text:
Talk:Isorhythm

Reference.com
This is just a straight up copy of Reference.com's article on this. This article is not SO good that there is any need to copy it from someone else. - Rich

 * You don't mean the reference.com article that's, er ... sourced from Wikipedia, do you? 87.115.228.253 06:37, 8 February 2006 (UTC)

Burned !!! 17:49, 15 February 2006 (UTC)

Date?
"Friedrich Ludwig applied it again in 1910, still for the 13th century"

The first paragraphy refers to the 14th and 15th centuries. Is this a typo in the second paragraph or is the word "still" possibly misused? MarkBuckles 09:23, 14 May 2006 (UTC)

Dead link
The "Isorhythm composing game" external link is dead. It is also dead on the parent page, http://www.londonsinfonietta.org.uk/birtwistle-online/learning/index.html EEye 12:36, 27 March 2007 (UTC)

 * Removed it. MarkBuckles (talk) 04:06, 28 March 2007 (UTC)

Philippe de Virtry
It is still unclear, who composed the early Fauvel motets, like "Garrit gallus/In nova fert", etc. Life and work of Philippe de Virtry are uncertain, so i changed the sentence "motet, composed by Philippe de Virtry". (see Sarah Fuller: A phantom treatise, Daniel Leech-Wilkinson: The emergence of ars nova, Edward Roesner: Preface to the facsimile of "Roman de Fauvel", etc.) 91.61.74.36 (talk) 10:32, 9 September 2011 (UTC)
 * This is true, but adding weasel language does not help the article. Could you insert proper references with page numbers, please?—Jerome Kohl (talk) 15:58, 9 September 2011 (UTC)

Not necessarily a fixed pattern of pitches
The opening sentence says, "...a musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern," but as is plain in the notation example shown, only the rhythmic pattern is fixed. The pitch pattern is not fixed. It seems the opening sentence is misleading. The Harvard Dictionary of Music, 4th Edition, 2003, defines isorhythm as: "The repetition of a rhythmic pattern throughout a voice part." It explains further that "An isorhythmic voice normally contains two patterns that are repeated, a rhythmic pattern or talea and a melodic pattern or color. The two patterns need not be of the same length, however, with the result that successive statements of the rhythmic pattern may occur with different pitches." Accordingly, the current opening sentence of the article is misleading, if not incorrect, and should be revised to make it clear that isorhythm specifically describes a repeating rhythmic pattern only. Although many examples exist that also contain a repeating pattern of pitches, that is not definitive of isorhythm. I suggest the opening sentence should read, "Isorhythm is a repeated rhythmic pattern in a part or voice in music. Isorhythms may contain two repeating patterns: a repeating melodic pattern of pitches or color, and a repeating rhythmic pattern or talea." - Jacques Bailhé 22:23, 3 January 2017 (UTC)
 * Perfectly correct. The problem, I think, was not so much inaccuracy as poor phrasing. I have taken your suggestion as a model, but modified it somewhat. See what you think, and feel free to improve it.—Jerome Kohl (talk) 07:20, 4 January 2017 (UTC)

Jerome, excellent solution. Below is a proposed rewrite of the body of the article. I would keep the existing final bit about Sub Arturo plebs by Johannes Alanus, but narrow the discussion of it to diminution. Comments?

Isorhythm consists of a repeated rhythmic pattern called a talea ("cutting", plural taleae), commonly in the tenor voice, whose melodic content, called the color may vary as the rhythmic pattern ("talea") is repeated. The technique first appears in the 13th century and became a significant organizing principle of much of 14th-century French polyphony, characterized by the extension of the “talea” of an initial section to the entire composition in conjunction with variation of a corresponding “color”.” [REF https://www.britannica.com/art/isorhythm 2007 Encyclopedia Brittanica, Inc.] Although theorists of the age discussed “talea” and “color,” the term “isorhythm” was not coined until 1904 by Friedrich Ludwig (1903–04, 223) to describe this practice in 13th century polyphonic and its use as an organizing structural element in 14th- and early 15th-century compositions—in particular, motets.[REF See Taruskin, Western Music, Vol. 1, 266, and Bent, Margaret. "Isorhythm." In The New Grove Dictionary of Music and Musicians, 2nd ed.].

Isorhythm is a logical outgrowth of the rhythmic modes (fixed patterns of triple rhythms) that governed most late medieval polyphony, first appearing in 13th-century motets such as the “Monpelier Codex” (fascicles 2-5), primarily in “cantus firmus” or tenor parts but occasionally in other voices as well. Discarding modal limitations, the isorhythmic motet of the 14th century gained significant structural benefit from the application of fixed rhythmic patterns. [REF https://www.britannica.com/art/isorhythm 2007 Encyclopedia Brittanica, Inc.] The first great master of the isorhythmic motet was Guillaume de Machaut (c. 1300–77), but examples occur in the works of 15th-century composers Guillaume Dufay and Johannes Alanus., as well as later composers Anton Webern, Milton Babbitt, Olivier Messiaen, [REF Lanford 2011, A Reevaluation of Isorhythm in the "Old Corpus" of the Montpellier Codex, DOI http://dx.doi.org/10.18177/sym.2011.51.sr.13] and others. As an analytical concept, isorhythm has proved valuable to understanding musical practices in other cultures, for example the peyote cult songs of certain North American Indian groups [REF https://www.britannica.com/art/isorhythm 2007 Encyclopedia Brittanica, Inc.] and the music of India. - Jacques Bailhé 18:58, 4 January 2017 (UTC)
 * I'm not sure how helpful Lanford's oblique mention of Milton Babbitt actually would be for the general reader. While serial rhythmic practice can be seen as related to isorhythm (and this connection is made explicitly by Messiaen and some of his students), it would take some considerable explanation to make any connection to Babbitt's music clear. In the case of European serialists, it is usual to find constant permutation of rhythmic sets rather than constant repetition (plausibly the precise opposite of isorhythm), so once again the reader will be misled unless a long and not particularly relevant discussion is added. As for the rest of your suggested revision, it looks good on first glance, but I should like to consider further before endorsing it.—Jerome Kohl (talk) 19:14, 4 January 2017 (UTC)

Jerome, I agree mentioning Babbit is a bit arcane here. That was in the original body so I left it, but probably better without. Webern and Messiaen make the point well enough. Please do consider all further and let me know any ideas for improvement, then I'll post a draft on Talk incorporating your thoughts/revisions before revising the article. BTW, I'm disappointed by the state of the Music Theory article. Something has to be done. Made some suggestions on the talk page. - Jacques Bailhé 20:15, 4 January 2017 (UTC)

 * Unless you can tell me something about Webern that I don't already know, mention of him would seem to be just as arcane as Babbitt. Although Messiaen did use the principle of isorhythm on occasion, I think the rather hermetic mention of him in Lanford is meant to refer to the separation of pitch and rhythm streams (or "parametrization"). This is certainly the way Stockhausen interpreted Messiaen's reference to color and talea, and European serialism normally sets pitch and duration series in permutational flux, rather than repeating them. As such, this can be seen as the opposite of isorhythm.
 * I have seen your renewal of the discussion on the talk page for the Music Theory article. So far, I have not felt the urge to contribute but, as soon as I have sometging to say, I will not hesitate to say it.—Jerome Kohl (talk) 02:48, 5 January 2017 (UTC)

Jerome, see if this is suitable.

Lede:

Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern called a talea. Taleae are typically applied to a repeating melodic pattern of pitches or color, which may be of the same or a different length than the talea.

Body:

In Western music, isorhythms first appear in motets of the 13th century such as the “Montpellier Codex” (fascicles 2-5 in tenor parts (“cantus firmi”) [REF Lanford 2011, A Reevaluation of Isorhythm in the "Old Corpus" of the Montpellier Codex, DOI http://dx.doi.org/10.18177/sym.2011.51.sr.13 page 9]. Although theorists of the age discussed “talea” and “color,” the term “isorhythm” was not coined until 1904 by musicologist Friedrich Ludwig (1903–04, 223) to describe the practice in the 13th century polyphonic and its use as an organizing structural element in 14th and early 15th century compositions—in particular, motets. [REF See Taruskin, Western Music, Vol. 1, 266, and Bent, Margaret. "Isorhythm." In The New Grove Dictionary of Music and Musicians, 2nd ed.]. Some of the earliest works organized around isorhythms are early 14th century motets in the “Roman de Fauvel” by Philippe de Vitry. The first great master of the isorhythmic motet was Guillaume de Machaut (c. 1300–77). His Motet No. 2 “De souspirant/Tous corps qui de bien amer/Suspiro” is an example of typical 14th century use of isorhythm [Harvard Dict Music p423].

