text:
Talk:Philotheus of Pskov

name
Unless he is known in English as Felofei, he should be moved to Felofey. The move doesn't require an admin, but I would rather wait to check whether anyone knows which name prevails in English (if there is one). -Irpen 02:26, 15 October 2005 (UTC)
 * Filofei seems to be reasonably well established, although the correct English translation is Philotheus, of course. On Google search, Philotheus yields 12,900 hits (mostly unrelated to Russia), Filofei - 433, Filofey - 259, Philopheus - 44, and Felofey (as proposed by you) - 1 hit. --Ghirlandajo 21:48, 15 October 2005 (UTC)

Well, of course I meant Filofey (Felofey was a typo). I checked Britannica. It calls him "Philotheus (Filofei's)" in the Russian literature article and Philotheus of Pskov in the Eastern Orthodoxy article. I suggest to move it to Philotheus of Pskov and have the rest as redirects. How about that? --Irpen 03:36, 16 October 2005 (UTC) OK, since no one is objecting, I will then move it to [[Philotheus of Pskov. Last chance to raise objections. --Irpen 01:29, 10 November 2005 (UTC)

title: Talk:Philotheus of Pskov


text:
Wikipedia:Articles for deletion/U15/3

 * 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 on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was DELETE.  Rob e  rt  15:44, 22 October 2005 (UTC)

U15/3
No claim of notability. Wiki already has a page on cricket, club cricket. Looks like it was set up just to list upcoming games. JJay 02:27, 15 October 2005 (UTC)

http://www.cornwallcricket.co.nz/juniors/images/PN2.jpg
 * Delete per nom. --JJay 02:30, 15 October 2005 (UTC)
 * "Hello U15/3 people and everybody who is interested in junior cricket." Any article that begins like that is straying pretty far from encyclopedic material. If the topic was notable, that could be fixed, but, well... it's not. Delete. -- Captain Disdain 03:07, 15 October 2005 (UTC)
 * delete as per da Cap'n. --Tedzsee 03:33, 15 October 2005 (UTC)
 * Yup. delete it.--Gaff talk 10:31, 15 October 2005 (UTC)
 * Delete nn. that picture of young thorpy is priceless, however. Jesse 19:08, 15 October 2005 (UTC)
 * Delete NN --Rogerd 03:33, 18 October 2005 (UTC)
 * delete - not notable. --Ixfd64 07:17, 18 October 2005 (UTC)
 * Delete. Shudder!!! Moriori 07:23, 18 October 2005 (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 an undeletion request). No further edits should be made to this page.

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

title: Wikipedia:Articles for deletion/U15/3


text:
Smith Corona

Smith Corona is an American manufacturer of thermal labels, direct thermal labels, and thermal ribbons used in warehouses for primarily barcode labels.

Once a large U.S. typewriter and mechanical calculator manufacturer, Smith Corona expanded aggressively during the 1960s to become a broad-based industrial conglomerate with products extending to paints, foods, and paper. The mechanical calculator sector was wiped out in the early 1970s by the production of inexpensive electronic calculators, and the typewriter business collapsed in the mid-1980s due to the digital revolution and PC-based word processing.

Smith Corona adapted by manufacturing word processing typewriters such as the PWP 1400 model. Its competitors were Brother, Olivetti, Silver Seiko, Adler, Olympia and IBM. In late 2010, Smith Corona entered the industrial ribbon and label market.

The company no longer manufactures typewriters or calculators, but does manufacture large quantities of barcode and shipping labels and the thermal ribbons used in thermal transfer printers. Their facility is in Cleveland, Ohio. Smith Corona competes with distributors of Zebra Technologies supplies, packaging companies like Uline, and various other private companies.

History
The company originated in 1886, when the Smith Premier Typewriter Company was established by Lyman C. Smith and his brothers Wilbert, Monroe, and Hurlbut. The typewriter was the first to use a double keyboard, but it was not the first typewriter that typed both upper and lower case characters; that honor belonged to the Remington #2 that was introduced in 1877–78, the decade before the first Smith Premier was placed on the market. The advertisements boasted that there was "a key for every character!"

In 1889, the Smith-Premier, the first typewriter to bear the Smith name, was manufactured in Lyman C. Smith's gun factory on South Clinton Street in Syracuse, New York. Alexander T. Brown, an employee, invented the machine, and Wilbert Smith financed the construction of the prototype.

Union Typewriter Company
During 1893, Smith joined with the Union Typewriter Company, a trust in Syracuse which included rival firms Remington, Caligraph, Densmore and Yost.

Not long after, Union took action and blocked the Smith Premier Typewriter Company from using the new front strike design, which allowed typists to see the paper as they typed. As a result, the Smith brothers quit in 1903 and founded L. C. Smith & Bros. Typewriter Company. The new company soon released the "L.C. Smith & Bros. Model No. 2," which was an odd beginning because, a full year later, they released the "L.C. Smith & Bros. Model No. 1." Carl Gabrielson invented both models.

In 1906, the Rose Typewriter Company of New York City marketed the first successful portable typewriter. They were bought out by Smith in 1909, renamed Standard Typewriter Company, and moved upstate to Groton, New York.

Typewriter services

To promote usage of the typewriter, the company began by offering typing services at the company headquarters located at the corner of East Genesee and Washington streets in Syracuse. An advertisement on December 27, 1904, for Smith Premier typewriters, touted the Employee Department which offered services such as finding a "competent stenographer (male or female) to operate any make of machine." The company advertised they could provide the services promptly, saving clients time and trouble and "examining" all applicants. Operators could perform duties such as stenographer, typewriter, telegrapher, and bookkeeper.

Corona Typewriter Company

With the success of their Corona model in 1914, Standard Typewriter Company was renamed again and became the Corona Typewriter Company. Smith Corona was created when L. C. Smith & Bros. united with Corona Typewriter in 1926, with L. C. Smith & Bros. making office typewriters and Corona Typewriter making portables.

World War II M1903A3 bolt-action rifles
Production shifted from typewriters to various military weapons and parts during World War II. In October 1942, Smith-Corona Typewriter Company began producing M1903A3 Springfield rifles at its plant in Syracuse, with assistance from Remington Arms and High Standard Manufacturing Company. Subcontractor barrels give unusual collector value to some of these 234,580 Springfield rifles. Serial numbers 3608000 to 3707999 and 4708000 to 4992000 carry the Smith-Corona name on the receiver ring. While many M1903A3 rifles manufactured by Remington have 2-groove barrels, most rifles assembled by Smith Corona used 4-groove barrels manufactured by High Standard, and approximately five thousand of the barrels finished by High Standard were from 6-groove barrel blanks made by Savage Arms.

Bolts on Remington M1903A3 rifles have a parkerized finish and are stamped with the letter "R" at the root of the handle; Smith Corona bolts are blued and usually stamped with the letter "X" on top of the handle, although some are unmarked. Some extractors on Smith Corona rifles are stamped with the letter "S" on the bottom. Stamped steel stock fittings were generally blued, although some were parkerized in late production. Butt plates of the Smith Corona rifles were checkered with 10 or 11 lines per inch, while Remington used 16 lines per inch.

Rifle production ceased on February 19, 1944, when supplies of standard M1 Garand rifles were considered adequate. Some of the rifles were never issued, while others were reconditioned in government armories after service use. Reconditioned rifles often have substituted parts from Remington or Springfield manufacture. Most rifles were stored after the war until many were sold through the Civilian Marksmanship Program in the early 1960s.

Mid-century
After the war, the company concentrated on making its typewriters more convenient and efficient for use in business offices. Typewriter sales peaked after World War II; in response to a demand for typewriters capable of faster output, Smith Corona introduced electric typewriters in 1955. Electric portables, intended for traveling writers and business people, but later widely purchased for general home use, were introduced in 1957. The new portable electric typewriters would become an essential tool for generations of U.S. high school and college students.

In a diversification move into the wider office technology sector, Smith Corona purchased the Kleinschmidt Corporation in 1956 and Marchant Calculator in 1958, changing its corporate name to Smith-Corona Marchant Inc (SCM) Also in 1958, Smith Corona acquired British Typewriters, Ltd. of West Bromwich, England, a company that made small portable typewriters. The company invented the typewriter power carriage return in 1960, the same year it moved from Syracuse to Cortland, New York and opened new corporate headquarters on Park Avenue in New York City.

1960 also saw the company's first foray into the photocopier business with the Vivicopy range of machines, also the accounting machinery market with a range of punch card and tape products manufactured for it in Germany by Kienzle. Still on the acquisition trail, SCM acquired the St. Louis Microstatic Company in 1961. This merger gave rise to the Model 33 Electrostatic Copier, which went on sale in April 1962.

Thus by the mid-1960s SCM had become a major supplier to the office equipment market, offering photocopiers, typewriters and calculating machines.

In 1962, Smith Corona changed its corporate name to SCM Corporation and adopted the tribar SCM logo. In 1967, SCM purchased the Allied Paper Corporation for $33 million. The paper-making division was named SCM Allied Paper. The same year, SCM merged with The Glidden paint company. Glidden was reorganized as the Glidden-Durkee division of SCM. One reason for this merger was that Glidden saw SCM's bid as a "White Knight" bid in preference to an alternative offer from Greatamerica Corporation in Dallas, Texas and General Aniline & Film of New York. In its turn, the acquisition put the (now much larger) SCM itself beyond the reach of any potential hostile bidders of the time. It was also hoped that Glidden's research into paper coatings would be useful in SCM's copier business.

The "Letterpack" product of 1967 was a handset on which personal voice messages could be recorded on small tape cartridges which could be mailed to the recipient (who needed another handset to replay it). The cartridges lasted 3, 6 or 10 minutes, and a pair of handsets cost $70.

In 1965, SCM was instrumental in developing smaller computers for the business market. The basic computer consisted of an electric typewriter, plug boards, card readers, paper and mag tape readers. The client would purchase a computer and programs specifically designed for their operation. This data processing division was eventually sold to Control Data Corporation in the early '70s.

In 1966, SCM bought the consumer product company Proctor Silex, manufacturers of toasters and can-openers.

In 1973, the company constructed a new typewriter manufacturing facility in Singapore — with 1,300 employees. In the same year, SCM introduced a cartridge ribbon which eliminated the long-standing problem of getting ink-stained fingers from hand-threading a replacement spool of inked ribbon.

Financial problems
The calculator market collapsed with the advent of inexpensive electronic pocket calculators in the mid-1970s. The typewriter market also faced competition from less expensive imported typewriters, particularly typewriters from Brother Industries, Nakajima and Silver Seiko Ltd..

