care – the Cicely Saunders Institute, and supported research to improve the management of symptoms such as breathlessness, action to meet more closely patient and family choice in palliative care and better support for older people. Cicely Saunder's obituary in the Royal College of Physicians of London's Munk's Roll collection contains further information about her work with this organisation.

Medical ethics
Saunders was instrumental in the history of UK medical ethics. She was an advisor to Andrew Mephem whose report led the Rev. Edward Shotter to set up the London Medical Group (LMG), a forerunner of the Society for the Study of Medical Ethics, later the Institute of Medical Ethics. She gave one of the first LMG lectures on the subject of pain, developing the talk into "The Nature and Management of Terminal pain" by 1972.

This went on to be one of the most often repeated and requested lectures of the LMG and other such Medical Groups that sprung up around Great Britain, where it was often given as their inaugural lecture. Her talk on the care of the dying patient was printed by the LMG in its series 'Documentation in Medical Ethics, a forerunner of the Journal of Medical Ethics.

She strongly opposed voluntary euthanasia. This was partly because of her Christian faith, but she also argued that it is never needed, because effective pain control is always possible. She did, however, accept that both sides in the euthanasia debate were against unnecessary pain and the loss of personal dignity.

Total pain
Saunders introduced the idea of "total pain", which included physical, emotional, social, and spiritual distress.

Death
Saunders developed breast cancer but still continued to work. She died aged 87 in 2005 at St Christopher's Hospice. To mark what would have been her 100th birthday, Google honoured her with a Google Doodle.

Biographies
She is the subject of a biography, Cicely Saunders: A Life and Legacy, published in 2018 to mark the 100th anniversary of her birth, and of the biographical novel ''Di cosa è fatta la speranza. Il romanzo di Cicely Saunders'' by Emmanuel Exitu, published in Italy by Bompiani editore.

Honours

 * Member of the Order of Merit (OM)
 * Dame Commander of the Order of the British Empire (DBE)
 * Fellow of the Royal College of Surgeons (FRCS)
 * Fellow of the Royal College of Physicians (FRCP)
 * Fellow of the Royal College of Nursing (FRCN)
 * Dame of the Order of St Gregory the Great (awarded by the Pope)
 * Honorary Doctorate from the University of Bath, 2005.

title: Cicely Saunders


text:
User:Amertner

Hey there. I am from Denmark but have lived in more countries than most, which for me was a great experience. If you get the chance to move try living in another country, say Yes :)

Here is a list of the places I've lived: * 1966 - 1983 Denmark, in Herning * 1983 - 1986 Germany, in Flensburg * 1986 - 1995 Denmark, in Copenhagen * 1995 - 1999 Uk, in London in the suburb of Kilburn * 1999 - 2001 France, Paris * 2001 - 2003 Canada, Ottawa * 2003 - 2006 Uk, London - East Sheen * 2006 -     Uk, Acton, London

I don't intend to move to any more new countries - in fact, I'd like to stay right where I am for now :)

I no longer work full time and advise a small number of senior executives on organisational leadership.

title: User:Amertner


text: User talk:65.50.150.188

title: User talk:65.50.150.188


text:
Arunachal Congress

Arunachal Congress (AC) was a regional political party in the Indian state of Arunachal Pradesh.

It was founded in 1996 as a splinter group of the Indian National Congress, when the local party leader and Chief Minister Gegong Apang revolted against the then Congress leader P.V. Narasimha Rao.

History
Apang took with him 54 members of the legislative assembly of a total of 60 of Arunachal Pradesh to his new party. In the Lok Sabha elections in 1998 AC won both seats of Arunachal Pradesh.

The party received 172 496 votes (52,47% of the votes in the state). AC allied itself with the Bharatiya Janata Party (BJP) and was a founding member of the National Democratic Alliance. Omak Apang the son of Gegong Apang, who had been elected from the constituency Arunachal West was appointed a minister in the Centre government.

Split
The successes of AC didn't last long. Directly after the 1998 elections there was a revolt within the party. Wangcha Rajkumar, who had been elected to the Lok Sabha from the constituency Arunachal East in both 1996 and 1998, accused Apang of resorting to nepotism when his son was appointed minister. Five state ministers that had sided with Rajkumar were fired by Apang.