During the decades following, upper voices became increasingly involved in isorhythmic organization. In the late 14th and 15th centuries many compositions were isorhythmic in all voices, a practice known as panisorhythm, as found in motets and Mass movements by John Dunstable, Johannes Ciconia, and Guillaume Dufay [Harvard Dict Music p423]. Isorhythm is a logical outgrowth of the rhythmic modes (fixed patterns of three note rhythms, see “ordines”) that governed most late medieval polyphony. Discarding modal limitations, isorhythm became a significant organizing principle of much of 14th century French polyphony by extending the “talea” of an initial section to the entire composition in conjunction with variation of a corresponding “color”.” [REF https://www.britannica.com/art/isorhythm 2007 Encyclopedia Brittanica, Inc.] "The playful complexity of taleae that mix mensuration and undergo diminution by half became a typical, even a defining feature of motets in the 14th century and beyond." [REF Taruskin, Western Music, Vol. 1, 266 ??].

INSERT existing notation analysis of Sub Arturo plebs.

Structural plan of the tenor of a late medieval isorhythmic motet with threefold diminution, Sub Arturo plebs by Johannes Alanus. There is a color of 24 longae (48 bars in modern notation), divided in three taleae. The color is repeated three times, each in a different mensuration. Its length is subsequently diminished by the factors of 9:6:4. The graphic shows (a) the preexisting Gregorian cantus firmus; (b) the tenor as written in mensural notation; and (c) a partial transcription of the beginnings of each of the nine taleae in modern notation.

As an analytical concept, isorhythm has proved valuable to understanding musical practices in other cultures, for example the peyote cult songs of certain North American Indian groups [REF https://www.britannica.com/art/isorhythm 2007 Encyclopedia Brittanica, Inc.] and the music of India. - Jacques Bailhé 04:05, 5 January 2017 (UTC)
 * Looks good to me, with just one tiny correction needed: rhythmic modes are fixed patterns, all right, but not necessarily of "three[-]note rhythms". The number of notes in a pattern is actually determined not only by the mode but also by the ordo (mode 1, for example, in perfect ordine has 3, 5, 7, etc. notes in the pattern). The cited source says "fixed patterns of triple rhythms", which is closer, though still not quite accurate, since (1) it could imply three-beat bars and (2) is not a good fit for (unmixed) mode 5 of the usual schema.—Jerome Kohl (talk) 18:07, 5 January 2017 (UTC)

Jerome - Thanks very much for your help with the rewrite. If you get a chance to have a look, please let me know any errors or corrections you'd like me to make. - Jacques Bailhé 19:31, 6 January 2017 (UTC)
 * You are welcome. So far the only problem I have encountered is the ambiguous statement about Gervais de Bus, which I have tagged for clarification. As far as I am aware, no one has seriously considered him to be the composer of the motets in the Roman de Fauvel, as your revision to the text seems to imply.—Jerome Kohl (talk) 20:08, 6 January 2017 (UTC)
 * I corrected that issue, but restored Phillipe de Vitry as a contributing composer based on further reading. Some sources are hesitant about this, but Harvard Dict of Music is unequivocal. What do you think? - Jacques Bailhé 20:17, 6 January 2017 (UTC)
 * I wish I knew who actually wrote that article in the Harvard Dictionary, and how long ago. The attributions to Philippe de Vitry are by no means secure but, in the absence of any competing names, tend to remain in general reference books. The New Grove article on Vitry, by Margaret Bent and Andrew Wathey, is more generous with space and reflects recent research more accurately, I think. As you are probably aware, the attribution of some of the Fauvel motets depends in part on references in the Ars nova notandi. Since Vitry's autorship of this treatise (or, to be more accurate, these two treatises) is no longer regarded as certain—current thinking holds that it is probably the work of two anonymous authors reporting ideas attributed to Vitry, possibly in the form of lecture notes, or even at second hand—then the attribution of the motets also is less certain. I think for our purposes "attributed to Philippe de Vitry", with a citation to Harvard or New Grove (or both) should be sufficient. Extended discussion of the authorship of the Fauvel motets belongs in the article on the Roman, not here.—Jerome Kohl (talk) 01:16, 7 January 2017 (UTC)
 * I agree we shouldn’t get mired in the complicated discussion of the Roman’s music and have revised that in the article as well as the uncomfortably hyperbolic reference, “The first great master” was Machaut. Much as I love Machaut, the hyperbole hasn’t sat well with me since I read it. Looking back over my sources I suggest we not discuss the music in the Roman de Fauvel except in the most general way, and as you say, leave particulars to the Roman’s article. Harvard Dict doesn’t mention de Vitry at all in its article on isorhythm. His name does appear in Harvard’s article on the Roman, “…works by Phillipe de Vitry and others deriving from repertory of Notre Dame.” (p. 309) I hoped I might be able to find an author’s name for either of those articles to satisfy your curiosity (and mine), but no luck. The Oxford Companion, however, does name Vitry in its isorhythm article, “Two of the most important composers … were Phillipe de Vitry and Machaut.” (p. 618) In their article on the Roman, they are as unequivocal as Harvard, “…includes pieces by Phillipe de Vitry and from the Notre Dame repertory….” (p. 447) Wikpedia’s article on the Roman wisely says, ‘…piece are linked to Phillipe de Vitry…” in its lede and discusses further under the Music section, always with tenuous connection to Vitry. So, I suggest the whole thorny issue should read: Some of the earliest works organized around isorhythms are early 14th century motets by various composers in the Roman de Fauvel, an illuminated manuscript attributed to Gervais du Bus (dates uncertain). Two of the era's most important composers of isorhythmic motets are Phillipe de Vitry (1291-1361) and Guillaume de Machaut (c. 1300–77). If you agree, you need not reply. And thank you again for your thinking and guidance on this article. It’s been a great help. - Jacques Bailhé 17:32, 7 January 2017 (UTC)

 * I see you added "in one voice part throughout a composition" to the lede. I'm not sure about that, but you know far more than I do. However, since we have many examples of isorhythm in multiple voices, is that perhaps confusing? Would it be better to take a swipe with Occam's razor and keep the definition as simple as possible? I defer to you. - Jacques Bailhé 17:39, 7 January 2017 (UTC)

 * I am pleased that you fixed the hyperbole about Machaut. The problem of course is that he is the earliest significant composer of practically everything, if for no better reason than nobody before him is anywhere near as well documented. I am still a little concerned about attributing the Fauvel manuscript to Gervais de Bus in a way that suggests he may have had anything to do with the music contained in it. Similarly, I explained the reason for my modification to the lede in my edit summary: without specifying "throughout a composition", any brief rhythmic repetition (as for example in the first six notes of "Three Blind Mice") might be misunderstood as an example of isorhythm. It is true that there are examples of isorhythm applied to two or more voices simultaneously, and this should probably be made plain in the article somewhere. It may also be a good idea to explain Apel's coinage of "panisorhythm" to describe the situation where taleae occur in all the parts of a composition. Do keep in mind that the Harvard Dictionary is what it says it is: a dictionary. That means the entries in it are necessarily brief. Margaret Bent's article on Isorhythm in the New Grove is considerably longer, and not only mentions Vitry, but also discusses at some length Johannes Boen's citation of isorythmic examples from Vitry. This is obviously beyond the scope of a reference like the Harvard Dictionary. In fact, I notice that we do not even have an article on Boen on English Wikipedia yet.—Jerome Kohl (talk) 07:40, 8 January 2017 (UTC)

 * I've re-worded the Roman de Fauvel mention, keeping it as simple as possible. Hope that works. I understand the "three Blind Mice" problem. Expanded discussion of panisorhythm with an example and brief explanation of synchronization. I don't find a Wikpedia article dedicated to panisorhythm, which may be useful since it gets fantastically interesting. My additions here hopefully avoid going overboard with details on hockets and canonic procedure, etc. but give enough to make the distinction between pan and normal isorhythm clear. - Jacques Bailhé 18:16, 8 January 2017 (UTC)

 * Looks good to me, I have added a few items to Further reading, including the source for the term "panisorhythm". It is beginning to appear that the article in the Harvard Dictionary 4th edition was carried forward from an earlier version, probaly written by Willi Apel, or under his instruction. This would explain the aroma of antiquity.—Jerome Kohl (talk) 04:04, 9 January 2017 (UTC)

 * The further reading references are an excellent addition. I still wonder if the lede needs further clarification. The 3 Blind Mice issue is what concerns me. If I have it right (??), isorhythm isn’t just a matter of a repeated talea. Doesn’t the pattern also have to be used as a structurally organizing element to qualify as isorhythm? Maybe the lede should read:

 * Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in one or more voice parts as an organizing structural element of a composition. Taleae are typically applied to a repeating melodic pattern of pitches or color, which may be of the same or a different length than the talea.