This was a contributing factor in the closure of the West Bromwich, England, plant in 1981. By 1985, personal computers were widely used for word processing, and SCM launched their first portable word processor, along with the first portable typewriter that included an electronic spelling function. These products were insufficient in the face of the diminishing typewriter market. These trends, along with the bloat of operating divisions without inherent business logic, rendered it vulnerable to takeover. Thus, in 1986, SCM was taken over by Hanson Plc and the company immediately disposed of some SCM divisions, including the headquarters building in New York City, for a significant profit.

The company moved its remaining typewriter manufacturing operations from Cortland to Mexico in 1995 and announced it was cutting 750 jobs as a result of continuing sales declines. Shortly thereafter, the company declared bankruptcy. After 1995, the company concentrated on sales of portable electronic typewriters, as well as typewriter and word processor supplies. The company's then current electronic models featured LCDs, built-in dictionaries, spell check, and grammar check features.

Thermal label market
After being acquired by a private company during its second bankruptcy in 2000, Smith Corona moved all typewriter manufacturing and typewriter supplies manufacturing to Cleveland, Ohio. Within five years Smith Corona quit manufacturing all typewriters. As the typewriter supply business continued to decline, Smith Corona decided to leverage its expertise in ribbons and thermal technologies it had previously used in the typewriter business, into the growing thermal label market.

title: Smith Corona


text:
Talk:Lao Lum (ethnic groups)

Sources: Almanac (If there's Lao Sung {Highlands}, Lao Thoeng {Midlands}, then there's obviously Lao Loum {Lowlands})!!!

title: Talk:Lao Lum (ethnic groups)


text:
User talk:Shilasu

Created. Shilasu 02:28, 15 October 2005 (UTC)

title: User talk:Shilasu


text:
Wikipedia:Articles for deletion/Death note

 * 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 on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was Redirect to Death Note. Physchim62 17:29, 21 October 2005 (UTC)

Death note
This should be deleted, or at the very least, redirected to Death Note. I'd bet every penny I've earned that this was created only to add further attention to the Death Note LiveJournal community debacle. cma 02:34, 15 October 2005 (UTC)

 * Redirect → Death note; R from other capitalisation --Mysidia (talk) 02:50, 15 October 2005 (UTC)
 * Redirct per above.  [[Image:Smilie.gif|20px]] Molotov [[Image:Caranimationforvmolotov.gif|25px]]   (talk)   e    03:43, 15 October 2005 (UTC)
 * Another example of the stuff that will be WP's undoing. delete it.  and how!--Gaff talk 10:32, 15 October 2005 (UTC)
 * How about a redirect to Death certificate. Lets deal with real things on WP.  Not abstract who-haw.--Gaff talk 10:34, 15 October 2005 (UTC)

 * Redirect to Death Note. Gaff, manga are "real things", even though all of the article except its lead deals with the fictional aspect.  See also User:Uncle G/Describe this universe.  Have you ever actually heard of a death certificate being described as a "death note"? —Cryptic (talk) 11:30, 15 October 2005 (UTC)
 * Not in the hospital I work at. I'll withdraw my vote to delete and let it get redirected wherever.--Gaff  talk  08:45, 16 October 2005 (UTC)

 * Redirect to Death Note. --Optichan 16:36, 15 October 2005 (UTC)
 * Redirect per nom. Jesse 19:13, 15 October 2005 (UTC)
 * Redirect as there is already a perfectly acceptable article located at Death Note. cma 01:31, 17 October 2005 (UTC)
 * Delete --Rogerd 03:32, 18 October 2005 (UTC)
 * Redirect per Mysidia et al. --168.12.253.82 14:43, 19 October 2005 (UTC)
 * Redirect to Death Note, which is a far better article anyway. - Sensor 02:29, 20 October 2005 (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 an undeletion request). No further edits should be made to this page.


text:
Keith Jenkins

Keith Jenkins (1943) is a British historiographer. Jenkins studied medieval and modern history as well as political theory at The University of Nottingham. Like Hayden White and "postmodern" historiographers, Jenkins believes that any historian's output should be seen as a story. A work of history is as much about the historian's own world view and ideological positions as it is about past events. This means that different historians will inevitably ascribe different meanings to the same historical events. Nevertheless, all historians are constrained by the common body of historical evidence (or "artifacts").

Jenkins consistently works to undercut and move readers beyond "traditional" and "moribund" histories. He believes that history is "promiscuous" and therefore lends itself to each historian's interpretation. Therefore, history ought to end, and Jenkins desires "the era or the raising of consciousness of the aporia... of the undeniability of the decision and incredulity towards metanarrative". However, despite arguing for the end of history, Jenkins also accepts the possibility of experimental histories written "beyond the limits of the academic genre". He further acknowledges that history will neither be quick nor easy to let go.

He is the author of Re-thinking History (1991) and On "What is History" : From Carr and Elton to Rorty and White (1995), edited The Postmodern History Reader (1997), and is the author of ''Why History? Ethics and Postmodernity'' (1999). With Alun Munslow he co-authored The Nature of History Reader (2004), in which key pieces of writing by leading historians are reproduced and evaluated, with an explanation and critique of their character and assumptions. "Re-thinking History" is simultaneously his first and best-known book. A theme issue of the journal Rethinking History was dedicated to his work and a critical account has been published by Dr. Alexander Macfie in June 2012 in Reviews in History, a publication of the Institute of Historical Research.

Jenkins retired from the position of professor of historical theory at the University of Chichester in 2008.

title: Keith Jenkins


text: User talk:70.104.230.162

title: User talk:70.104.230.162


text:
Dennis Awtrey

Dennis Wade Awtrey (born February 22, 1948) is a retired American professional basketball player. A 6'10" center from Santa Clara University, Awtrey was drafted by the NBA's Philadelphia 76ers in 1970. He played in the league for twelve seasons, spending time with the 76ers, Chicago Bulls, Phoenix Suns, Boston Celtics, Seattle SuperSonics, and Portland Trail Blazers.  Awtrey had his finest season in 1974–1975, when he averaged 9.9 points and 8.6 rebounds as a member of the Suns. Awtrey was also known for once having punched Kareem Abdul-Jabbar in the jaw.  In 2012, Awtrey moved to Manzanita, Oregon, where he now operates a bed-and-breakfast.

title: Dennis Awtrey


text: User talk:171.65.174.16

title: User talk:171.65.174.16


text: User:Alphax/Awards

title: User:Alphax/Awards


text: User talk:68.8.145.26

title: User talk:68.8.145.26


text:
User:Blisspix

Librarian in Australia. Have previously collaborated with Wikimedia Library.

title: User:Blisspix


text: User talk:63.27.87.97

title: User talk:63.27.87.97


text:
Taepyeongso

The taepyeongso, also called hojok, hojeok 호적 號笛/胡笛, nallari, or saenap, 嗩吶, is a Korean double reed wind instrument in the shawm or oboe family. It is possibly descended from the Persian sorna and is closely related to the Chinese suona. It has a conical wooden body made from yuja (citron), daechu (jujube), or yellow mulberry wood, with a metal mouthpiece and cup-shaped metal bell. It originated during the Goryeo period (918–1392).

The loud and piercing sound it produces has kept it confined mostly to Korean folk music (especially "farmer's band music") and to marching bands, the latter performed for royalty in the genre known as daechwita. It is, however, also used sparingly in other genres, including Confucian, Buddhist and Shamanist ritual musics, neo-traditional/fusion music and kpop, included in works such as "Lalalay" by Sunmi (2019).

The volume is large and the pitch is high, making it suitable for playing outdoors.

Taepyeongso was originally an instrument used in military camps, but after the late Joseon Dynasty, its playing area expanded to include nongak and Buddhist music. In recent years, it is also used as a solo instrument and in original music. Taepyeongso is the only instrument that plays a melody among the instruments used in military music, agricultural music, and Buddhist music.

English
Written sources in English are scarce. The instrument is mentioned and discussed briefly in a number of books, such as those produced by the National Center for the Traditional Korean Performing Arts, which introduce Western readers to Korean music and culture. Nathan Hesselink's Pungmul (2006) devotes a few paragraphs of background to the instrument, as does Keith Howard's Korean Musical Instruments: A Practical Guide (1988). Lee Byong-Won's Buddhist Music of Korea (1987) provides brief analyses of taepyeongso playing in Buddhist ceremonial music and dance, as well as some important details about the players.

Maria Seo, in Hanyang Gut (2002), and Lee Yong-Shik in Shaman Ritual Music in Korea (2004), provide some context for taepyeongso playing in shaman rituals. Keith Howard has an interesting, although speculative, discussion on daechwita—royal processional music usually featuring two taepyeongso in Bands, Songs and Shamanistic Rituals (1989), and further context for taepyeongso in court music is provided by Song Kyong-Rin in "Korean Musical Instruments" (in Survey of Korean Arts: Traditional Music, 1973).

Korean
Journal articles include Go Boyun's overview of taepyeongso playing in pungmul, "풍물놀이를 위한 태평소 지도반" (2002), and an acoustical analysis of taepyeongso sound production by Byeon Jungbae, et al., entitled (in English) "Extraction of Characteristics Corresponding to Bell of Taepyeongso Based on Acoustical Analysis" (2007). Master's theses are more numerous. The list includes: A study of Buddhist ritual and taepyeongso (불교 의식과 태평소에 관한 연구) by Jeong Namgeun in 2001; "영산재에 연주되는 태평소 가락 분석" [analysis of taepyeongso melodies for yeongsanje] by Kim Wonseon (1999); "태평소 시나위 선율분석 연구:박종선류를 중심으로" [analysis of Bak Jongseon's sinawi] by Bak Gyeonghyeon (2004); "태평소와 사물놀이를 위한 관현악: '푸리'" ["puri" for taepyeongso and samulnori] by Hwang Uijong (1991); "한국 전통음악의 연구: 박범훈류 피리산조, 대풍류, 태평소시나위를 중심으로" [study of Korean 15 traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu] by Yu Gyeongsu (1998); "대취타 변천과정에 대한 연구:태평소 선율을 중심으로" [study of the evolution of taepyeongso melody in daechwita] by Kang Yeonggeun (1998); "능게굿거리 선율 비교 분석 :지영희, 최경만 선율을 중심으로" [comparison of Choi Gyeongman's and Ji Yeonghi's neunggye gutgeori] by Kim Seongyeop (2005); and "동 서양의 겹 리드악기의 발전과 역사적 고찰" [development and history of double reed instruments in Korea and the west] by Kim Gi-nam (2004).

Names
The instrument is known by a number of names, including taepyeongso (hanja: "great peace pipe"), hojeok (hanja: "reed instrument of the Xianjiang people"), saenap/swenap (probably a transliteration of suona, the Chinese version of the instrument), and nallari/nalnari (pure Korean; onomatopoeic). The term saenap was adopted as the official term for educational use by the National Centre for the Traditional Korean Arts, but is currently the least commonly encountered, and NCKTPA's website now uses the term taepyeongso. The term nallari/nalnari tends to be associated with popular entertainment (especially pungmul), rather than ritual use.