One of the ex-ministers, Mukut Mithi, split and formed the Arunachal Congress (Mithi). AC(M) was able to gather 40 members of the legislative assembly and Mithi formed a government. Initially both AC and AC(M) supported the Vajpayee government, but since Rajkumar wasn't allotted a ministerial post AC(M) merged with the Indian National Congress ahead of the 1999 elections.

Ahead of the Lok Sabha elections of 1999 AC ran in alliance with BJP. Omak Apang stood in Arunachal West (came second with 70 760 votes, 30,07% in that constituency). In Arunachal East Rajkumar now back in INC defeated the BJP candidate.

One reason, it claimed, that the AC-BJP combine fared so badly was that several armed factions especially the powerful National Socialist Council of Nagaland in the area worked against them.

The legislative assembly elections the same year gave even worse results. AC launched 38 candidates, but only one (Gegong Apang) was elected. In total the party got 68 645 votes (16,68% of the votes in the state).

Ahead of the 2004 Lok Sabha elections the political map of Arunachal Pradesh had been redrawn yet again. 25 July 2003 there was a new split in the INC, and a new party Congress (Dolo) was formed.

Apang formed a front called the United Democratic Front consisting of himself, Congress (D), an expelled Congress MLA and two independents. In total Apang was able to gather 41 MLAs around gum, and on 3 August Apang was again sworn in as Chief Minister of the state.

On 30 August Apang joined BJP] and took with his 41 MLAs. Thus BJP controlled a state government in the North-East for the first time.

Arunachal Congress did however continue to exist as a party even after that the founder Apang had joined BJP.

Ahead of the 2004 Lok Sabha elections AC talked about calling for a boycott, as a protest against that Chakma and Hajong refugees had been given the right to vote in the state. In the end the party did however decide to contest, this time allied with Indian National Congress. AC launched its new party president, Kamen Ringu, in Arunachal West. Ringu came second and got 76 527 votes (34,54% in that constituency). In Arunachal East INC had launched a candidate, who also came second.

In the legislative assembly elections in 2004 AC had put up 11 candidates, out of whom two were elected.

The leadership of the party is called Arunachal Congress Working Committee (ACWC).

The organization Arunachal Congress Volunteer Force is probably related to the party.

Just before the 2009 Assembly election, Arunachal Congress merged with Indian National Congress.

List of Chief Minister

 * Gegong Apang: From 18 January 1980 to 19 January 1999

title: Arunachal Congress


text: Category:Cyclists by nationality

title: Category:Cyclists by nationality


text:
Monastery of San Vicente de Oviedo

San Vicente de Oviedo is a church and monastery in Oviedo, Spain. Its foundation in 761 is recorded in a charter known as the Pacto monástico de Oviedo ("Monastic Pact of Oviedo"). A copy made in the 12th century of the original that is dated 25 November 781 is considered the earliest document on the monarchy of the Kingdom of Asturias, although doubts exist as to the veracity of this document since the monastery, also called Antealtares in the Middle Ages, is not mentioned again until 969.

Background
According to the charter of 781, twenty years before, in 761, the monks, Máximo, with his serfs, and Fromestano, founded a church in locum quod dicunt Oveto (the place called Oveto), which was to become the city of Oviedo. Fromestano and Maximo are considered the founders of the city and church. Fromestano, in the charter of 781, describes its founding:

"I, Frómista (Fromestano), abbot for the past twenty years, together with my nephew Máximo the monk, settled in this place, abandoned and uninhabited, founding a basilica in honor of Saint Vincent, a martyr of Christ and a deacon."

Transformed into a monastery, the first abbot was Oveco, documented between 969 and 978. The first reference mentioning that the monastery followed the Benedictine Rule is dated 1042.

The style of the building is Romanesque, although reworked in the 11th and 12th centuries. Its cloister is an official National Historic and Artistic Monument and, since 1952, has housed the Archaeological Museum of Asturias.

title: Monastery of San Vicente de Oviedo


text: User talk:68.52.234.103

title: User talk:68.52.234.103


text:
Oil of guaiac

Oil of guaiac is a fragrance ingredient used in soap and perfumery. Despite its name it does not come from the Guaiacum tree, but from the palo santo tree (Bulnesia sarmientoi).