 * Of course, I defer to you. - Jacques Bailhé 18:38, 9 January 2017 (UTC)

 * Also, I notice "Categories: Rhythm and meter" is the only category for the article. Would it be appropriate to add "Form" or "Structure and Form"? I don't know how these categories work. - Jacques Bailhé 18:45, 9 January 2017 (UTC)

 * I certainly agree that the lede still needs some work. While my first impulse is to accept the idea of "organizing structural element", on second thoughts I wonder how exactly one determines such a thing. For that matter, what exactly is a "structural element", and what is the difference between one that organizes and one that does not. This question is made even more slippery by the fact that current scholarly opinion is somewhat divided on the application of the term. Margaret Bent begins her New Grove article, for example, with the caveat:

"A modern term applied with varying degrees of strictness to the periodic repetition or recurrence of rhythmic configurations, often with changing melodic content, in tenors and other parts of 14th- and early 15th-century compositions, especially motets. Since its introduction, however, the term has been more widely applied than is warranted, often with conflicting meanings. It belongs to a family of descriptive terms including 'isomel(od)ic', ... 'isochronous', 'isosyllabic' and 'isometric'; for 'isoperiodic' and 'panisorhythm' (where all voice-parts of a composition participate in rhythmic repeats) see below."

 * You may notice, for one thing, that this excludes 13th-century motets, even though she later concedes that Ludwig originally coined the term to describe "exact rhythmic repeats, to different melodies, in the 13th-century motetus part of On parole/A Paris/Frese nouvele'. She goes on, however, to explain, "Short repeating rhythmic-modal units ... in 13th-century pieces are occasionally superimposed on non-coincident melodic units. Despite such repetitions, the status of ‘isorhythmic’ is now usually reserved not for the 13th-century repertory that prompted it ... but for later motets where such repetition extends to parts other than the tenor, ... or to more ambitious schemes of a kind of 'developing variation'." Lanford's 2011 CMS article, which we cite here, is a deliberate attempt to re-incorporate that earlier repertoire under the term, as well as to challenge a distinction Langford perceives as too strict, between the Ars nova and the Ars antiqua. It is still too early to assess what effect Langford's article (published in a journal which is frankly not of the first rank in academic circles) might have on what Bent described (in 2001) as being the generally accepted position. So, you see, the issue is not quite as simple as it may at first appear.
 * I hadn't gotten around to considering categories yet, but I had noticed that this area seemed a bit deficient. I will give this some thought.—Jerome Kohl (talk) 19:09, 9 January 2017 (UTC)

 * Hmmm. I have come across the points you make about the unresolved definition of the word and have to say, your trepidations make me feel a lot better about my own inability to get this sharp and clear in my mind. I hope we might find a way to solve the issue without falling prey to over-complication.

 * It seems natural that the state of affairs in 13th century motets would be one of messy development and evolution. They were trying to get the hang of it. Accordingly, there are undoubtedly examples that would contradict or just flat out confuse. But that’s not the point for us. Our task is to write a definition that makes the fundamental idea of isorhythm clear—as simply as possible. And so, my hesitation about adding the structural aspect. Like you, I have questions about what exactly is meant by “organizing structural element.” Motiv, theme, or what? But I think (??) I’m confortable with idea that it means a repeated rhythmic pattern, not necessarily in sync with the melodic pattern it carries, that is used as significant organizer of the structure of the piece. By comparison, a motiv or theme can be used without effect on, or significance to structure. For example, a sonata allegro movement that does indeed have a theme on which exposition, development, and recapitulation are structured, but also subsidiary themes/motivs that have no structural effect or significance.

 * Having said that, please remember I have only the most naïve acquaintance with 13th and 14th century motets and masses. I do think the History and Dev section helps explain the evolution and more formalized conception of the technique. We could, of course, include a couple sentences describing the varied opinions on definition, but I suggest that would over-complicate things for most readers (if not confuse the hell out of us!). The disagreements seem to be about academic details that, in my mind, don’t really effect the definition as we have it—assuming the addition of the structural aspect.

 * I think the structural aspect is important because otherwise we’re back to 3 Blind Mice. - Jacques Bailhé 21:16, 9 January 2017 (UTC)

 * I can't vouch for the authority, but maybe this paper will help you think about the structural aspect. http://kevinmwilson.com/writing/kw_isorhythm.pdf  - Jacques Bailhé 21:32, 9 January 2017 (UTC)

 * It is precisely the danger of making things overly complicated that concerns me. On the one hand, we have the model of the Harvard Dictionary: "keep things simple". On the other hand, we have the New Grove: "keep things honest", and this can easily go far beyond what Margaret Bent describes. In one sense, we have already ventured beyond the flat earth's edge by citing Lanford's article, but let us not fall into the trap of assuming that the 13th century was simply a failed attempt to reach the perfection achieved by the 14th century! (I am confident that reliable sources will restrain us on this point.) The issue I have been trying to address is that the historiography is as important here as the history. This is scarcely the only Wikipedia article where this applies. Naive readers are prone to assuming that "facts is facts", and they just want to be told (in the present instance) exactly how isorhythm operated in the 13th, 14th, and 15th centuries, in as few words and as plainly as possible. Unfortunately, things are not that simple. History is written by historians, and different historians write different histories. For some periods and subjects, there is plentiful evidence; for others it is thin on the ground, and it is up to the historian in these cases to fill in the gaps. In our case, if we are perfectly honest, we have to admit that the real "history" of isorythm begins only in 1904, but tracing that path is almost certainly the quickest way to overcomplicate this article. What we are left with is the job of explaining how the most respected scholars today view the 13th to the 15th century, and to a lesser extent, how the music of that bygone age (filtered no doubt through the writings of modern scholars) has influenced more recent music.
 * I agree that the structural issue is not merely important, but crucial. As Wikipedia editors, however, we cannot just voice our opinions, however well-formulated they might be. We are obliged to cite reliable sources. The paper that you have linked appears to me to be an undergraduate term paper, or perhaps a first-year postgraduate one. Since it is self-published on the web and without a provenance, it cannot be considered reliable in itself. As far as the historical material is concerned, it rests entirely on two perfectly reliable sources, Leech-Wilkinson 1990 and Leach 2003. It should not take long to discover whether either of these provide us with what we seek. On the other hand, the school paper seems primarily concerned with 20th-century composers (Messiaen and Xenakis), so we should not expect the historical aspects to reach very deeply into the subject. Part of the problem with even so careful a source as Margaret Bent's NG article is that it tends to rely on pointing to examples, and then saying, "See? There's one now", assuming that a sufficient number of such instances will eventually build up a picture in the reader's mind. This is a little unfair, since Bent guides the discussion very well, and develops these conceptions along the way. The problem, though, is that isorhythm remains a modern interpretation of both theoretical writings and surviving musical compositions, so we can only truthfully say that the historical evidence says a, b, and c, and then leap to the retrospective analysis of 14th- and 15th-century music to interpret this evidence (and, in the process, try to avoid giving the impression that this explains what 13th-century composers might have been trying to achieve). I think this may be the best reason for sticking with Bent's position, that we are talking primarily about a technique used by 14th- and early 15th-century composers, never mind that they may have been developing ideas that already had a history in the 13th century, and never mind also that the term was originally proposed to describe that earlier repertoire. Today is today, and who knows how opinions might change in the future? Even when we know how they have evolved from the past, explaining this remains a secondary matter, and I think we are still speaking here of the lead paragraph, not the afterthoughts that belong (if at all) toward the article's end.—Jerome Kohl (talk) 01:01, 10 January 2017 (UTC)

 * I agree. I hope you didn’t mistake the intent of my forwarding the “Isorhythm and Musical Identities” paper. I sent it not as a quotable source, but because it’s one of the few discussions of isorhythm as structure I can find. A I said, “I can’t vouch for the authority.” My hope was it might be some aid to your thinking and research on the structural question.