Classification
Under the Hornbostel-Sachs system of classification, taepyeongso would be designated 422.112: an oboe with a conical bore. Indigenous classification systems in Korea categorize instruments by use/origin and by material. Classification by materials—called pal eum, or "eight tones"—is based on Chinese classification theory, and was used as the basis of the oft-cited 1908 document Jeungbo munheonbigo. In this document, taepyeongso is classified as bamboo, perhaps to reflect its similarity to piri, another double reed instrument. In later classifications based on pal eum, however, such as Kim Gi-su's Gugak Ipmun (1983), taepyeongso is sometimes reclassified as wood. The remaining six materials in this system are metal, silk, skin, stone, gourd, and clay. 'Classification by use' derives from the Goryeosa ("History of Goryeo", 1451) in which instruments were categorized according to whether they were used in aak (ritual music of Chinese origin), dangak (secular music of Chinese origin), and/or sogak (indigenous music), with some instruments being included in more than one category. Meanwhile, in the Akhak gwebeom, the encyclopedic 1493 treatise on music, instruments are similarly classified under the categories aak, dangak, and hyangak (indigenous music), but here instruments are placed in only one category, suggesting an 'origin'-based scheme rather than a 'use'-based scheme.

In this treatise, noteworthy for containing the earliest written mention of taepyeongso in Korea, taepyeongso appears—together with janggu, haegeum (spiked fiddle), ajaeng (bowed zither) and other instruments widely used in Korean folk traditions today—under dangak.

Introduction to Korea
The precise date of the instrument's introduction to Korea is unknown. It seems to not have been included in the historically significant gift of instruments given to the Goryeo-era King Yejeong by Emperor Huizong of Song in 1114, although similar instruments are mentioned, including "twenty oboes...with thin wooden tablets bound with gold and silver threads, red silk mattresses, and purple silk hyoppokcha". As indicated, the earliest mention of taepyeongso is in the 1493 Akhak gwebeom. The alternative name hojeok—referring to the peoples of the Xinjiang region of Northwest China from where the instrument is believed to have been introduced to East Asia during the third to fifth centuries —suggests a possible route for the instrument's introduction to Korea.

Distribution
The common Chinese term for this instrument type (suona) seems, like the shehnai of India and the Cambodian sralai, to be a transliteration of zurna, the Persian shawm. As suggested above, the Sino-Korean term "saenap" is likely another variation of this term. In any case, similar instruments have traveled widely from their purported roots in Persia —to Cuba, where it is known as the trompeta china and is used in carnival festivities (see Trompeta china); to Spain, where it is known as the dulzaina; to Kenya, where it is the bung'o or nzumari; to Croatia, where it is the sopila, and so on.

The instrument's loud, wailing cry lends itself to outdoor, public occasions, and it tends to be accompanied—in Korea and elsewhere—by drums and other percussion instruments. In North Korea, a new jang-saenap with oboe-like keys, a mellower sound, and an extended range has been developed. There is at least one CD available in the South of this instrument—Choi Yeong-deok's Jang-saenap Dokju-kogjip—whose tracks include renditions of "Amazing Grace" and "Polovetsian Dances" by Alexander Borodin.

Body of instrument
There are seven fingerholes on the front, of which only the upper five are normally used, and one in the back, which the left thumb nearly always covers (the main exception to this is daechwita, where all eight holes are played). Various types of wood are used, including jujube (Howard 1995, 55), citron wood, yellow mulberry wood (Yun 1998, 33), and ebony. Construction today is standardized, and most are imported from China, although one might imagine that in the past there must have been considerable variations in the construction. More expensive instruments can usually be taken completely apart for cleaning or replacement, while with cheaper instruments, normally only the bell and tassel can be removed.

Reeds
In the past, reeds were made of the stem of river reeds (galdae) hollowed out, repeatedly steamed and dried, sanded down and shaped, and bound at the bottom with thread to hold it firmly to the mouthpiece. Today, most players use pieces of plastic drinking straws.

Making a reed
(to make a curved surface).
 * 1) Cut a piece of drinking straw to fit. The length depends on individual tastes—longer reeds make a lower sound and shorter reeds a higher sound.
 * 2) Cut the corners off the top.
 * 3) Flatten the reed in order to make two sharp edges.
 * 4) Wrap a piece of fine grain sandpaper around the index finger or the instrument
 * 1) Gently sand the flat part of the straw. Count how many strokes you execute on each side to maintain consistency. Test and sand as needed. Generally, a softer, thinner reed will be easier to produce sounds initially, but a certain degree of firmness is required to hit higher notes and manipulate the sound fully.

Contexts
The contexts in which the taepyeongso is used are limited by its high volume. Thus, it is rarely used with voice or other melodic instruments, but frequently with drums, and almost always played outdoors.

Royal processions
The Sino-Korean term chwita literally means "blowing and hitting," while the prefix dae- means "great". Daechwita was used in processions—for example—for the "opening and closing of the gate to military headquarters" with a louder band (featuring taepyeongso) preceding the king and a softer one (featuring piri) following.

Confucianism
In Korean Confucian ritual music, the taepyeongso is used only in three songs—"Somu", "Punung", and "Yeonggwan" (Seo 2002, 206) of the Jeongdae-eop [praise of the military accomplishments of Korean leaders] section performed by the courtyard ensemble during Jongmyo jerye-ak (ritual music for Korean ancestors)

Buddhism
The taepyeongso is used to accompany ritual dance as part of the outdoor band called jorachi or gyeongnaechwi, together with a large gong, cymbals, a barrel drum, and an optional long trumpet and a conch shell.

Shamanism
According to most sources, the taepyeongso is not a central instrument in shaman ritual music. Maria Seo reports that the taepyeongso is not a traditional part of Hanyang Gut (ritual) of Seoul and is used only in specific situations: "The instrument is often played when several gut are in progress simultaneously. The piri player often switches to taepyeongso, producing a louder sound so that his own group of ritual specialists can follow the music better". Seo also mentions "ssang hojeok" (two taepyeongso played simultaneously), and the use of seven taepyeongso played simultaneously during a portion of the ritual in which her informant walked on knife blades. Lee Yong-Shik makes similar observations with regards to Hwanghae region rituals:

"The use of these instruments (piri and taepyeongso) is limited to large-scale public performances. Hwanghae shamans tend to avoid the use of these melodic instruments in ritual practice because they think that such use would revise the ritual to festive celebration." Lee further points out that the taepyeongso is not included in the samhyeonyukgak chamber ensemble used to accompany both shaman rituals and court dances in Seoul and Gyeonggi province.

In the southwest (Jeolla province), the taepyeongso is again an optional instrument in the sinawi ensemble of the southwestern region of Jeolla's shaman ritual. In the east, the taepyeongso was reintroduced into, and used frequently by, Kim Seok-chul in Donghae-an Byeolsingut (east coast purification ritual), but has been discontinued since his passing. In brief, the taepyeongso is used more as an effect than a core instrument in shaman ritual music, a situation made possible by the fact that the professional musicians who accompany shaman rituals are multi-instrumentalists, able to easily switch from one instrument to another.30

Pungmul and associated contexts
The primary context in which the taepyeongso is featured is during pungmul and other Namsadang (professional travelling entertainment troupe) activities, such as tightrope-walking and acrobatics. There is considerable overlap in the repertoire used for pungmul-based taepyeongso playing with shamanist and Buddhist ritual taepyeongso playing—indeed, it is often the same musicians involved.

New music and fusion
The taepyeongso is used frequently on new music and fusion recordings. In these contexts, the taepyeongso may play Western melodies, newly composed melodies, and/or traditional melodies. The primary uses of the taepyeongso in such contexts may be categorized as follows:
 * 1) as a replacement for Western instruments (usually trumpet) in Western music-based ensembles;
 * 2) in combination with Western instruments in neo-traditional ensembles;
 * 3) as orchestral instruments in national music orchestras, such as the KBS Orchestra;
 * 4) as one element in a fusion of more than one type of Korean music;
 * 5) as a venue for experimental music.

The instrument has been used in contemporary popular music; Seo Tai-ji & Boys combined it with heavy metal music in the 1993 song "Hayeoga." It also plays a central role in Ground Zero's "Consume Red". A 57 minute long drone and experimental rock epic released in 1997.

Repertoire
There is considerable overlap within the taepyeongso repertoire among the contexts the described above, with the exception of Confucian Ritual Music. Due to lack of information, North Korean styles are not discussed.

Generally, the repertoire is described in reference to three regional styles: neunggye or gyeongtori (Central Region), Sinawi (Southwestern Region), and Menari (Eastern Region). While these styles were once presumably confined to their respective regions, players today are mostly familiar with each regional style and freely mix (or do not mix) the styles according to personal preference.

Describing these styles in terms of western musical theory is problematic insofar as tunings and formal characteristics differ among individual players. Unlike European art music, the taepyeongso repertoire has traditionally been transmitted directly from teacher to student without aid of written scores, resulting in widely varying interpretations of melodic forms.

Tones and fingerings
The modern taepyeongso has eight fingerholes, seven in front and one on the back. Of the seven frontal fingerholes, most styles are played using only the upper five holes, with the hole in the back remaining covered. The instrument is capable of producing two full octaves, but is mostly confined to approximately an octave and a half. The tones that result from blowing the instrument while covering any particular number of fingerholes vary according to the particular construction of the instrument, the reed, and the player's embouchure. Specific terms for notes produced by various combinations of covered/uncovered holes are provided by Korean musical theory, imported and adapted from Chinese musical theory. The western note designations provided below are approximate.

 * 1) Upper five frontal fingerholes covered: Im (임,林), approximately B
 * 2) Upper four frontal fingerholes covered: Nam (남,南), approximately C
 * 3) Upper three frontal fingerholes covered: Mu (무,無), approximately D
 * 4) Upper two frontal fingerholes covered: Hwang 황,黃), approximately E
 * 5) Upper one frontal fingerhole covered: Tae (태,太), approximately F
 * 6) No frontal fingerholes covered: Jung (중,仲) or Go (고), approximately G/A

Upper octave notes share the same names, although they assume different roles and functions from lower octave notes within melodic constructions. Identical or similar tones may be produced with a variety of different fingerings. Different fingerings may be used to produce different timbres; basic fingering patterns may also vary from teacher to teacher, depending on personal habits and preferences.

Neunggye/Gyeongtori
The term neunggye is of uncertain meaning and origin. It is used almost exclusively to refer to taepyeongso melodies of the central region and is associated particularly with pungmul contexts. The term gyeongtori is a modern construct consisting of a regional designation ('gyeong', referring to gyeonggi province) and a modern musicological term ('-tori', that is, regional mode). The former term, neunggye, is somewhat nebulous, and may refer to either specific melodies or a general style, while the latter refers only to the regional style, but is mostly confined to academic usage.