Oil of guaiac is produced through steam distillation of a mixture of wood and sawdust from palo santo. It is sometimes incorrectly called guaiac wood concrete. It is a yellow to greenish yellow semi-solid mass which melts around 40–50 °C. Once melted, it can be cooled back to room temperature yet remain liquid for a long time. Oil of guaiac has a soft roselike odour, similar to the odour of hybrid tea roses or violets. Because of this similarity, it has sometimes been used as an adulterant for rose oil.

Oil of guaiac is primarily composed of 42–72% guaiol, bulnesol, δ-bulnesene, β-bulnesene, α-guaiene, guaioxide and β-patchoulene. It is considered non-irritating, non-sensitizing, and non-phototoxic to human skin.

Oil of guaiac was also a pre-Renaissance remedy to syphilis.

title: Oil of guaiac


text:
Arunachal Congress (Mithi)

Arunachal Congress (Mithi), was a break-away group of Arunachal Congress. AC(M) was formed in 1998 when Mukut Mithi led a revolt against the AC leader Gegong Apang. AC(M) gathered 40 (out of 60) Members of the Legislative Assembly of Arunachal Pradesh and one of the AC members of the Lok Sabha, Wangcha Rajkumar. AC(M) formed a new state government, with Mithi as Chief Minister. In 1999 AC(M) merged with Indian National Congress. It remained in power until 2003.

title: Arunachal Congress (Mithi)


text:
Elvera Sanchez

Elvera "Baby" Sanchez Davis (September 1, 1905 – September 3, 2000) was an American dancer and the mother of Sammy Davis Jr.

Davis Jr. stated that his mother was Puerto Rican and born in San Juan; however, in the 2003 biography In Black and White, author Wil Haygood wrote that Davis' mother was born in New York City, of Afro-Cuban descent, and that Davis claimed she was Puerto Rican because he feared anti-Cuban backlash would hurt his record sales.

Life and career
Elvera Sanchez was born in New York City to Cuban immigrants Luisa Valentina (née Aguiar) (13 February 1884–6 October 1995), who was a living supercentenarian at the time of Sammy Jr.'s death and Marco Sánchez (1852–1908), a cigar maker. She began her career as a chorus-line dancer at the Lafayette Theater in Harlem, in 1921. She became known as "Baby Sanchez", and married Sammy Davis Sr., also a dancer, in 1923. In 1925, their son and only child, Sammy Davis Jr., was born. He would often accompany his mother and father to the theater. When Sammy Jr. was three, his parents split up and his father obtained sole custody of him, taking him on the road. Sanchez was a chorus-line dancer at Apollo Theater for six years and appeared in Oscar Micheaux’s 1938 film Swing. She continued to dance until the 1940s.

After retiring from her show business career at the age of 35, she began working as a barmaid for Grace's Little Belmont in Atlantic City, New Jersey. She enjoyed telling jokes to customers and was known for sporting a gold napkin. Her connections with entertainers Count Basie, Billy Eckstine, and Sarah Vaughan drew these and other celebrities to her station, and her son Sammy would come to visit after performing across town at the 500 Club "and delighted everyone, pouring drinks and singing". Frank Sinatra's valet George Jacobs recalled in his memoirs that Sinatra also liked to drop by Grace's Little Belmont in the early morning hours after his shows at the 500 Club to say hello to Davis' mother behind the bar.

From 1989, until her death in 2000, she was an adviser to the New York Committee to Celebrate National Tap Dance Day. She was also survived by a daughter, Ramona.

Personal life
Sanchez was Catholic and raised Sammy Jr. as such.

title: Elvera Sanchez


text:
User:McMullen

David McMullen is a computer technician and contra dance caller in Durham, North Carolina.