 * As you point out, Bent writes, “‘…isorhythmic’ is now usually reserved not for the 13th-century repertory that prompted it….” Although this seems largely true regarding modern academic usage of the term, it’s not universal as she makes clear by “usually.” Additionally, the fact remains that the person who coined the term referred specifically to a 13th century compositions. In the WP article, I don’t see that Bent’s distinction about current usage, valid as it may be, is useful, although I have no objection to including it in the History Dev section. I think (??) we don’t violate the goals of accurate scholarship by using the current usage of the term in the lede, then briefly explaining caveats in the body. For example:

 * Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in one or more voice parts as an organizing structural element of a composition. Taleae are typically applied to a repeating melodic pattern of pitches or color, which may be of the same or a different length than the talea.

 * Then in the body, explain that use of the term of “‘isorhythmic’ is now usually reserved not for the 13th-century repertory that prompted it ... but for later motets where such repetition extends to parts other than the tenor….” (Bent)

 * [added as an afterthought] Proofing what I've written here, I notice that the Bent quote immediately above is specifically referring to the term "isorhythmic motets," which does seem to be reserved for post 13th century works by most authors. The WP article does explain this step in development, but does not currently get involved making a distinction between "isorhtymic motet" and the simpler concept of "isorhythm." Thinking about it, I'm not sure Bent is entirely accurate in her wording because, of course, we have examples other than motet that are considered "isorhtymic": Masses, etc. we do mention in the article. Re-reading this section of the WP article as it stands, I think it's about right without further explanation or making the distinction between the technique of isorhythm and what are known as "isorhythmic" compositions, motets or otherwise.

 * My own understanding of what’s meant by the structural aspect is murky, to say the least, but I suggest we’re on solid ground including that aspect because authoritative sources do so without equivocation. Adding a discussion of how isorhythm is used as organizer may not be not necessary, although again, I defer to you. The great hurdle would be to find a way to do so without over-complexity, and although I’ve seen you wrestle thorny issues into concise statements before, I doubt that’s possible in the this case. Without explanatory discussion of form and structure, and analysis of an example, I don’t see how it can be done. We might however, consider the Hoppin quote in Lanford’s paper as a model: “The least common procedure divides a long melody….” and following to “Diminutions…constitute the third way of organizing ….”

 * I’d cut the last few words of the last sentence because, unless I’m mistaken, aren’t there are examples of diminution in voices other than tenor? - Jacques Bailhé 17:30, 10 January 2017 (UTC)

 * Do not worry: I do not mistake your bringing that school paper to my attention for a recommendation to use it as a source. My criticism of it was solely intended as an indication of the level of content, which is suitable for that paper, but not deep enough to help us much here.
 * I think you may have a good point about why more recent scholarship emphasizes the 14th and 15th centuries at the expense of the 13th, though of course the 13th-century examples are also motets. It is sometimes uncertain with modal-rhythm examples whether we are actually dealing with isorhythms, or just a series of ordine that happen to be of the same length, or fall into alternating pairs. This seemingly casual usage is undoubtedly part of the reason that there was no unified conception of "isorhythm" in the theoretical writings of the 14th century, but rather just discussion of talea and color. Your observation helps make it easier to reconcile the problem of 13th-century vs 14th-/15th-century focus, I think. We can explain the shift in focus in the body of the article (with appropriate citation to Bent, though perhaps this historiographical issue is dealt with more directly by Planchart and others now in the Further reading section), and then amplify the lede accordingly. I think any citation of Hoppin should come directly from that source, especially as I am beginning to perceive Lanford as a little less reliable than at first I took him to be. For example, he does not cite Harbinson's 1966 Music & Letters article, which basically goes over the same ground more than forty years before Lanford suddenly noticed this "discrepancy". Sanders also dealt with this issue back in 1980, and Planchart does so again more recently (in 2013).
 * As I'm sure you know, that word "structural" is often thrown about rather carelessly, with the implication that "everybody knows" what it means. And, of course, "everybody" is too embarrassed to admit they really do not know, nor how could they, since it is a term almost as badly abused as "tonality". I need to re-read a lot of literature that I have not visited for a long time, but I am certain that, somewhere, this is dealt with more adequately than by mere hand-waving. If you happen across a really good source before I find it, please do not hesitate to make the appropriate adjustment to this article.—Jerome Kohl (talk) 19:13, 10 January 2017 (UTC)

 * Great. Over the next days, I'm sure we'll get this sorted out. Had a good laugh over "everybody knows" what "structure" means. Man, oh man, is this an endless problem—not only in reading about music, but in my own often glib assumption that I know what something actually means. Thus my obsessive attitude toward definitions. I do think the Hoppin quote gives enough explanation to understand the basics of how isorhythm can organize without having to delve into what constitutes "structure", but since many of the intricacies we're discussing are well beyond my pay grade, I ain't changin' nothin' without your agreement first. - Jacques Bailhé 19:46, 10 January 2017 (UTC)

 * I just today discovered another recent item I overlooked before, which I have now added to the Further reading list (though I have not yet seen it myself). If an article titled "What Is Isorhythm?" doesn't give us a straight answer we can use, then I think we can safely identify the author as a master politician, or the script writer for one.—Jerome Kohl (talk) 02:34, 11 January 2017 (UTC)

 * Oh, Lord. The mere mention of politics jacks my blood pressure these days. In a futile effort to find Bent's "What is Isorhythm" somewhere on the web, I came across http://machaut.exeter.ac.uk/?q=node/2150. Again, I can't vouch for the authority. It's just the clearest explanation I've found about how structuring based on isorhythmic technique works. Bent's will hopefully be better.

 * Beside our other concerns, something just doesn't sit right with me about the current overall form of the article, so I’ve been stewing over how we introduce the major points. If you can overlook my hasty wording, would the the following basic outline help?

 * Lede:
 * Isorhythm, as originally defined, described the use of repeated rhythmic patterns in the tenor voice of certain 13th century motets. Today, the term “isorhythmic” has come to be used to describe more sophisticated uses of isorhythms, as found in 14th and 15th century compositions.

 * History and Dev:
 * The word isorhythm was coined by. ...in 1904 to describe repeated rhythmic patterns used in the tenor voice of certain 13th century motets. During the 13th and early 14th century, theorists discussed the elements of the technique only in terms of the talea (rhythmic pattern) and color (melody). In some examples, the talea and colorae are of different lengths, causing melodic patterns to shift in relation to their underlying rhythmic patterns. (brief explanation) The beginnings of the move away from ordines.

 * In later motets, masses, and other compositions (??) from the 14th and 15th centuries, isorhythms appear in upper voices as well and are used as an organizing structural element of these compositions. (brief explanation of construction, diminution and sophisticated techniques that cause talea and colorae to move in and out of synchronization)

 * In the 20th century, the term "isorhythmic" came into use to describe this expanded use of the fundamental technique where isorhythms appear in all voices and serve to organize the composition structurally. (brief explanation) - Jacques Bailhé 20:49, 11 January 2017 (UTC)

 * Sorry to have mentioned the P word. It has done bad things to my own blood pressure for more than fifty years now. What I really meant to say (with heavy irony) is that such a question, used as the title for a scholarly article of that nature, cannot possibly offer the sort of glib and obvious answer that it suggests is to be expected. The article is not available online, so I shall have to venture out through the hostile weather of the forbidding northlands to visit my local institutional library in order to consult this particular article, which I suspect will draw us even deeper into the quagmire.
 * I'm sorry to say that I don't think your suggested revision is actually going to make a lot of difference. The lede could be changed as you suggest, which would shift the emphasis onto the historiographical aspect. I don't have any serious problem with that. However, in respect to your further suggestions, you may not be aware that the wording of the phrase "Although 14th-century theorists used the words talea and color" is carefully chosen (by the quoted source), especially because those medieval theorists do not use the term color exclusively in the sense modern scholars employ it in the context of isorhythm. In other words, it is not exactly true that "theorists discussed the elements of the technique" in these terms. While it is literally true that theorists of the 14th century used both words, their use of color in particular had multiple meanings, including (for some) the sense of what we today call talea. Here we come up against that problem of simplicity versus honesty. Scrupulous honesty demands that we name the theorists who actually used the term color in the sense meant here (Johannes de Muris and Coussemaker's Anonymous 5—see Ernest Sanders's article "Talea" in New Grove 2), and this is probably a complication too far. Better to keep the present wording, in my opinion.—Jerome Kohl (talk) 07:07, 12 January 2017 (UTC)