Compared with other regional styles, the gyeongtori style has a greater variety of individual melodies, but is more fixed in its formal characteristics. Below are listed the most common gyeongtori melodies for taepyeongso.

Neunggye Gutgeori
Neunggye Gutgeori is commonly employed as a beginning piece for new players.

It shares basic melodic and formal characteristics with, and most likely is derived from, the folksong Taepyeongga and the related gyeonggi shaman song Changbutaryeong.

It has a fixed form consisting of three main sections, although this form is sometimes varied.

As the name indicates, it is played to gutgeori jangdan. In general, neunggye melodies feature a descending contour.

Neunggye Jajinmori
Neunggye Jajinmori shares some of the important characteristics of Neungye Gutgeori, such as descending melodic lines, a characteristic cadential phrase echoing that of Neunggye Gutgeori, consistent vibrato on Im and Hwang, and an opening phrase emphasizing Jung. Unlike Neunggye Gutgeori, it does not have a fixed form—a melodic cycle may last for anywhere from one to eleven (or more, at least theoretically) rhythmic cycles.

It is played to jajinmori jangdan.

Giltaryeong/Cheonsubara
Giltaryeong, or 'road melody', is a short, sixteen beat melody with a fixed form.

It may be played with a variety of different jangdan.

When played with hwimori jangdan, it is commonly referred to as "Neunggye Hwimori", or simply "Hwimori".

Cheonsubara, a melody used by taepyeongso players to accompany Buddhist ceremonial dance, is essentially identical to Giltaryeong.

Heoteuntaryong
Heoteun, like 'san' in sanjo, means 'scattered' or 'dispersed'; thus, heoteuntaryeong means 'scattered melody'.

This melody is distinct from other taepyeongso melodies of the gyeonggi region in having Tae, rather than Im or Hwang, as its primary tone.

It has a non-fixed form which can be adapted to a wide range of jangdan, and is a popular vehicle for relatively free improvisation.

Gutgeori
This melody, known by its primary accompanying jangdan (even though it may also be adapted to jajinmori jangdan), is a fixed-form melody consisting, like Neunggye Gutgeori, of three main sections.

Here, however, each section is two, rather than four (as in Neunggye Gutgeori), rhythmic cycles in duration.

The melody is associated with shaman rituals, and is often performed together with a wind ensemble called samhyeonyukgak.

Yeombul/Heoncheonsu
Yeombul or Yeombultaryeong [song of sutra], is primarily associated with Buddhist ritual music.

It is sometimes performed by ssang hojeok (two taepyeongso played simultaneously in approximate unison).

Daechwita
Daechwita was used to accompany state processions during the Joseon dynasty.

It is frequently performed by ssang hojeok, has a fixed form and, unlike most taepyeongso melodies, is rarely played outside of the original context (that is, one is very unlikely to hear it used for pungmul accompaniment, for example).

Assorted Minyo-derived melodies
This category includes any number of folksong melodies which may be adapted for taepyeongso in an entertainment context.

The most widely played folksong on taepyeongso is undoubtedly Pungnyeonga, a 'farming' song which asks for a good harvest.

Other melodies in this category include Cheonnyeonmanse, Hangangsutaryeong, Taepyeongga, Yangsando, and Golpaetaryeong, among others.

Sinawi
Compared with Neunggye Gutgeori and other gyeong-tori melodies, sinawi features a much more free form of improvisation and, in terms of mood, tends to be associated with sorrow.

According to Lee Bohyeong, the term sinawi is derived from sanoe or sanae, the religious folk music of the Shilla Dynasty (2002, 889).

He further differentiates between several types of sinawi: "the original sinawi, which accompanied shaman chants and dances; the non-ritual sinawi, which was performed solo or in an ensemble; the transitional sinawi, which still maintained its improvisational style but was changing into sanjo with influence from the narrative vocal genre p'ansori; and finally the fixed sinawi, which had formal rhythmic and modal schemes and fixed melodic structure" (890).

Taepyeongso sinawi would seem to fall somewhere between the second and last of these types—a solo, non-ritual form which frequently follows a fixed rhythmic progression.

Melodies based on sinawi are also commonly used to accompany pungmul ensembles.

From Kim Seonghak, "Taepyeongso eumgye iyagi gyemyeonjo (sinawi)":

General comments Neunggye is communal: individuality is controlled. Sinawi, on the other hand, represents personal expression. For example, neunggye is like being a little drunk—one enjoys oneself but remains in control. Sinawi is like being completely wasted and being able to express one's emotion without any inhibition whatsoever.

Neunggye follows the jangdan closely, so it is more accessible to listeners. They think they understand it fully on the first listening and, even though their knowledge is superficial, they don't feel the need to study it more closely. Sinawi, on the other hand, plays with the jangdan, and embarrasses the jangdan.

Sometimes in sinawi, the player will produce a long sigh, and then suddenly yell out. The janggu player has to be careful to not get sucked in by the sinawi melody. Sinawi has a lot of charisma. It is not controlled by the jangdan, but at the same time is able to create a sort of harmony with the jangdan. It has the power to affect people deeply. Normally, sadness on its own is not enjoyable, but when expressed through sinawi, it can be experienced as a sort of happiness. Sinawi can make any emotion pleasurable.

The basic tones of sinawi are Im, Mu, Tae, upper Im, and upper Mu. Lower Jung and Hwang are like seasoning. While improvising, one can occasionally use upper Tae and upper Jung.

-translated and summarized from "Taepyeongso eumgye iyagi gyemyeonjo (sinawi)", nd.

Menari
Menari-tori is the least played of taepyeongso styles. As with neunggye, there are particular folksong-derived menari-tori melodies—most notably Baetnorae—which can be played on taepyeongso but, like sinawi, menari is used more commonly as a melodic springboard for freer forms of improvisation. Menari's primary characteristic phrase consists of a downwards sequence of tae-hwang-nam. Unlike neunggye and sinawi, the primary tone of menari is tae, while im is only rarely sounded.

Players

 * Choi In-seo (최인서 1892–1978) – The original holder of Important Intangible Cultural Property #46 (Piri jeongak and Daechwita) and former NCKTPA instructor
 * Bang Tegeun or Tejin (방태근(진) 1901–?)- Disciples include Kim Seok-chul, Song Bok-san, Lee Saeng-gang and Seo Yong-seok
 * Ji Yeong-hui (지영희 1909–1980)- Holder of Gyeonggi regional property for Gyeonggi Sinawi, charter member of NCKTPA, co-founder of School of Korean Traditional Arts
 * Song Bok-san (송복산 1911–1984) – Original holder of Property #3 (Namsadang Nori), Primary taepyeongso player for Seoul Namsadang for over 20 years
 * Kim Tae-seop (김태섭 1922–1992) – Original member of Property #1 (Rites for the Korean Ancestors), Associated with Confucian ritual music
 * Kim Seok-chul (김석출 1922–2005) – Holder of Property #82-Ga (Donghaean Byeolsingut), Associated with Taepyeongso Sanjo/Sinawi and a unique improvisational style incorporating three regional styles
 * Han Il-seop (한일섭 1929–1973) – Former teacher at School of Korean Traditional Arts and Chief Accompanist at Yeongseong Gukgeukdan (Traditional Arts Theatre)
 * Lee Saeng-gang (이생강 1937–present) – Holder of property #45 (Daegeum Sanjo), Teachers included Ji Yeonghui, Bang Taejin, Han Ilseop,
 * Lee Seok-ok (이성옥 1938–present) – Disciple of Bang Tae-jin
 * Kim Jeom-seok (김점석 1939–present) – Member of property #104 (Seoul Saenamgut), Master of taepyeongso, daegeum, danso (end-blown flute), piri, haegeum
 * Seo Yong-seok (서용석 1940–present) – Disciple of Bang Taejin
 * Bak Jong-seon (박종선 1941–present) – Best known for Ajaeng Sanjo; master of taepyeongso, daegeum, kayageum, ajaeng, janggu and buk (barrel drum), Former senior instructor at NCKTPA
 * Jeong Jae-guk (정재국 1942–present) – Holder of Property #46 (Piri Jeongak and Daechwita), Director of School of Traditional Korean Culture
 * Kim Guhe-seu-nim (김구해스님 born Kim Insik, 1943–present) – Successor (junbo-yuja) to Property #50 (Yeongsanjae)
 * Heo Yong-eop (허용업 1947–present) – Member of Gyeonggi Regional Property #15 (Dodang Gut), Master of taepyeongso, piri, haegeum and daegeum, Participating member of Seoul Saenamgut (with Kim Jeomseok)
 * Choi Gyeong-man (최경만 1947–present) – Instructor at NCKTPA, Disciple of Ji Yeonghui
 * Won Jang-hyeon (원장현 1950–present) – Holder of Property #16 (Gomungo Sanjo), Senior instructor at NCKTPA, Father of Won Woncheol
 * Joseph Celli
 * Bill Cole