One of the areas where I'm primarily contributing is the music of Cape Breton. I have started or made major contributions to the following articles:
 * Buddy MacMaster
 * Natalie MacMaster
 * Jerry Holland

I'm also working on the naval history of the U.S. Civil War. I have started or made major contributions to the following articles: I proposed the article Confederate States Navy for Collaboration of the Week, but it did not get enough votes.
 * Ships
 * CSS Baltic
 * CSS Bombshell
 * CSS Chicora
 * CSS Columbia
 * CSS Drewry
 * CSS Ellis
 * CSS Florida (blockade runner)
 * CSS Florida (cruiser)
 * CSS George Page
 * CSS Georgia (battery)
 * CSS Georgia (cruiser)
 * CSS Jamestown
 * CSS Manassas
 * CSS Nashville (1861)
 * CSS Nashville (1864)
 * CSS North Carolina
 * CSS Owl
 * CSS Palmetto State
 * CSS Raleigh (1861)
 * CSS Raleigh (1864)
 * CSS Rappahannock
 * CSS Richmond
 * CSS Shenandoah
 * CSS Tennessee
 * USS Carondelet (1861)
 * USS Ceres
 * USS Hendrick Hudson
 * USS Mattabesett
 * USS Miami (1861)
 * USS Pensacola (1859)
 * USS Queen of the West
 * USS Sassacus (1862)
 * USS Southfield
 * USS Stromboli
 * Officers
 * James W. Cooke
 * Louis M. Goldsborough
 * Charles W. Flusser
 * James D. Johnston
 * John Newland Maffit (1819-1886)
 * Matthew Fontaine Maury
 * Charles Manigault Morris
 * Peter U. Murphey
 * William Harwar Parker
 * Francis Asbury Roe
 * Charles Carroll Simms
 * John Randolph Tucker (1813-1883)
 * James Iredell Waddell

I'm also currently working on expanding and cleaning up the contra dance article.

I also occasionally contribute in the areas of history, science fiction, and articles relating to North Carolina, and will pitch in to wikify a good article that isn't in the proper format. I have made contributions to:
 * Anthim the Iberian
 * Cambodia under Sihanouk (1954-1970)
 * Culture of Greece
 * History of Puerto Rico
 * The Merovingian
 * Partition of India
 * Stone burner
 * Triangle J Council of Governments

title: User:McMullen


text:
File:Tay Bridge and North Fife.jpg

This photo was taken on the summit of Dundee Law. It shows the Tay Bridge and the north coast of Fife. I took it myself. Adambisset 21:12, 22 Oct 2004 (UTC)

title: File:Tay Bridge and North Fife.jpg


text:
Indian Army Public Schools

Army Public Schools (APS) are chain of educational institutions under regional commands of Indian Army established for the purpose of providing education to the children of Indian armed forces personnel. With a nationwide presence spanning 137 schools, it is one of the largest chains of schools in India. The Army Welfare Education Society (AWES), which was founded in 1983, oversees the management of the APS system, and has established over 137 Army Public schools and 249 Army pre-primary schools across the country, as well as several institutions of higher education.

Since their inception, APSs have witnessed significant growth, with a student population of around 20,000 in 1987 expanding to a mammoth system with a current student strength of approximately 2.3 lakh and 8,500 teaching staff. On average, 5,000 students are added to the APS system every year.

Overview
In general, the management of schools is overseen by the regional commands of the army, and the educational pattern followed is that of the Central Board of Secondary Education (CBSE). Admission priority is given to children of army personnel. Additionally, each Army school is led by a chairman, who is a senior Indian Army officer holding the rank of brigadier, and a patron, who holds the rank of major general.