 * I don't think the varied use of color presents any great hurdles or needs overly-complex explanation. For the sake of simplicity, the lede could say they used "the terms of talea and color, the latter with various meanings." And, if you think it's important to veracity, we could expand this in the body with a couple sentences of detail, i.e. who used the word in what sense. - Jacques Bailhé 18:00, 12 January 2017 (UTC)

 * FWIW, I now have Margaret Bent's 2008 article and, as I suspected, it is honest rather than simple. I need to read it more carefully, but you may be please to learn that it supports your idea to start this article with Ludwig's original definition, which Bent concludes is the only truly accurate use of the term. I don't see that adding "the latter with various meanings" would help, unless those meanings are explained, at least in part, and this I think would quickly become far too complicated for this article. New Grove solves the probelm with separate articles on talea and color. Perhaps we should follow that lead.—Jerome Kohl (talk) 06:30, 13 January 2017 (UTC)

 * Terrific. Hope your travel in the weather wasn't too daunting. In whatever revision we draft, I'm not opposed to trying to include the varied use of color. Maybe we take take a crack at it and see how it works. Perhaps briefly mention in the Lede and a couple explanatory sentences in the body. If it gets cumbersome, then we could consider a separate article on color and talea, but at the moment anyway, I have the feeling a separate article would be overkill on what to me is one topic: what is isorhythm. As always, I defer to you. - Jacques Bailhé 18:09, 13 January 2017 (UTC)

 * The term "color" can be exasperating, especially in a context of American English. I think perhaps you are right, though, that we can briefly hint at the ambiguity of the word in medieval Latin, perhaps simply by saying it can refer to several different varieties of "repetition". That much, at least, can be cited to Sanders and Lindley's NG article "Color" (for which I see I got the title wrong—I'll correct this now, while I am thinking about it).—Jerome Kohl (talk) 18:26, 13 January 2017 (UTC)

 * I think your changes are good. I still have some hesitation about the lede. Is "Taleae are typically applied to a repeating melodic pattern of pitches or color" precisely correct? I thought a given talea could be applied to one or more melodic patterns or colorae, not necessarily a "repeating" melodic pattern and also not necessarily only one melodic pattern. If you think that's correct, the lede might read:

 * Isorhythm (from the Greek for "the same rhythm") is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colorae, which may be of the same or a different length than the talea. - Jacques Bailhé 20:50, 21 January 2017 (UTC)

 * I'm not absolutely clear in my own mind whether there must be at least two statements of the color. From memory, I think there are 13th-century motets with only a single pitch sequence (but multiple occurrences of the talea). I think that, provisionally, we could make the change you suggest, only with the correct plural form colores, instead of colorae (I take it that your Latin is even less robust than my own).—Jerome Kohl (talk) 22:41, 21 January 2017 (UTC)

 * Will do. - Jacques Bailhé 00:20, 22 January 2017 (UTC)

 * I notice a citation needed note after "each note is shortened by a factor of 2/3." That's taken from the details that accompany the image posted on WP at https://commons.wikimedia.org/wiki/File:Sub_Arturo_(In_omnem_terram)_isorhythmic_tenor.svg which were cited as coming from Gunther. If this is not in her article, or obvious from the illustration shown, please delete the sentence in the isorhythm article. Otherwise, perhaps move the Gunther citation to the end of the paragraph as it appears with the source of the image on WP. - Jacques Bailhé 00:41, 22 January 2017 (UTC)

 * I was trying to be as indulgent as possible when I placed that "citation needed" tag. The Günther item is not an article, but rather the editorial report in her edition of the motets from the Chantilly and Modena manuscripts. It is possible to extrapolate the diagram from her notes, but the diagram itself does not appear there. She does give a diagram showing the mensuration and proportion signs for the three main sections of the motet, but that is all. I'm afraid that the degree of interpretation required to produce that diagram may amount to Original Research, but I would prefer not to make a judgement myself. Even with the diagram, it may or may not be "obvious" that each note is so shortened. This is, after all, a fairly technical matter that may require more expertise than the average reader is likely to bring to the article.—Jerome Kohl (talk) 03:06, 22 January 2017 (UTC)

 * Understood. Thanks for noticing and the explanation. I've deleted the diminution line from Gunther's analysis. - Jacques Bailhé 17:23, 24 January 2017 (UTC)

 * I notice the citation to Gunther appears as (Günther 1965, LI). Is "LI" intended and if so, what does it mean? - Jacques Bailhé 17:27, 24 January 2017 (UTC)

 * "LI" is the page citation. The editorial report appears at the front of the volume, and the pages are numbered with capital Roman numerals ("LI" is the Roman numeral for "51"). The notes for Sub Arturo plebs are on L–LV . The pages of the edition proper are numbered with Arabic numerals, and the score of the motet is found on pages 49–52.—Jerome Kohl (talk) 19:40, 24 January 2017 (UTC)

Reference to the "Old Hall" MS. There is NO English "town" known as "Old Hall" There are "Old Halls" in (quite possibly) a majority of English towns. The MS belonged to a Catholic school(St Edmunds) which traces its descent from the famous exiled Post-Reformation seminary at Douai, and eventually found its way to OLD HALL GREEN, a hamlet in Hertfordshire, in the general area of Ware, though it later moved to Puckeridge. The MS is of immense historical significance for English music. and could only have been referred to in this way by a writer ignorant of anything to do with it. As for its acceptance under that description by an editor............Delahays (talk) 16:45, 2 February 2021 (UTC)

Rewrite?
I'm not keen on the article as it stands. Isorhythms are a nice but super simple concept, but here dressed in impenetrable jargon, finished off with a weird colonialist sentence at the end. Like, here's something that people do in music all round the world, lets talk about a couple of obscure dead white guys in weird academic code, and then make some weird blanket statement about the culture of massive continents.

Would a ground-up rewrite be a good idea? I can see that quite a lot of discussion above to get the article to this point.. Yaxu (talk) 13:32, 24 November 2022 (UTC)

title: Talk:Isorhythm


text:
Talk:Fatma Begum

Untitled
Page is a copyvio. Not sure I want to list it -- plus, I can't figure out how to insert this url in the template .

Could use a complete rewrite. Page created by multiple copyviolator, who has been reported at WP:VIP. Zora 21:51, 3 October 2005 (UTC)

Birth year
Her birth year given as 1905 is very doubtful considering her daughter Zubeida been born in 1911. I assume it is a mistake on the website from which this text has been copied. 1905-1983 is Patience Cooper.--84.179.88.79 23:11, 7 September 2007 (UTC)

Photo
The photo is of Durga Khote from Prithvi Vallabh. Removing. — Preceding unsigned comment added by 76.212.212.89 (talk) 18:35, 17 April 2012 (UTC)

 * Genealogical summaries of the family of Sachin as http://www.royalark.net/India/sachin3.htm cast doubt on this claim: Nawab Sidi Ibrahim Muhammad Yakut Khan III is supposed to have left three daughters by the Bollywood actress and first female film director, Fatima Bai (b. 1903; d. 1983). Alas, the same sources give the date of birth for this lady's second daughter as 1911, sufficient cause to raise doubt on the whole story. Even if true, there is no record of a marriage or contract having taken place between the Nawab and Fatima Bai. Equally, no record exists of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. — Preceding unsigned comment added by Jack User (talk • contribs) 22:16, 16 October 2013 (UTC)

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

title: Talk:Fatma Begum


text:
Talk:Racquel Darrian

External links modified
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title: Talk:Racquel Darrian


text:
User:Limlim

Contributions:

 * WEP - expanded detail on flaws
 * UNII article - new article

title: User:Limlim


text:
Immerman–Szelepcsényi theorem

In computational complexity theory, the Immerman–Szelepcsényi theorem states that nondeterministic space complexity classes are closed under complementation. It was proven independently by Neil Immerman and Róbert Szelepcsényi in 1987, for which they shared the 1995 Gödel Prize. In its general form the theorem states that NSPACE(s(n)) = co-NSPACE(s(n)) for any function s(n) ≥ log n. The result is equivalently stated as NL = co-NL; although this is the special case when s(n) = log n, it implies the general theorem by a standard padding argument. The result solved the second LBA problem.