Notations

 * NCKTPA Taepyeongso page
 * Baines, Anthony. Shawms of the Sardana Coblas, The Galpin Society Journal 5 (March 1952): 9–16.
 * Bak, Gyeong-hyeon. Taepyeongso sinawi seonyulbunseok yeon-gu: Bak Jongseonryoreul jungsimeuro [Analysis of Bak Jongseon's sinawi]. Master's thesis, Dongguk University, 2004.
 * Bak Jong-seon. Taepyeongso sinawi, Park Jong-sen A-jaeng Sanjo. Seoul, Records SRCD 1190, 1994. Compact Disc.
 * Ben, Wu. Archaeology of Musical Instruments in China. In Garland Encyclopedia of World Music Vol. 7, 2002. 105–114.
 * Choi, Gyeong-man. Neunggyetaryeong, jajinneunggyetaryeong, Choi Kyungman's Piri Plays. Synnara SYNCD-093/094. Compact Disc.
 * Choi In-seo. Taepyeongso neunggye. Korean Traditional Music. National Center for Korean Traditional Performing Arts, n.d. Compact Disc.
 * Dick, Alastair. The Early History of the Shawm in India. The Galpin Society Journal 37 (Mar. 1984): 80–98
 * Francis, Aaron. "Drinking Straws and Shaman Melodies: a Historical and Analytical Study of the Taepyeongso" (Master's Thesis)
 * Go, Boyun. Pungmulnolireul wihan taepyeongso jidoban [a study of taepyeongso in pungmul]. Gugakgwa gyoyuk 20 (2002): 193–225.
 * Gongmyoung. Deep Sea. Deep Sea. Z-KTL-7139, 2007. Compact Disc.
 * Hahn, Man-young. Kugak: Studies in Korean Traditional Music. Seoul: Tamgudang, 1990. 106
 * Heo Yong-eop. Master Musician of the shaman and folk music: Heo Yong-eop Solo Instrumental Album. Hwaeum TOPCD 099, 1996/2006. Compact Disc.
 * Hesselink, Nathan, Pungmul: South Korean Drumming and Dance, Chicago: University of Chicago Press, 2006.
 * Hornbostel ,Erich M. von, and Curt Sachs. Classification of Musical Instruments: Translated from the Original German by Anthony Baines and Klaus P. Wachsmann. The Galpin Society Journal 14, (Mar. 1961): 3–29.
 * Howard, Keith, Bands, Songs, and Shamanistic Rituals: Folk Music in Korean Society 2nd ed.. Seoul: Royal Asiatic Society (Korea Branch), 1990.
 * Howard, Keith, Korean Musical Instruments, Oxford: Oxford University Press, 1995.
 * Howard, Keith, Korean Musical Instruments: A Practical Guide, Seoul: Se-Kwang Music Publishing, 1988.
 * Hwang, Jun-yeon. Modes and Scales of Korean Music. In Hanguk jeontong eumakui akjo [A study of modes in Korean traditional music]. Seoul: Seoul National University Press, 2005.
 * Hyslop, Graham. Musical Instruments of East Africa: 1 Kenya. Nairobi: Nelson Africa, 1975.
 * Kang, Yeonggeun. Daechwita byeonceon-gwajeong-e daehan yeongu: taepyeongso seonyul-eul jungsimero [A study of the evolution of taepyeongso melody in daechwita]. Master's thesis, Seoul National University, 1998.
 * Kim Chanseop. Dokjugok-neunggye. Biseong. Nices SCO 054CSS, 1995. Compact Disc.
 * Kim Duk Soo. Kwigok. Spirit of Nature. Nanjang Music TE004-01, 2001. Compact Disc. 107
 * Kim Duk Soo Samulnori. Utdari pungmulgutgarak. Gyeoljeongpan. Syannara SYNCCD 115, 1996. Compact Disc.
 * Kim, Gi-nam. Dung seoyang-ui gyeob rideu-akgi-ui baljeongwa yeoksajeok gochal [Development and history of double reed instruments in Korea and the west]. Master's thesis, Chungnam University, 2004).
 * Kim Jeomseok. Instrumental Music of Kim Chom Sok. Seoul Records SRCD 1457, n.d. Compact Disc.
 * Kim Seokchul. Chong. Donghae-an musok samul. Samsung Music SCO-041CSS, 1994. Compact Disc.
 * Kim, Seongyeop. Neunggyegutgeori seonyul bigyo bunseok: Ji Yeonghui, Choi Gyeongman seonyul-eul jungsimeuro [Comparison of Choi Gyeongman's and Ji Yeonghi's neunggye gutgeori]. Master's thesis, Chugye University for the Arts, 2005.
 * Kim Seunghak. Taepyeongso eumgye iyagi pyeongjo (neunggye) [Discussion of pyeongjo (neunggye) pitches for taepyeongso]. www.café.daum.net (taepyeongso) (accessed August 25, 2008).
 * Kim Seunghak. Taepyeongso eumgye iyagi gyemyeonjo (sinawi) [Discussion of gyemyeonjo (sinawi) pitches for taepyeongso]. www.café.daum.net (taepyeongso) (accessed August 25, 2008).
 * Kim, Wonseon. Yeongsanjae-e Yeonjudweneun taepyeongso garak bunseok [Analysis of taepyeongso melodies for yeongsanje]. Master's thesis, Dongguk University, 1999.
 * Lee, Byong Won. Buddhist Music of Korea. Seoul: Jungeumsa, 1987.
 * Lee, Hye-Ku. Essays on Traditional Korean Music. Seoul: Royal Asiatic Society (Korea Branch), 1981.
 * Lee, Kang-Sook. An Essay on Korean Modes. Asian Music 9:2 (1978): 41–47.
 * Lee Jongdae. Taepyeongso and Samulnori. Art World of Lee Jong-dae's Piri. Jigu TOPCD 060, 2003. Compact Disc.
 * Lee Senggang. Dokmu—gutgeori (neunggye)/ jajin (neunggye)/ dongsalpuri (taak)/jajin. Nongak. Samsung Music, 1993. Compact Disc.
 * Lee Wol-chool. Anthology of Korean Traditional Music Vol. 1. Seoul: Korean Traditional Music Publication Company, 1969.108
 * Lee, Yong-Shik. Shaman Ritual Music of Korea. Seoul: Jimoondung International, 2004.
 * Pratt, Keith. Korean Music: Its History and Its Performance. London, Faber Music, 1987.
 * Provine, Robert. The Treatise on Ceremonial Music (1439) in the Annals of the Korean King Sejong. Ethnomusicology 18:1 (Jan. 1974): 1–29.
 * Pyoun, Joongbae, Sangjin Cho, Yeonwoo Hong, and Uipil Chong. Extraction of Characteristics Corresponding to Bell of Taepyeongso Based on Acoustical Analysis. Hanguk eumhyanghakhoeji 27:1 (2008): 12–17.
 * Seo, Maria. Hanyang Gut: Korean Shaman Ritual Music from Seoul. New York: Routledge, 2002.
 * Seo Yongseok. Taepyeongso and Samulnori. Korean Traditional Music. National Center for Korean Traditional Performing Arts, n.d. Compact Disc.
 * So, Inhwa. Theoretical Perspectives on Korean Traditional Music: An Introduction. Seoul: National Center for Korean Traditional Performing Arts, 2002.
 * Song, Bang-song. Source Readings in Korean Music. Seoul: Korean National Commission for UNESCO, 1980.
 * Song, Kyong-Rin. Korean Musical Instruments. In Survey of Korean Arts: Traditional Music, National Academy of Arts, 31–76. Seoul: National Academy of Arts, 1973.
 * Yu, Gyeongsu. Hanguk jeontongeumakui yeongu: Bak Beomhun-ryu piri-sanjo, daepungnyu, taepyeongso-sinawi-reul jungsimeuro [A study of Korean traditional music: connections between Bak Beomhun's taepyeongso sinawi, piri sanjo, and daepungnyu]. Master's thesis, National Central University, 1998.109
 * Yun, Myung-won. A Study of Musical Instruments in Korean Traditional Music. Seoul: National Center for Korean Traditional Performing Arts, 1998.

Korean notations

 * Hwang, Uijong. Taepyeongso-wa samulnolireul wihan gwanhyeonak, 'puri' [Puri for taepyeongso and samulnori]. Master's thesis, Busan University, 1991.
 * Jeong, Nam-geun. Bulgyo wisikgaw taepyeongso-e gwanhan yeongu [A study of Buddhist ritual and taepyeongso]. Master's thesis, Dongguk University, 2001.

title: Taepyeongso


text:
Monte Vista High School

Monte Vista High School may refer to:

 * Monte Vista High School (Danville, California)
 * Monte Vista High School (Spring Valley, California)
 * Monte Vista Christian School, Watsonville, California
 * Monte Vista High School in Whittier, California, from 1964 to 1979
 * Monte Vista High School (Colorado)

title: Monte Vista High School


text:
User talk:Lewey Balooey

Thanks for experimenting with Wikipedia. Your test worked, and has been removed or reverted. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks.Ëvilphoenix Burn! 02:41, 15 October 2005 (UTC)

title: User talk:Lewey Balooey


text: User talk:67.171.214.1

title: User talk:67.171.214.1


text:
User talk:N9urk

Welcome!

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Law and Gospel
Your Law and Gospel article is self-referential. Can you fill it out a bit? (Particularly in terms a general reader can understand.) Johnh 21:03, 18 October 2005 (UTC)

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Trepidation

Trepidation (from Lat. trepidus, "trepidatious"), in now-obsolete medieval theories of astronomy, refers to hypothetical oscillation in the precession of the equinoxes. The theory was popular from the 9th to the 16th centuries.

The origin of the theory of trepidation comes from the Small Commentary to the Handy Tables written by Theon of Alexandria in the 4th century CE. In precession, the equinoxes appear to move slowly through the ecliptic, completing a revolution in approximately 25,800 years (according to modern astronomers). Theon states that certain (unnamed) ancient astrologers believed that the precession, rather than being a steady unending motion, instead reverses direction every 640 years. The equinoxes, in this theory, move through the ecliptic at the rate of 1 degree in 80 years over a span of 8 degrees, after which they suddenly reverse direction and travel back over the same 8 degrees. Theon describes but does not endorse this theory.

A more sophisticated version of this theory was adopted in the 9th century to explain a variation which Islamic astronomers incorrectly believed was affecting the rate of precession. This version of trepidation is described in De motu octavae sphaerae (On the Motion of the Eighth Sphere), a Latin translation of a lost Arabic original. The book is attributed to the Arab astronomer Thābit ibn Qurra, but this model has also been attributed to Ibn al-Adami and to Thabit's grandson, Ibrahim ibn Sinan. In this trepidation model, the oscillation is added to the equinoxes as they precess. The oscillation occurred over a period of 7000 years, added to the eighth (or ninth) sphere of the Ptolemaic system. "Thabit's" trepidation model was used in the Alfonsine Tables, which assigned a period of 49,000 years to precession. This version of trepidation dominated Latin astronomy in the later Middle Ages.

Islamic astronomers described other models of trepidation. In the West, an alternative to De motu octavae sphaerae was part of the theory of the motion of the Earth published by Nicolaus Copernicus in De revolutionibus orbium coelestium (1543). Copernicus' version of trepidation combined the oscillation of the equinoxes (now known to be a spurious motion) with a change in the obliquity of the ecliptic (axial tilt), acknowledged today as an authentic motion of the Earth's axis.

Trepidation was a feature of Hindu astronomy and was used to compute ayanamsha for converting sidereal to tropical longitudes. The third chapter of the Suryasiddhanta, verses 9-10, provides the method for computing it, which E. Burgess interprets as 27 degree trepidation in either direction over a full period of 7200 years, at an annual rate of 54 seconds. This is nearly the same as the Arab period of about 7000 years. The zero date according to the Suryasiddhanta was 499 AD, after which trepidation is forward in the same direction as modern equinoctial precession. For the period before 1301 BCE, Suryasiddhantic trepidation would be opposite in sign to equinoctial precession. For the period 1301 BCE to 2299 AD, equinoctial precession and Suryasiddhantic precession would have the same direction and sign, only differing in magnitude. Brahma Siddhanta, Soma Siddhanta and Narada Purana describe exactly the same theory and magnitude of trepidation as in Suryasiddhanta, and some other Puranas also provide concise references to precession, esp Vayu purana and Matsya Purana.

title: Trepidation


text:
Zasshi Kiji Sakuin

Zasshi Kiji Sakuin (雑誌記事索引, "Japanese Periodicals Index"), often called Zassaku in short, is a searchable database of scholarly articles in Japanese. The database, produced by the National Diet Library (NDL) in 1948, catalogs selected articles from NDL's extensive collection of periodicals. The database was created for the purpose of facilitating scholastic research in providing citation information. Scholarly journals, specialized magazines, institutional periodical publications and general-interest magazines are included in the database from all areas of academic interest: humanities, social sciences, science and technology, and medical sciences, including pharmacology. Approximately 10,000 periodicals and more than 6,660,000 articles are currently registered in Zasshi Kiji Sakuin. It is updated every two weeks. Zasshi Kiji Sakuin's extensive coverage of periodicals provides an excellent bibliography of research and publications in Japan, which may not necessarily appear in non-Japanese journals of Japanese studies.