List of Army Public Schools of India (not all-inclusive)

 * 1) Army Public School, Amritsar
 * 2) Army Goodwill School, Potha, Jammu and Kashmir
 * 3) Army Public School, Agartala
 * 4) Army Public School, Agra
 * 5) Army Public School, Ayodhya
 * 6) Army Public School, Ahmedabad Cantt
 * 7) Army Public School, Ahmednagar
 * 8) Army Public School, Ambala Cantonment
 * 9) Army Public School, Alwar
 * 10) Army Public School, ASC Center and College
 * 11) Army Public School, Babina
 * 12) Army Public School, Bagrakote
 * 13) Army Public School, Ballygunge
 * 14) Army Public School, Bareilly
 * 15) Army Public School, Barrackpore
 * 16) Army Public School, Basistha
 * 17) Army Public School, Beas
 * 18) Army Public School, Bangalore
 * 19) Army Public School, Bengdubi
 * 20) Army Public School, Bhopal
 * 21) Army Public School, Bhuj
 * 22) Army Public School, Bikaner
 * 23) army public school, shillong
 * 24) Army Public School, Binnaguri
 * 25) Army Public School, Bolarum
 * 26) Army Public School, Chandimandir
 * 27) Army Public School, Clement town, Dehradun
 * 28) Army Public School, Chennai.
 * 29) Army Public School, Dagshai
 * 30) Army Public School, Danapur Cantt
 * 31) Army Public School, Damana, J&K
 * 32) Army Public School, Dehu Road
 * 33) Army Public School, Delhi Road
 * 34) Army Public School, Delhi Cantt
 * 35) Army Public School, Devlali
 * 36) Army Public School, Dhaula Kuan
 * 37) Army Public School, Dhrangadhra
 * 38) Army Public School, Dighi
 * 39) Army Public School, Dinjan
 * 40) Army Public School, Fatehgarh Cantt
 * 41) Army public School, Faridkot
 * 42) Army Public School, Fazilka
 * 43) Army Public School, Ferozpur Cantt
 * 44) Army Public School, Gangtok
 * 45) Army Public School, Gopalpur Cantt
 * 46) Army Public School, Tibri Gurdaspur
 * 47) Army Public School, Hisar
 * 48) Army Public School, Jabalpur
 * 49) Army Public School, Jaipur
 * 50) Army Public School, Jhansi Cantt
 * 51) Army Public School, Jodhpur
 * 52) Army Public School, Jorhat
 * 53) Army Public School, Kaluchak, J&K
 * 54) Army Public School, Kanpur Cantt
 * 55) Army Public School, Kamptee
 * 56) Army Public School,  NDA, Khadakwasla
 * 57) Army Public School, Kamraj Road
 * 58) Army Public School, Kashipur
 * 59) Army Public School, Kirkee
 * 60) Army Public School, Kolkata
 * 61) Army Public School, Kannur
 * 62) Army Public School, Lalgarh Jattan
 * 63) Army Public School, Lansdowne
 * 64) Army Public School, Kunraghat, Gorakhpur
 * 65) Army Public School, Leh, Phyang.
 * 66) Army Public School, Lucknow,  Nehru Road
 * 67) Army Public School, Lucknow, Lal Bahadur Shastri Marg
 * 68) Army Public School, Lucknow, SP Marg
 * 69) Army Public School, Mamun Cantt
 * 70) Army Public School, Mathura Cantt
 * 71) Army Public School, Meerut Cantt
 * 72) Army Public School, Mhow
 * 73) Army Public School, Mumbai
 * 74) Army Public School, Nabha
 * 75) Army Public School, Nahaan
 * 76) Army Public School, Namkun Cantt
 * 77) Army Public School, Narangi
 * 78) Army Public School, Nasirabad
 * 79) Army public School, Noida
 * 80) Army Public School, Nagrota
 * 81) Army Public School, Panagarh
 * 82) Army Public School, Parachute Regiment Training Centre, Karnataka
 * 83) Army Public School, Patiala
 * 84) Army Public School, Potha
 * 85) Army Public School, Pathankot
 * 86) Army Public School, Pune
 * 87) Army Public School, New Cantt. Prayagraj
 * 88) Army Public School, Red Eagle Division, Old Cantt. Prayagraj
 * 89) Army Public School, Raiwala
 * 90) Army Public School Rangapahar
 * 91) Army Public School, Rorkee
 * 92) Army Public School, Ramgarh Cantt
 * 93) Army Public School, Samba.
 * 94) Army Public School, Sagar
 * 95) Army Public School, Shankar Vihar
 * 96) Army Public School, Shillong
 * 97) Army Public School, Sukna
 * 98) Army Public School, Suratgarh
 * 99) Army Public School, Tenga Valley
 * 100) Army Public School, Tezpur
 * 101) Army Public School, Tibri
 * 102) Army Public School, Trivandrum
 * 103) Army Public School, Udhampur, J&K
 * 104) Army Public School, Umroi Cantt
 * 105) Army Public School, Varanasi
 * 106) Army Public School, Yol Cantt
 * 107) General B. C. Joshi Army Public School, Pithoragarh
 * 108) Army Public School, Rakhmuthi, J&K
 * 109) Army Public School, Jammu cantt, J&K
 * 110) Army Public School, Ratnuchak, J&K
 * 111) Army Public School, Akhnoor, J&K
 * 112) Army Public School, Sunjuwan, J&K
 * 113) Army Public School, Miran sahib, J&K
 * 114) Army Public School, Dhar road, Udhampur, J&K
 * 115) Army Public School, Srinagar, J&K
 * 116) Army Public School, Samba, J&K
 * 117) Army Public School, Bathinda
 * 118) Army Public School, Unchi Bassi
 * 119) Army Public School, Janglot, J&K
 * 120) Army Public School - RK Puram ,Secunderabad