In other words, if a nondeterministic machine can solve a problem, another machine with the same resource bounds can solve its complement problem (with the yes and no answers reversed) in the same asymptotic amount of space. No similar result is known for the time complexity classes, and indeed it is conjectured that NP is not equal to co-NP.

The principle used to prove the theorem has become known as inductive counting. It has also been used to prove other theorems in computational complexity, including the closure of LOGCFL under complementation and the existence of error-free randomized logspace algorithms for USTCON.

Proof
We prove here that NL = co-NL. The theorem is obtained from this special case by a padding argument.

The st-connectivity problem asks, given a digraph G and two vertices s and t, whether there is a directed path from s to t in G. This problem is NL-complete, therefore its complement st-non-connectivity is co-NL-complete. It suffices to show that st-non-connectivity is in NL. This proves co-NL ⊆ NL, and by complementation, NL ⊆ co-NL.

We fix a digraph G, a source vertex s, and a target vertex t. We denote by Rk the set of vertices which are reachable from s in at most k steps. Note that if t is reachable from s, it is reachable in at most n-1 steps, where n is the number of vertices, therefore we are reduced to testing whether t ∉ Rn-1.

We remark that R0 = { s }, and Rk+1 is the set of vertices v which are either in Rk, or the target of an edge w → v where w is in Rk. This immediately gives an algorithm to decide t ∈ Rn, by successively computing R1, …, Rn. However, this algorithm uses too much space to solve the problem in NL, since storing a set Rk requires one bit per vertex.

The crucial idea of the proof is that instead of computing Rk+1 from Rk, it is possible to compute the size of Rk+1 from the size of Rk, with the help of non-determinism. We iterate over vertices and increment a counter for each vertex that is found to belong to Rk+1. The problem is how to determine whether v ∈ Rk+1 for a given vertex v, when we only have the size of Rk available.

To this end, we iterate over vertices w, and for each w, we non-deterministically guess whether w ∈ Rk. If we guess w ∈ Rk, and v = w or there is an edge w → v, then we determine that v belongs to Rk+1. If this fails for all vertices w, then v does not belong to Rk+1.

Thus, the computation that determines whether v belongs to Rk+1 splits into branches for the different guesses of which vertices belong to Rk. A mechanism is needed to make all of these branches abort (reject immediately), except the one where all the guesses were correct. For this, when we have made a “yes-guess” that w ∈ Rk, we check this guess, by non-deterministically looking for a path from s to w of length at most k. If this check fails, we abort the current branch. If it succeeds, we increment a counter of “yes-guesses”. On the other hand, we do not check the “no-guesses” that w ∉ Rk (this would require solving st-non-connectivity, which is precisely the problem that we are solving in the first place). However, at the end of the loop over w, we check that the counter of “yes-guesses” matches the size of Rk, which we know. If there is a mismatch, we abort. Otherwise, all the “yes-guesses” were correct, and there was exactly the right number of them, thus all “no-guesses” were correct as well.

This concludes the computation of the size of Rk+1 from the size of Rk. Iteratively, we compute the sizes of R1, R2, …, Rn-2. Finally, we check whether t ∈ Rn-1, which is possible from the size of Rn-2 by the sub-algorithm that is used inside the computation of the size of Rk+1.

The following pseudocode summarizes the algorithm:

function verify_reachable(G, s, w, k)    ''// Verifies that w ∈ Rk. If this is not the case, aborts'' // the current computation branch, rejecting the input. if s = w then return c ← s    repeat k times // Aborts if there is no edge from c, otherwise // non-deterministically branches guess an edge c → d in G        c ← d         if c = w then return // We did not guess a path. reject function is_reachable(G, s, v, k, S)    // Assuming that Rk has size S, determines whether v ∈ Rk+1. reachable ← false yes_guesses ← 0 // counter of yes-guesses w ∈ Rk for each vertex w of G do // Guess whether w ∈ Rk guess a boolean b        if b then verify_reachable(G, s, w, k)            yes_guesses += 1 if v = w or there is an edge w → v in G then reachable ← true if yes_guesses ≠ S then reject // wrong number of yes-guesses return reachable function st_non_connectivity(G, s, t)    n ← vertex_count(G) // Size of Rk, initially 1 because R0 = {s} S ← 1 for k from 0 to n-3 do S' ← 0 // size of Rk+1 for each vertex v of G do if is_reachable(G, s, v, k, S) then S' += 1 S ← S'    return not is_reachable(G, s, t, n-2, S)

Logspace hierarchy
As a corollary, in the same article, Immerman proved that, using descriptive complexity's equality between NL and FO(Transitive Closure), the logarithmic hierarchy, i.e. the languages decided by an alternating Turing machine in logarithmic space with a bounded number of alternations, is the same class as NL.

title: Immerman–Szelepcsényi theorem


text:
User talk:Jason Schlumbohm

Welcome!

Hello, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome! Dunc|☺ 21:53, 3 October 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
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 * How to write a great article
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Codex Daemonhunters
Hi. I note you've just added Codex Daemonhunters as a reference to the Daemonhunters page. Could you confirm the authors you've listed? Amazon.co.uk lists McNeill and Haines (but they've made plenty of mistakes before...) Cheers --Pak21 08:26, 19 May 2006 (UTC)
 * I pulled it off my shelf, although it's not showing up in the US Amazon site, or a lot of the other ones I try. Perhaps the authorship is different in the different markets, or has been shuffled in later editions? Mine is a first edition. Feel free to swap in the McNeill and Haines, though. Jason Schlumbohm 15:01, 19 May 2006 (UTC)

title: User talk:Jason Schlumbohm


text:
Tony Butler

Tony Butler may refer to:

 * Tony Butler (broadcaster) (1935–2023), British sports broadcaster
 * Tony Butler (musician) (born 1957), bassist for the Scottish new wave band Big Country
 * Tony Butler (footballer) (born 1972), English footballer
 * Tony Butler (rugby union) (born 2002), Irish rugby union player

title: Tony Butler


text:
Nina Genke-Meller

Nina Henrichovna Genke [Hɛŋkə] or Nina Henrichovna Genke-Meller, or Nina Henrichovna Henke-Meller (Нина Генке-Меллер, Нина Генке; Ніна Генріхівна Генке-Меллер or Ніна Генріхівна Генке; 19 April 1893 – 25 July 1954) was a Ukrainian-Russian avant-garde artist, (Suprematist, Futurist), designer, graphic artist and scenographer.

Biography
Nina Genke was born in Moscow in 1893 to a Dutch father, Genrikh Genke, and a Russian mother, Nadezhda Tikhanova. She married the artist Vadym Meller (1884-1962).

Nina Genke-Meller died in Kyiv in 1954.

Education
In 1912, she graduated from Levandovskaya Private Gymnasium in Kyiv. She received a title to teach Russian language and history. The following year she began teaching history, geography and drawing at the Higher Primary College for Women in. In Skoptsi, she met the artist Yevgenia Pribylska who headed the Art Studio in a Folk Center and became more inspired to become an artist herself. In 1914 Genke began attending Aleksandra Ekster’s studio in Kyiv for her art education, becoming an assistant in Ekster's studio from 1915 to 1917. At the same time, she worked as an artist in Skoptsi (Skoptsy) Village Folk Centre, supervised by Yevgeniya Pribilskaya and in Verbovka or the Verbovka Village Folk Centre, founded by N. Davidova.

Work
Nina Genke was closely connected with the Supremus group that was led by Kazimir Malevich, the founder of Suprematism. From 1915 Genke worked as a head and a chief artist of the Verbovka Village Folk Centre (province in Kyiv). She attracted famous avant-garde artists such as Kazimir Malevich, Nadezhda Udaltsova, Aleksandra Ekster, Ivan Kliun, Ivan Puni, Lyubov Popova, Olga Rozanova, Ksenia Boguslavskaya and others to the creative peasant artisans co-operative. 1915-1916 she participated in the creating settings for the play "Kamira Kifared" (I.F. Annenskiy) for Kamerny Theater in Moscow, was teaching drawing at Kruger's Private Gymnasium, was working jointly on a large panel with artist Katria Vasilieva, as a member of the Kyiv Folk Centre, was one of the heads of the Kyiv Committee of the All-Russian Zemstvo Union: together with the group of artists-suprematists was creating a network of artistic and industrial studios aiming at support of folk art in Ternopil, Kolomiya, Chortkiv and Chernivtsi regions.