Content of coverage
Besides its extensive collection of academic journals, the database has collected non-academic magazines and periodicals since 1996 to cater to the research needs of the general public. In 1996, the database added weekly magazines: サンデー毎日、週刊読売、週刊朝日、週刊現代、週刊文春、週刊新潮、週刊ポスト、週刊宝石、Aera、金曜日, which, according to a survey conducted by NDL, are, among other magazines, most frequently used by the public. The database also acquired corporate magazines, high school and community college publications, and other research-related magazines. From 1996 to 2000, the number of magazines included in the database had increased from 3100 to 9000 due to NDL's major expansion of its magazines and periodicals. A full list of periodicals entry, as well as the selection criteria for the periodicals and articles, are available in Japanese through NDL's official website. In addition to the Japanese periodicals, the database contains foreign periodicals published in Japan, as well as Japanese periodicals published outside Japan.

Period of coverage
Zasshi Kiji Sakuin covers articles published after 1975. The articles in humanities and social sciences include those published since 1948. NDL is currently working on indexing articles in science and technology, which were published between 1948 and 1974. The project will extend until the fiscal year of 2007, but the citations are gradually becoming available in the database.

OPAC
Produced by the National Diet Library, Zasshi Kiji Sakuin is free of charge and can be accessed through NDL's Online Public Access Catalog (OPAC), under "Search for Japanese Periodicals Index" on the English page and 雑誌記事索引の検索/申込み on the Japanese page. The OPAC is available both in Japanese and in English, and words can also be entered both in Japanese and in Romaji. Article information can be searched by article title, author name, journal title, and publisher's name. In-text keyword search is not available. The OPAC's hours of operation (Japan time) are Monday through Saturday from 7 am to 5:30 am and Sunday from 7 am to 1 am, except the 3rd Sunday when it closes at 10 pm.

Magazine Plus
Zasshi Kiji Sakuin database is also available through Nichigai Associates via Magazine Plus. Magazine Plus is Japan's largest database of periodicals and academic articles. Besides containing the entire database of Zasshi Kiji Sakuin, Magazine Plus includes other databases of festschrifts (1945-2003), symposia & speeches (1945-2003), bulletins, transactions, proceedings (1945-2002), popular magazines (1981- ) and others. Magazine Plus is not free of charge and thus requires membership to access the database. The database is available only in Japanese.

CiNii
Zasshi Kiji Sakuin can also be accessed through National Institute of Informatics (NII, formerly NACSIS) via Citation Information service (CiNii). As part of the larger function of GeNii, CiNii contains various academic databases including Zasshi Kiji Sakuin. Out of 9,100,000 articles registered in the database, approximately 210,0000 are available in full text with or without a fee. Except for viewing some of the electronic texts, CiNii is free of charge and is available both in Japanese and in English.

title: Zasshi Kiji Sakuin


text:
Kivukoni

Kivukoni (Kata ya Kivukoni, in Swahili) is an administrative ward of the Ilala Municipical Council of  the Dar es Salaam Region in Tanzania. Kivikoni's name come from the Swahili word meaning "a crossing place". The ward is bordered by Upanga East ward to the west, Kisutu ward to the southwest, and Kigamboni ward across the Kivukoni channel. The ward covers an area of 2.387 km2. Kivukoni ward is one of the most important wards in the country, as it is home to the Ikulu, which is the home of the president of Tanzania. Kivukoni ward is also home to the National Museum of Tanzania. According to the 2012 census, the ward had a total population of 6,742.

Administration
The postal code for the Jangwani ward is 11101. The ward is divided into the following neighborhoods (Mitaa):

 * Kivukoni, Kivukoni

 * Seaview

Government
The ward, like every other ward in the country, has local government offices based on the population served.The Jangwani Ward administration building houses a court as per the Ward Tribunal Act of 1988, including other vital departments for the administration the ward. The ward has the following administration offices:

 * Kivukoni Ward Police Station located in Karume neighborhood
 * Kivukoni Ward Government Office (Afisa Mtendaji) in Shariff Shamba Neighborhood
 * Kivukoni Ward Tribunal (Baraza La Kata) is a Department inside Ward Government Office

In the local government system of Tanzania, the ward is the smallest democratic unit. Each ward is composed of a committee of eight elected council members which include a chairperson, one salaried officer (with no voting rights), and an executive officer. One-third of seats are reserved for women councillors.

Economy
Kivukoni hosts a huge number of embassies for a small ward. Therefore, they support a number of businesses in the area. The ward is home to the Mzizima Fish Market and the Kivukoni Fish Market both are some of the largest fish markets in the country. Kivukoni is a hub for tourism and hosting some of the largest hotels in the country. Kivukoni hosts the historic Askari Monument.

Demographics
The ward serves as the Zaramo people's ancestral home, along with much of the district. As the city developed throughout time, the ward became into a cosmopolitan ward. In total, 6,742 people called the ward home in 2012.

Education
The ward is home to these educational institutions
 * Bunge Primary School

Healthcare
The ward is home to the following health institutions:
 * Ocean Road Cancer Institute (private)
 * National Institute for Medical Research, Kivukoni

Government offices
Kivukoni hosts the following government offices:
 * 1) National Development Corporation (NDC)
 * 2) The Bank of Tanzania
 * 3) The Ministry of Constitutions and Legal Affairs
 * 4) The Ministry of Education, Science and Technology
 * 5) The Ministry of Energy and Minerals
 * 6) The Ministry of Finance and Planning
 * 7) The Ministry of Foreign Affairs
 * 8) The Ministry of Health and Social Welfare
 * 9) The Ministry of Lands and Human Settlements
 * 10) The National Bureau of Statistics
 * 11) The Prime Minister's Office
 * 12) The Public Service Office and Good Governance
 * 13) The State House of Tanzania known as the 'Ikulu' in Kiswahili language.
 * 14) The Supreme Court of Tanzania
 * 15) The Tanzania Buildings Agency
 * 16) The Tanzania Investment Centre

title: Kivukoni


text:
Eight principles

The eight principles are a core concept of traditional Chinese medicine based on Confucianism. The identification and differentiation of syndromes according to the eight principles is one of the earliest examples of critical and deductive thinking for diagnosis.

The eight principles are:
 * Exterior and interior
 * Cold and hot
 * Empty and full
 * Yin and yang

Exterior and interior
Sometimes referred to as external and internal, this differentiation is not made on the basis of etiology (cause) of disease but location. It can also give an indication of the direction the illness is taking, becoming more external or going deeper into the body.

Exterior affects the skin, muscles and jingluo (energy meridians). Interior affects the Zang Fu (internal organs) and the bones. The general symptoms for an exterior pattern are fever, aversion to cold, aching body, stiff neck, and a floating rapid pulse. Onset is acute and the correct treatment will elicit a swift response. Exterior patterns usually involve the invasion of an external pathogenic wind as a factor, or if slow in onset can indicate painful obstruction syndrome (bi syndrome) damp or chronicity.

Cold and hot
Cold and hot (or heat) describes the nature of a pattern and clinical manifestations usually in combination with Full or Empty conditions:

Full heat
This is indicated by fever, thirst, red face, red eyes, constipation, scanty dark urine, full rapid pulse and a red tongue with yellow coating. It arises when there is an excess of Yang energies in the body. It can be caused by consuming hot energy foods, or long standing emotional problems causing for example liver qi stagnation. It can also be caused by invasion by an external pathogenic factor.

Empty heat
Empty heat is characterised by afternoon fever, dry mouth, dry throat at night, night sweats, a feeling of heat in the chest and in the palms and the soles, dry stools, scanty dark urine and a floating and rapid pulse and a peeled tongue. It is usually accompanied by a feeling of restlessness and vague anxiety. The difference between full heat is that empty heat is cause by a deficiency of Yin rather than an excess of Yang.

Full cold
Chilliness, cold limbs, no thirst, pale face, abdominal pain., aggravated on pressure, desire to drink warm liquids, loose stools, clear abundant urine, Deep-full-tight pulse and a pale tongue with thick white coating. Full cold is generated by an excess of Yin.

Empty cold
Chilliness, cold limbs, dull-pale face, no thirst, listlessness, sweating, loose stools, clear-abundant urine, a deep slow or weak pulse and a pale tongue with a thin white coating. Empty cold arises from a deficiency of Yang.

Empty and full
Empty and full is also commonly called deficient and excess. This distinction is made according to the presence or absence of a pathogenic factor and the strength of the body's energies. Full is characterised by the presence of a pathogenic factor and the Qi is relatively intact. The Qi battles against the pathogenic factor which causes the excessive symptoms. Empty is characterised by absence of a pathogenic factor and weak Qi. The distinction between full and empty is made more than any other type of observation. Clinical manifestations of empty include chronic diseases, listlessness, apathy, lying curled up, weak voice, weak breathing, low pitched tinnitus, pain alleviated by pressure, poor memory, slight sweating, frequent urination, loose stools and empty pulse. Clinical manifestations of full patterns include acute diseases, restlessness, irritability, red face, strong voice, coarse breathing, pain aggravated by pressure, high pitched tinnitus, profuse sweating, scanty urination, constipation and excess pulse type. There are four types of empty:
 * Empty Qi
 * Empty Yang
 * Empty Blood
 * Empty Yin

Yin and yang
Yin and yang are also categorised in an eight pattern of, Yin and Yang, Interior, exterior, and deficiency, excess or hot, cold, relating to the I Ching.

title: Eight principles


text:
Wikipedia:Articles for deletion/Rhanve13

 * 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 on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was Speedy Delete (deleted by Thunderbrand) -Greg Asche (talk) 03:56, 15 October 2005 (UTC)

Rhanve13
Delete as game-cruft. - Pure  blade  | ☼ 02:44, 15 October 2005 (UTC)

 * Note Speedied  [[Image:Smilie.gif|20px]] Molotov [[Image:Caranimationforvmolotov.gif|25px]]   (talk)   e
 * 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 an undeletion request). No further edits should be made to this page.


text:
Talk:Sacagawea dollar

Untitled

 * The following discussion is an archived debate of the . Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

move. — Nightst a  llion  (?) Seen this already? 11:06, 11 May 2006 (UTC)