title: Indian Army Public Schools


text: Category:Social groups

title: Category:Social groups


text:
Wikipedia:Articles for deletion/Agitation

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was — keep.

Agitation
''Disamb page that disambs between to dic defs and an article. Not really needed. Links to this page should be redirected and the page deleted. [[User:MacGyverMagic|Mgm|(talk)]] 21:09, Oct 22, 2004 (UTC)''
 * No, redirect this, don't delete. The Recycling Troll 21:23, 22 Oct 2004 (UTC)
 * Keep. These "dicdefs" have wider meanings and eventually deserve their own articles. For example, Agitation (whatever) in the sense of mixing. I created this disambig for the sole purpose to separate out the Communist political usage of the term. To redirect Agitation to Agitprop is bad idea. Backlinks cleary show there are at least two more meanigs that I listed. I am not in a position neither write stubs for these articles, nor select which meaning is primary. Also, my redirect to Agitprop is faulty as well. there should probably be Agitation (political) or smth. instead.Mikkalai 21:47, 22 Oct 2004 (UTC)
 * Keep. Check out "What links here;" reveals several articles link to "agitation" in the physical sense. Fishal 06:37, 23 Oct 2004 (UTC)
 * Keep. - Ta bu shi da yu 10:18, 26 Oct 2004 (UTC)
 * Keep — siro  χ  o  00:39, Oct 27, 2004 (UTC)
 * Annnnnnnnnnnnd Keep. -- Radman1 15:55, 27 Oct 2004 (UTC)
 * K/R One of these senses is certainly notable. I might remove the emotional state, since that's better placed in Wiktionary.  If there are uses of the term "agitation" in science which do not share the common-sense meaning (to shake or disturb considerably) then K.  Otherwise R to agitprop. Chris 04:03, 28 Oct 2004 (UTC)
 * I'd really like to see an encyclopedic article on emotional agitation. How do you like an article in a medical journal: Treatment of agitation in dementia? It clearly shows that the term is way more than dicdef. Mikkalai 04:52, 28 Oct 2004 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text: Category:American cyclists

title: Category:American cyclists


text:
Congress (Dolo)

Congress (Dolo), a group that split away from Indian National Congress in Arunachal Pradesh. Congress (D) was founded July 25, 2003 by Kameng Dolo. Together with Gegong Apang of Arunachal Congress, Congress (D) formed a state government. On August 30, 2003, Congress (D) merged with Bharatiya Janata Party.

title: Congress (Dolo)


text:
Santa Monica Bay

Santa Monica Bay is a bight of the Pacific Ocean in Southern California, United States. Its boundaries are slightly ambiguous, but it is generally considered to be the part of the Pacific within an imaginary line drawn between Point Dume, in Malibu, and the Palos Verdes Peninsula. Its eastern shore forms the western boundary of the Los Angeles Westside and South Bay regions. Although it was fed by the Los Angeles River until the river's catastrophic change of course in 1825, the only stream of any size now flowing into it is Ballona Creek. Smaller waterways draining into the bay include Malibu Creek, Topanga Creek, and Santa Monica Creek.