Shortly after the October Revolution of 1917, Nina Genke participated in decorating the streets of Kyiv and Odesa for Revolution Festivities together with Aleksandra Ekster and Kliment Red'ko, and began to design grandiose shows and a book on graphic design. Genke was a chief artist of the Golfstream futuristic publishing house led by Ukrainian poet-Futurist, Mykhail Semenko. At the same time she worked as a graphic artist. In 1923, she "illustrated the Panfuturists' October Collection, established a symbiosis between poster and poetry". From 1920 to 1924 she taught art in the All-Ukrainian State Center Studio. In 1924 moved to Moscow, working as a stage designer, designer for china (mostly plates) and wallpaper manufacture. Genke also held a position of the Deputy Head of the Board on Fine Arts in Vserabis. In later life, Genke worked as an interior designer, a scenographer, and supervisor of decorative and applied arts institutions.

title: Nina Genke-Meller


text:
Raymond Hughes

Raymond Hughes may refer to:

 * Raymond Hughes (conductor), former director of the Cape Town Philharmonia Choir
 * Raymond Hughes (Manitoba politician), Canadian politician
 * Raymond Davies Hughes, Welsh RAF airman, made propaganda broadcasts in Welsh for the Nazis during World War II

title: Raymond Hughes


text:
Travel Town Museum

Travel Town Museum is a railway museum dedicated on December 14, 1952, and located in the northwest corner of Los Angeles, California's Griffith Park. The history of railroad transportation in the western United States from 1880 to the 1930s is the primary focus of the museum's collection, with an emphasis on railroading in Southern California and the Los Angeles area.

History
In the late 1940s, Charley Atkins, a Recreation and Parks employee, and some rail enthusiasts came up with the plan that a full-size steam locomotive would be an attractive addition to the miniature railroad ride at Griffith Park. The City of Los Angeles Harbor Department had two small locomotives destined for scrap that seemed to be suitable for this purpose. These locomotives had worked at a quarry on Santa Catalina Island, California, carrying stone to be used building breakwaters for the Port of Los Angeles. With the support of former Recreation and Parks Department General Manager George Hjelte and Superintendent of Recreation William Frederickson, Atkins initiated contacts with major railroads in California to ask what equipment they could donate. At that time, the steam locomotive era was drawing to a close, and Atkins found a good response. The earliest locomotives were made accessible for children to climb on them. Travel Town was inaugurated on December 14, 1952, in an area used as an internment camp during World War II. The locomotives were accessible day and night until fencing was installed in 1955 to prevent vandals from breaking glass windows and gauges. A Union Pacific Railroad dining car donated in 1954 was available for birthday parties. The park's narrow gauge Crystal Springs & Southwestern Railroad operated two locomotives from Oahu on 1 km of track beginning in 1955, but these locomotives were later returned to Hawaii for display. In 1965, Travel Town's exhibits were regrouped and the park was rededicated.

Railway collection
The railroad museum portion contains 43 full-scale railroad engines, cars and other rolling stock.

Motor vehicles

 * Railway Express Agency, 1945 International Harvester Co. & York Body Corp. Model K-5 Express Delivery Truck.

Additional railway museum collections and examples

 * Semaphore by Union Switch & Signal, Swissvale, Pennsylvania.
 * Wig-Wag grade crossing signal (unknown builder, perhaps Pacific Electric signal shops) from Pacific Electric Railroad.
 * Track Construction - Examples of three periods of track construction, and wheels on axle.
 * Log sleepers (ties) nailed to rail. Earliest method.
 * Sleepers, uniform and square cut wood soaked in creosote preservative and surrounded by ballast, spiked to 'T' rail which is joined with fishplates.
 * Concrete sleepers, spring clipped to rail which is joined with welds.
 * Track switches - Various examples of switch points methods, frogs and switch stands/signals.

Train excursions
Tickets can be purchased to ride the Travel Town Railroad, a gauge miniature railway for two circles around the museum grounds. This railway originally ran a train known as the Melody Ranch Special, which was once owned by Gene Autry. Its namesake originates from the Gene Autry film Melody Ranch. The passenger coaches are now covered and the original steam engine (which was vandalized beyond economical repair) has been replaced with Courage, a chain-driven internal combustion motor housed within a façade representing a steam locomotive. This railroad is one of three miniature railway train rides within Griffith Park. The others are the gauge Griffith Park & Southern Railroad and the  gauge miniature railway at the Los Angeles Live Steamers Railroad Museum. The latter is independently operated.

Exhibit room

 * Artifacts, documents, and ephemera are on display such as menus and chinaware, recollections and timetables, regarding the history of railroading in the United States.

Main exhibit hall
Houses additional transportation examples and exhibits.
 * Cut-away boiler demonstration exhibit.
 * Hand drawn fire-hose cart.
 * Horse-drawn wagons
 * Piano Box buggy
 * Coal Box buggy
 * Milk delivery dray
 * milk delivery van
 * chariot from Ben-Hur.
 * Circus Wagon
 * Oil Delivery (tank) wagon
 * Motor Vehicles & Automobiles.
 * Packard Sedan, 9th series, circa 1932
 * 1948 Nash Ambassador Sedan
 * 1918 Mack Dump Truck
 * Fire Engine
 * "Holden's Corner" railway safety interactive Children's Discovery Center.
 * The "Little General" locomotive demonstration engine.
 * Viewing platform for the East Valley Lines model railroad club N scale layout.

East Valley Lines
Located behind a roll-up door in the main exhibit hall, the East Valley Lines Model Rail-Road N Gauge Club operates their extensive layout.

Appearances in media
Travel Town is near many television and movie studios, which has prompted those production companies to include scenes requiring railroad equipment to be shot at Travel Town since it opened.

A small sample of the thousands of Travel Town's screen appearances is represented below:

 * The Monkees Episode 31 "Monkees at the Movies" (1967)
 * Adam-12 Episode 101 "Eyewitness" (1972)
 * The Parallax View (1974: Griffith Park & Southern Railroad miniature train scene)
 * Columbo "Identity Crisis" (1975)
 * The band Foreigner's music video "Cold as Ice" (1977)
 * The band Foreigner's music video "Feels Like the First Time" (1977)
 * CHiPs Episode 109 "Silent Partner" (1982)
 * Knight Rider Episode 36 "Diamonds Aren't a Girl's Best Friend" (1983)
 * Dallas (1978 TV series) Season 10, Episode 19 "High Noon for Calhoun" (1987)
 * Quantum Leap Episode 48 "A Hunting Will We Go" (1991)
 * Kidsongs: "Play-along Songs" – "Down by the Station" (1993, direct-to-video)
 * Royal Crown Revue's "Watts Local" music video was shot in several locations (1999)
 * Ghost Whisperer Season 5, Episode 9 "Lost in the Shadows" (2009)
 * Good Guys Wear Black 1977 film starring Chuck Norris.
 * Close Enough Season 1, Episode 2B “Room Parents” (2020)
 * The Sarah Silverman Program Season 2, Episode 5 “Ah, Men” (2007)
 * Cover of Cass Elliot’s album ‘The Road is no place for a lady’

Former Exhibits
Over the course of its history, the museum collection has expanded and contracted as donations were made available, items loaned or returned, items traded, and more suitable homes found for items in the collection. As the museum's central theme is railroading and transportation in Los Angeles, a number of notable collections have found new homes after lengthy stays at the museum.

Fire Engines
The large collection of fire engines and associated apparatus was transferred from Travel Town to the new Los Angeles Fire Fighting Museum in Hollywood in 2002. The interior space formerly occupied by the fire apparatus collection became the new home for wooden narrow gauge railroad cars formerly used in the Owens Valley, 250 miles northeast of Los Angeles. The three cars, a railway post office car, a boxcar, and a stock car, had been on display outside for over 40 years.

Aircraft
The museum transferred its military aircraft collection to other museums in the late 1980s into the 1990s.