Requested move
Sacagawea Dollar → Sacagawea dollar – Rationale: "Dollar" is not a proper noun. Compare Susan B. Anthony dollar, common usage in print. --Quuxplusone 05:14, 6 May 2006 (UTC)

Survey

 * Add *Support or *Oppose followed by an optional one-sentence explanation, then sign your opinion with  ~

 * Support for consistency (e.g. buffalo nickel @ Nickel (United States coin)) User:Ceyockey ( talk to me ) 12:17, 6 May 2006 (UTC)
 * Support you can see this and this for more times than I'd like to remember doing this.  :)
 * Support "Dollar" is indeed not a proper noun.
 * Support - The denomination "dollar" should not be capitalized. - Len Bailey, Copywriter

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

Composition
The Red Book shows the composition to be; 77.0 Copper, 12.0% Zinc, 7.0% Manganese, 4.0% Nickel, where is the source for the composition in the article? Jjmillerhistorian 00:19, 26 February 2007 (UTC)

 * If you read closer, that is the composition of the cladding not the entire coin. The core is all copper.  Bobby  I'm Here, Are You There? 02:02, 26 February 2007 (UTC)
 * pure copper core with outer layers of manganese brass...got it...thanks Jjmillerhistorian 11:45, 26 February 2007 (UTC)

Statue of Liberty
I distinct remember some sort of pol in the mid-90s to chose between Sacagewea and the Statue of Liberty to be on the coin, and that Sacagewea was chosen by the Treasury despite the SL having been the poular choice. Does anyone remeber this the same way, or have a source which shows one way or the other? Thanks. - BillCJ 08:51, 7 July 2007 (UTC)
 * Yup, the poll was conducted by Michael Castle of Delaware, who preferred the Statue of Liberty design over Sacagawea. It's now been added to the article if you're still interested.-RHM22 (talk) 14:25, 31 January 2011 (UTC)
 * Well, the poll was actually conducted on behalf of Castle, not by Castle, so he probably didn't directly influence the results.-RHM22 (talk) 14:26, 31 January 2011 (UTC)

The Simpsons
In an episode of the Simpsons Marge shows the children a Sacagawea. They ask,"What is that? A quarter? A chuck-e-cheese token?" Marge says, No, its a sacagawea gold dollar. You can trade it in at the bank for a real dollar. (not exact quote). This piece of pop culture illustrates that it is a queer piece of money that is not taken seriously. --Jon in California 2 Aug 2007

Yes, we'll take that as legitimate fact from the very reliable source that is The Simpsons. lol —Preceding unsigned comment added by 99.238.142.89 (talk) 01:20, 23 June 2009 (UTC)

 * Well The Simpsons is a reliable source for the fact it was mentioned on The Simpsons, for whatever that's worth. Pop culture mention?  It's debatable how important that is to mention in the article though, I suppose.  2601:283:4300:7AE0:9899:2532:374A:1C8E (talk) 04:00, 8 September 2022 (UTC)

2008 Sacagawea?
Will there be any Sacagawea dollars produced in 2008? I read something in COINage magazine about the mint not producing any, does anyone know? Gecko G (talk) 07:07, 2 April 2008 (UTC)
 * Yes, they are. As of July 31, 2008, the US Mint's website shows 3.64 million "golden dollars (GD)" made since January 1.  "Golden dollars" is the Mint's house term for the Sac dollar.  This number may increase by year's end.  Photos of the '08 Sac can be found at this blog entry. - Deeplogic (talk) 17:01, 18 August 2008 (UTC)

Article overhaul
Just to let everyone know (Sacagawea dollar has over 30 watchers), I have overhauled the article as part of the drive to expand numismatic coverage on Wikipedia, largely begun by Wehwalt. Though I believe the article has been expanded significantly, I have removed some information. I don't think any of the information removed is really relevant or important to the subject, but I would be glad to address the concerns of anyone that does. The most notable removal is probably the table of mintage figures, which I believe to somewhat unimportant in this article, as mintage figures for years other than the first and second (which are now located in the prose of the article) are largely uninteresting and not really all that useful to most readers, in my opinion. Also, it's pretty easy to find them in a lot of sources for anyone that is interested. Like I said, if anyone objects, feel free to add them back in or leave a message here on the talk page. Thanks,-RHM22 (talk) 14:33, 31 January 2011 (UTC)

How can this article be complete without saying that it has essentially been replaced?
How can this article be complete without saying that it has essentially been replaced?99.142.3.4 (talk) 13:23, 3 September 2011 (UTC)
 * It has? Our article suggests since before your post that since 2009 a new version of the Sacagawea dollar was produced with a different reverse (although few of these have been ordered) and mentions a 2011 version so I'm surprised it has been replaced Nil Einne (talk) 19:11, 3 September 2011 (UTC)
 * I'm guessing that they meant replaced as the main US 1 dollar coin. North8000 (talk)
 * But replaced by what? Our article suggests they are still one of the main US 1 dollar coins (albeit in slightly redesigned form) with a new design this very year, along with the concurrent Presidential $1 Coin Program. Since neither seem very popular, I don't think you can say either the Sacagawea dollar or the Presidential $1 Coin Program are more 'main'. If this information is incorrect, then this needs to be corrected but just saying random things doesn't help the situation Nil Einne (talk) 11:42, 4 September 2011 (UTC)
 * Looking at Presidential $1 Coin Program it does say:
 * Unlike the State Quarter program and the Westward Journey nickel series, which suspended the issuance of the current design during those programs, the act directed the Mint to continue to issue Sacagawea dollar coins during the Presidential series. The law states that at least one in three issued dollars must be a Sacagawea dollar. Furthermore, the Sacagawea design is required to continue after the Presidential program ends. These requirements were added at the behest of the North Dakota congressional delegation to ensure that Sacagawea, whom North Dakotans consider to be one of their own, ultimately remains on the dollar coin.
 * However, Federal Reserve officials indicated to Congress that "if the Presidential $1 Coin Program does not stimulate substantial transactional demand for dollar coins, the requirement that the Mint nonetheless produce Sacagawea dollars would result in costs to the taxpayer without any offsetting benefits." In that event, the Federal Reserve indicated that it would "strongly recommend that Congress reassess the one-third requirement."[4] The one-third requirement was later changed to one-fifth by the Native American $1 Coin Act,[5] passed on September 20, 2007, and Sacagawea dollars were only 0.8% of the total dollar coins produced through November 2007.[6]
 * This info probably should be added to this article if better sources can be found. At the current time, it appears to be mostly WP:Syn relying on primary sources which may partially explain why it doesn't make sense (how there can be an alleged legal requirement to produce at least 1/5 1/3 in one form but then the actual production figures are very far below 1/5 1/3 isn't explained) and doesn't exactly improve on the flaws in this FA.
 * Nil Einne (talk) 11:52, 4 September 2011 (UTC)
 * Or maybe list total mintage figures. Since the Presidential series came out it looks like prevalence of it vs. Sacagawea has been over 13:1   (2.2 billion vs 168 million).  I remember reading that there was some pushback alleging that making a guide vs. presidents the face of the coin was a PC move. North8000 (talk) 12:40, 4 September 2011 (UTC)
 * According to our current mintage figures, the 2011 Sacagawea coin was minted more often than either of the four 2011 Presidential Coins, so it was certainly not being replaced in 2011. Is there any info on what the 2012 mintage numbers will be, now that the Presidential Coins are only minted for collectors? According to the U.S. mint, 5.6 million have been minted in the first two months of 2012 alone, with a new design...--Roentgenium111 (talk) 22:41, 23 March 2012 (UTC)

 * @Nil Einne: AFAIK, the 1/3 requirement was dropped before it came into force; the 1/5 requirement (though part of a 2007 Act) came into force only in 2009, so there was nothing wrong in 2007. Since 2010 the quota has been fulfilled yearly. (In 2009 it was only 1/5 the number of Presidential Coins, not of all coins, for whatever reason.) --Roentgenium111 (talk) 21:45, 24 May 2012 (UTC)

encased Sac dollar
Encased Collectors International produced a medallion with this coin embedded: eBay auction for encased Sac dollar — Preceding unsigned comment added by Raquel Fitleigh (talk • contribs) 00:42, 3 November 2013 (UTC)

2017 & 2018 Sacagawea dollars
This page says the Sacagawea dollars will cease production in 2016. However, an article posted back in October said that the Native American dollar would continue into 2017 and 2018. --Jack Gaines (talk) 23:33, 7 February 2016 (UTC)
 * It's a single editor that keeps quoting the Native American Coin Act. I skimmed over it and did not find a 2016 ending date quoted. It seems that the editor has confused it with the Presidential $1 Coin Program, which will indeed end with the Ronald Reagan coin release in July of this year. The Native American series will continue however, quoting from the US Mint's website: "Following the conclusion of the Presidential $1 Coin Program, the Native American $1 Coin Program coins will be issued in any order determined to be appropriate by the Secretary of the Treasury ..." Ref. --Shibo77 (talk) 00:14, 25 March 2016 (UTC)
 * To User:Salem Leo, please source your statement "cancelled due to lack of demand" before mass changes/reversions. As it is now, the Native American Coin Act source does not state that the program ends in 2016. --Shibo77 (talk) 02:14, 7 April 2016 (UTC)

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A Commons file used on this page or its Wikidata item has been nominated for deletion
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 * 1 Dollar (United States), front.jpg

Commons files used on this page or its Wikidata item have been nominated for deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 04:41, 4 July 2021 (UTC)
 * 2010NativeAmerican Rev.jpg
 * 2011NativeAmericanRev.jpg
 * 2012 Native American dollar reverse.jpg
 * 2013 Native American proof reverse.png
 * 2014 Native American Coin.png
 * 2015 Native American dollar reverse.jpg
 * 2017 Native American Dollar Reverse.png
 * 2019 Native American Dollar Reverse.jpg
 * 2021 Native American $1 Coin Reverse.png

Picture is of 2009 design, not the 2010 design
The reverse of the 2009 design was shown, but with a description of the 2010 reverse design. I corrected the description so it's of the 2009 design that is actually pictured. 2601:283:4300:7AE0:9899:2532:374A:1C8E (talk) 04:09, 8 September 2022 (UTC)

Updated material on reverse images
I came here to update the information on the designs for the reverses. The previously announced design for 2023 ended up not being as planned in 2018, and i supplied a ref. 75.101.104.17 (talk) 02:01, 17 February 2023 (UTC)