The Santa Monica Bay is home to some of the most famous beaches in the world, including Malibu Lagoon State Beach (Surfrider), Will Rogers State Beach, Santa Monica State Beach, and Dockweiler State Beach.

Several piers extend into the bay, including Malibu Pier, Santa Monica Pier, Venice Pier, Manhattan Beach pier, Hermosa Beach pier, and Redondo Beach pier. Marina Del Rey is a dredged marina. The Bay is also a very popular fishing destination year-round.

History
In the 1930s, gambling ships anchored beyond the regulated three-mile limit, then kept measured from the beach. The ships were popular, and a fleet of ever-larger ships and barges appeared until the State Attorney General recalculated the limit to exclude the bay. The largest ship held the state police off for nine days with submachine guns in what the newspapers called The Battle of Santa Monica Bay.

Once a major commercial fishery, Santa Monica Bay's water quality declined drastically in the 20th century as development of Los Angeles County resulted in large amounts of sewage and trash-rich storm runoff being dumped into its waters. Through restoration projects mandated by the Clean Water Act and advocated by groups such as Heal the Bay and the Surfrider Foundation, the bay's water quality has improved fairly dramatically from its early-1980s nadir. Hyperion sewage treatment plant's output is now far cleaner than before. However, during the region's rainy winters, the bay suffers from algal bloom and other water pollution-related maladies, periodically forcing most of the famous beaches along its shore to close.

On January 13, 1969, Scandinavian Airlines System Flight 933 crashed into the bay while on approach to Los Angeles International Airport, killing 15 of the 45 people on board. Five days later on January 18, United Airlines Flight 266 crashed into the bay after takeoff from the same airport, killing all 38 people on board.

In 1990, actor Wallace Reid Jr. was killed when his homebuilt plane crashed in the bay amid heavy fog.

In 2006, game show host Peter Tomarken and his wife Kathleen were killed in a plane crash into the bay. They were heading to San Diego to pick up a cancer patient who needed transportation to UCLA Medical Center for treatment when their airplane crashed.

Communities and settlements

 * El Porto
 * El Segundo
 * Hermosa Beach
 * Malibu
 * Manhattan Beach and Bruce's Beach
 * Marina del Rey
 * Pacific Palisades
 * Palos Verdes Estates
 * Playa del Rey
 * Rancho Palos Verdes
 * Redondo Beach
 * Santa Monica
 * Torrance
 * Venice

title: Santa Monica Bay


text:
Sammy Davis Sr.

Samuel George Davis Sr. (December 12, 1900 – May 21, 1988) was an American dancer and the father of entertainer Sammy Davis Jr.

Early life
Davis was born in Wilmington, North Carolina, to Rosa B. Taylor (1870–1956) and Robert Davis (1868–1948). He and his former wife Elvera Sanchez were both dancers in a vaudeville troupe. The couple split up when their son Sammy Jr. was three. Davis took custody of his son, who then went into show business with his father. He and Will Mastin, the leader of the dance troupe, taught Sammy Jr. how to dance and they performed together as the Will Mastin Trio.

Sammy Jr. once stated, "When I was nine I told my father, 'I can outdance you'. 'Oh yeah? What makes you think that?' he asked. 'Cause you taught me everything I know'. 'Yeah, but I didn't teach you everything I know.'"

Career
Davis began dancing early in life, and as a young man joined Will Mastin to form a dancing troupe. Soon Sammy Jr. joined the act and they became known as the Will Mastin Trio. The three appeared in the 1956 Broadway musical Mr. Wonderful.

Davis also appeared in two movies, Sweet and Low (1947) with the Will Mastin Trio, and The Benny Goodman Story (1956), in which he played the bandleader and arranger Fletcher Henderson.

Death
Davis died May 21, 1988, in Beverly Hills, California, at the age of 87, of natural causes, just two years before the death of his son, Sammy Davis Jr.

He was interred at Forest Lawn Memorial Park (Glendale) in Glendale, California.

title: Sammy Davis Sr.