Based on the Canadian dollar coin
It was based on the Canadian design, but the article seems to say that nowhere. 142.181.86.136 (talk) 00:32, 11 May 2023 (UTC)
 * Do you have a source? I'm a numismatist, and I've never heard such a statement about the US dollar coin.  While it seems plausible, the gold coloring was introduced over a decade after the Canadian dollar coin in order to avoid confusion with the similarly-sized quarter dollar, a problem which had plagued the preceding SBA dollar. -  ZLEA  T \ C 00:38, 11 May 2023 (UTC)

title: Talk:Sacagawea dollar


text:
Talk:United States Bicentennial coinage

Value?
What is the value for each of these coins nowadays? As a collector, how much are they worth? I have quite a few of each and I am interested in a figure. -- Jared  [T]/[+ ] 21:07, 26 February 2006 (UTC)
 * Not a whole lot, typically. They were minted in large quantities and are still pretty easy to obtain.  --cholmes75 (chit chat) 15:40, 22 June 2006 (UTC)
 * up to about 8-10 dollars for a brillint uncirculated, very minimual wear 3 dollars, more wear, 1 dollar if.(prices close, not exact)  Jo  e  I  16:59, 22 June 2006 (UTC)
 * I have the 1776-1976-P dollar (T2) and quarter, plus the 1776-1976-D half. The 2004 Red book gives a quote of 1.50 for the dollar and half in MS-65. The quote is 1.00 for the quarter in MS-65. Mine are about AU-58. In short, the bicentennial issues are a good pick for a younger collector as they are affordable. - Thanks, Hoshie 00:18, 9 December 2006 (UTC)
 * I guess. But few dealers are gonna pay you more than face.  Maybe a very slight premium for the dollar, which no longer circulates. --Wehwalt 14:04, 9 December 2006 (UTC)

Choice of words
When reading this sentence, "Regardless of date of coining, each coin bears the dual date "1776-1976".", of seems redundant. Could it say "Regardless of the date coined, each coin bears the dual date "1776-1976"."? Should it be "dual dates"? and regarding the dates in quotation, "1776-1976", Why are the dates connected by a dash when the actual coin shows a dot? Arkmanda (talk) 00:00, 5 August 2011 (UTC)
 * Yes, though I will probably change the text anyway so I don't use the word "date" twice so close to each other. Perhaps "regardless of when struck, each coins bears the dual date 1976-1976.  I agree, it's a dot, but it seems to be rendered as a dash in the sources and that is what it is meant to imply, the anniversary timespan.--Wehwalt (talk) 00:06, 5 August 2011 (UTC)
 * So the quotation marks mean, this is how it is shown in the source and not, this is exactly how it appears in reality? Arkmanda (talk) 00:09, 5 August 2011 (UTC)
 * What does a dot between two numbers mean? A dash is understood.  I see your point, but isn't that just an artistic liberty on the part of the Mint?--Wehwalt (talk) 00:14, 5 August 2011 (UTC)
 * As far as I know, a dot between two numbers means to multiply, so I am sure you are correct that it is an artistic liberty. I was just confused to the reasoning for the quotation marks. I thought it was trying to imply exactly this way. The punctuation threw me because it emphasized some particular meaning that I wasn't getting from the reading. If the dates were shown outside of quotations, I would have understood no less than an inclusive span of time. Sometimes a word will be italicized and it throws me unless I know the reason for distinguishing it. If any of that makes sense. Arkmanda (talk) 00:23, 5 August 2011 (UTC)
 * No, it is fine. I should keep it out of quotation marks then.--Wehwalt (talk) 00:31, 5 August 2011 (UTC)
 * Also, that was in the article before I went to work on it. Sometimes it takes me a little while to smooth out inconsistencies.  I read my articles over and over again.  It takes time to wear them smooth.--Wehwalt (talk) 00:34, 5 August 2011 (UTC)

The dual date
This is one aspect of the article I failed to mention during the review. Every example of the dual date is shown in the article with an en dash except the first occurrence in the lead. I did mean to inquire about this inconsistency. I think the MOS calls for the en dash, unless there is a better reason not to which eludes me at this time. Thanks for considering this aspect as well. My76Strat (talk) 05:59, 22 August 2011 (UTC)
 * OK, nice catch. On my browser it is hard to see the difference.--Wehwalt (talk) 06:33, 22 August 2011 (UTC)

Now a FA in Chinese Wikipedia
I have translated this article to Chinese Wikipedia here and promoted to FA status, and I want to thank User:Wehwalt for his effort to write this amazing article. --Jarodalien (talk) 08:34, 11 January 2016 (UTC)
 * Amazing work! --- Another Believer ( Talk ) 05:54, 16 January 2017 (UTC)
 * Excellent!--Wehwalt (talk) 09:12, 16 January 2017 (UTC)

title: Talk:United States Bicentennial coinage


text:
Wikipedia:Articles for deletion/Gravite.tk

 * 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 on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was Delete --Allen3 talk 00:24, 21 October 2005 (UTC)

Gravite.tk
It appears to be a non-notable website. --Mysidia (talk) 02:46, 15 October 2005 (UTC)

 * Delete nn, Wikipedia is not a website directory. - Pure  blade  | ☼ 02:47, 15 October 2005 (UTC)
 * Delete  Molotov  [[Image:Caranimationforvmolotov.gif|25px]]   (talk)   e    03:24, 15 October 2005 (UTC)
 * Delete, nonnotable. tregoweth  03:27, 15 October 2005 (UTC)
 * Delete nn. *drew 05:15, 15 October 2005 (UTC)
 * Delete and vote for having votes for inclusion in the future.--Gaff talk 10:36, 15 October 2005 (UTC)
 * Delete NN - someone removed the AfD - I restored it --Rogerd 03:38, 18 October 2005 (UTC)
 * Delete per nom. - Sensor 02:31, 20 October 2005 (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 an undeletion request). No further edits should be made to this page.


text:
Talk:Indian Head cent

Crouching Venus in Philadelphia
I've clarified the model sculpture to a Crouching Venus, rather than just a Venus. It seems pretty implausible that a Vatican work would be on loan to Philadelphia in the early 19th century, and I haven't found any record of it. The likely venue would be Charles Willson Peale's museum, the only prominent one at the time, and there is a record there of a "fine cast...(of)...the crouching Venus, Paris. According to Breen, this is all covered in Longacre's writings in the National Archives, which I haven't been able to find online, but it is noteworthy that Breen doesn't mention the Vatican at all.--Pharos (talk) 06:01, 2 March 2018 (UTC)
 * I'd have to look at the sources. I did find it odd that there would be a loan in that timeframe but I recall a number of sources so stating, one way or another. I know Bowers has questioned Breen's research on some matters.--Wehwalt (talk) 08:06, 2 March 2018 (UTC)
 * To be clear, Breen is the one who doesn't mention the Vatican or that it was a loan, and he claims to have looked at Longacre's own writings in the National Archives. Breen also gives a French name for the work (Vénus Accroupie), suggesting the Louvre example that I've depicted to the right (a couple of other sources give this name too).  There are several prominent examples of this sculpture type, though I guess we can rule out the several other ones in the Louvre that have the head missing.--Pharos (talk) 18:26, 2 March 2018 (UTC)

Quote from Longacre on the double eagle: The entire design, arrangement and execution are my own — the artistic proportions of the head are from antiquity, and will be found to correspond very nearly with those of the Venus Accroupie, a favorite standard.--Pharos (talk) 19:21, 2 March 2018 (UTC)
 * Interesting read. I have that book, but I don't recall having read that bit.--Wehwalt (talk) 21:23, 2 March 2018 (UTC)

Some other sources for Pennsylvania Academy of the Fine Arts: The Historic Cast Collection at the Pennsylvania Academy of the Fine Arts (general information), Venus of the Bath in Pennsylvania Academy of the Fine Arts, and Pennsylvania Academy of the Fine Arts catalog. I can't tell if Peale's museum and Pennsylvania Academy of the Fine Arts were the same exact institution, but it looks at least like a very close relationship.--Pharos (talk) 00:33, 3 March 2018 (UTC)
 * A little ironic given the enmity between Longacre and Franklin Peale.--Wehwalt (talk) 00:53, 3 March 2018 (UTC)

Semi-protected edit requests
--69.159.62.113 (talk) 23:01, 2 March 2018 (UTC)
 * 1) The words "people then expected that coins contain" have the wrong sequence of tenses.  Please make it expected that coins would contain or expected coins to contain.
 * 2) The  template provides its own indentation, so it looks wrong if used with a bullet before it.  Please fix.
 * Please add the proper template for an edit request. Kirbanzo (talk) 23:03, 2 March 2018 (UTC)
 * What's wrong with the tense? Past subjunctive takes this form.  Nyttend (talk) 02:52, 3 March 2018 (UTC)

Just to make sure...
Hi User:Wehwalt, section "Inception": ...Other numismatics also sought pieces: R. Coulton Davis, a Philadelphia druggist with ties to the Mint, wrote to Snowden in June informing him of a favorable story in a Boston newspaper...

Is this means, this druggist want to buy some pattern coins or set, but he want to do things a little bit cuter, so start the letter with a funny story and and the end like "oh btw, I heard that you may have some pattern coins..."?--Jarodalien (talk) 01:05, 8 August 2020 (UTC)
 * I looked at the source. It's a bit unclear. It is not specifically stated that Davis wanted to buy some pattern coins, but given a) he is described there as an "avid collector of pattern coins" and b) the anecdote is sandwiched between two mentions of people wanting to buy pattern coins), I think you are right, he was after pattern coins of the new cent. So yes, I would say the odds are he was being cute.--Wehwalt (talk) 01:18, 8 August 2020 (UTC)
 * Thank you for reply so soon, also, "Aramanian", means Alemanni right?--Jarodalien (talk) 01:42, 8 August 2020 (UTC)
 * That's an error. It should read "Araucanian".--Wehwalt (talk) 01:55, 8 August 2020 (UTC)
 * "...Snowden, in his November 1858 letter to Cobb, characterizes the two earlier coins as ..." I would consider one is Indian Head cent, so the other is Half eagle with Liberty Head? Seems wrong because File:NNC-US-1840-G$5-Liberty_Head_(no_motto).jpg doesn't look like male headress.--Jarodalien (talk) 02:50, 8 August 2020 (UTC)
 * He is discussing the three-dollar piece and gold dollar. Longacre did not design the half eagle, that was Christian Gobrecht.--Wehwalt (talk) 03:36, 8 August 2020 (UTC)

indian head penny
what’s the value of them 2600:1702:4331:7770:0:0:0:40 (talk) 06:10, 22 January 2022 (UTC)

title: Talk:Indian Head cent


text: User:Carolyn81/Wild Heart update draft

title: User:Carolyn81/Wild Heart update draft


text:
User talk:Astinus

Userboxes
I could reformat your userboxes in a left-to-right three-userboxes-per-line table if you'd like. Let me know on my talk page if you'd like that. — Natha  n  ( talk ) / 22:20, 24 July 2006 (UTC)

title: User talk:Astinus