The "Zero" (actually the only surviving Mitsubishi J2M3 Raiden in the world) was donated to Planes of Fame. The Vought F7U-3 Cutlass was traded to the National Naval Aviation Museum at Naval Air Station Pensacola, Florida. Two aircraft, the Airborne early warning and control Lockheed P2V-3 Neptune and Grumman F9F-2 Panther, were traded to a museum near Fresno, California in 1992. A small rocket similar to the German V-1 flying bomb was transferred to Vandenberg Air Force Base. A German World War II airplane engine was returned to its owner in 1988.

title: Travel Town Museum


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Connivance

Connivance is the act of conniving or conspiring, especially with the knowledge of and active or passive consent to wrongdoing or a twist in truth, to make something appear as something that it is not.

A legal finding of connivance may be made when an accuser has assisted in the act about which they are complaining. In some legal jurisdictions, and for certain behaviors, it may prevent the accuser from prevailing.

For example, if someone were to entice their spouse to commit adultery, they might be blocked (or estopped) from divorcing their spouse on grounds of that adultery. See Sargent v. Sargent, Court of Chancery of New Jersey, 1920 (Held a man who had not taken active steps to prevent his wife's adultery was not entitled to divorce because he was a participator and consenter to her adultery).

title: Connivance


text: Template:Securities

title: Template:Securities


text:
Talk:Woodbine

Plant
What about woodbine the plant?

Cigarette
What about Woodbine the cigarette? tharsaile 14:33, 10 July 2006 (UTC)

National Register of Historic Places entries
I removed the following entries because MOS:DAB specifies that entries that include only partial name matches should not be included on dab pages.
 * Woodbine Historic District (Woodbine, Georgia)
 * Woodbine-Palmetto-Gates Historic District

ENeville (talk) 20:07, 27 June 2009 (UTC)

title: Talk:Woodbine


text:
Luís Bernardo de Távora, 4th Marquis of Távora

D. Luís Bernardo de Távora, 4th Marquis of Távora and 7th Count of São João da Pesqueira (29 August 1723 – 13 January 1759) was a Portuguese nobleman. He was one of the thirteen people executed in Lisbon, on 13 January 1759, convicted of attempting to kill the King Joseph I of Portugal.

He was the first son of Francisco de Assis de Távora, 3rd Count of Alvor, and Leonor Tomásia de Távora, 3rd Marquise of Távora. Luís Bernardo married his aunt, sister of his father, D. Teresa de Távora e Lorena on 8 July 1742. Neither he nor Teresa had any descent.


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Nucleophilic acyl substitution

Nucleophilic acyl substitution (SNAcyl) describes a class of substitution reactions involving nucleophiles and acyl compounds. In this type of reaction, a nucleophile – such as an alcohol, amine, or enolate – displaces the leaving group of an acyl derivative – such as an acid halide, anhydride, or ester. The resulting product is a carbonyl-containing compound in which the nucleophile has taken the place of the leaving group present in the original acyl derivative. Because acyl derivatives react with a wide variety of nucleophiles, and because the product can depend on the particular type of acyl derivative and nucleophile involved, nucleophilic acyl substitution reactions can be used to synthesize a variety of different products.

Reaction mechanism
Carbonyl compounds react with nucleophiles via an addition mechanism: the nucleophile attacks the carbonyl carbon, forming a tetrahedral intermediate. This reaction can be accelerated by acidic conditions, which make the carbonyl more electrophilic, or basic conditions, which provide a more anionic and therefore more reactive nucleophile. The tetrahedral intermediate itself can be an alcohol or alkoxide, depending on the pH of the reaction.

The tetrahedral intermediate of an acyl compound contains a substituent attached to the central carbon that can act as a leaving group. After the tetrahedral intermediate forms, it collapses, recreating the carbonyl C=O bond and ejecting the leaving group in an elimination reaction. As a result of this two-step addition/elimination process, the nucleophile takes the place of the leaving group on the carbonyl compound by way of an intermediate state that does not contain a carbonyl. Both steps are reversible and as a result, nucleophilic acyl substitution reactions are equilibrium processes. Because the equilibrium will favor the product containing the best nucleophile, the leaving group must be a comparatively poor nucleophile in order for a reaction to be practical.

Acidic conditions
Under acidic conditions, the carbonyl group of the acyl compound 1 is protonated, which activates it towards nucleophilic attack. In the second step, the protonated carbonyl 2 is attacked by a nucleophile (H−Z) to give tetrahedral intermediate 3. Proton transfer from the nucleophile (Z) to the leaving group (X) gives 4, which then collapses to eject the protonated leaving group (H−X), giving protonated carbonyl compound 5. The loss of a proton gives the substitution product, 6. Because the last step involves the loss of a proton, nucleophilic acyl substitution reactions are considered catalytic in acid. Also note that under acidic conditions, a nucleophile will typically exist in its protonated form (i.e. H−Z instead of Z−).

Basic conditions
Under basic conditions, a nucleophile (Nuc) attacks the carbonyl group of the acyl compound 1 to give tetrahedral alkoxide intermediate 2. The intermediate collapses and expels the leaving group (X) to give the substitution product 3. While nucleophilic acyl substitution reactions can be base-catalyzed, the reaction will not occur if the leaving group is a stronger base than the nucleophile (i.e. the leaving group must have a higher pKa than the nucleophile). Unlike acid-catalyzed processes, both the nucleophile and the leaving group exist as anions under basic conditions.

This mechanism is supported by isotope labeling experiments. When ethyl propionate with an oxygen-18-labeled ethoxy group is treated with sodium hydroxide (NaOH), the oxygen-18 label is completely absent from propionic acid and is found exclusively in the ethanol.

Reactivity trends
There are five main types of acyl derivatives. Acid halides are the most reactive towards nucleophiles, followed by anhydrides, esters, and amides. Carboxylate ions are essentially unreactive towards nucleophilic substitution, since they possess no leaving group. The reactivity of these five classes of compounds covers a broad range; the relative reaction rates of acid chlorides and amides differ by a factor of 1013.

A major factor in determining the reactivity of acyl derivatives is leaving group ability, which is related to acidity. Weak bases are better leaving groups than strong bases; a species with a strong conjugate acid (e.g. hydrochloric acid) will be a better leaving group than a species with a weak conjugate acid (e.g. acetic acid). Thus, chloride ion is a better leaving group than acetate ion. The reactivity of acyl compounds towards nucleophiles decreases as the basicity of the leaving group increases, as the table shows.

Another factor that plays a role in determining the reactivity of acyl compounds is resonance. Amides exhibit two main resonance forms. Both are major contributors to the overall structure, so much so that the amide bond between the carbonyl carbon and the amide nitrogen has significant double bond character. The energy barrier for rotation about an amide bond is 75–85 kJ/mol (18–20 kcal/mol), much larger than values observed for normal single bonds. For example, the C–C bond in ethane has an energy barrier of only 12 kJ/mol (3 kcal/mol). Once a nucleophile attacks and a tetrahedral intermediate is formed, the energetically favorable resonance effect is lost. This helps explain why amides are one of the least reactive acyl derivatives.

Esters exhibit less resonance stabilization than amides, so the formation of a tetrahedral intermediate and subsequent loss of resonance is not as energetically unfavorable. Anhydrides experience even weaker resonance stabilization, since the resonance is split between two carbonyl groups, and are more reactive than esters and amides. In acid halides, there is very little resonance, so the energetic penalty for forming a tetrahedral intermediate is small. This helps explain why acid halides are the most reactive acyl derivatives.

Reactions of acyl derivatives
Many nucleophilic acyl substitution reactions involve converting one acyl derivative into another. In general, conversions between acyl derivatives must proceed from a relatively reactive compound to a less reactive one to be practical; an acid chloride can easily be converted to an ester, but converting an ester directly to an acid chloride is essentially impossible. When converting between acyl derivatives, the product will always be more stable than the starting compound.

Nucleophilic acyl substitution reactions that do not involve interconversion between acyl derivatives are also possible. For example, amides and carboxylic acids react with Grignard reagents to produce ketones. An overview of the reactions that each type of acyl derivative can participate in is presented here.

Acid halides
Acid halides are the most reactive acyl derivatives, and can easily be converted into any of the others. Acid halides will react with carboxylic acids to form anhydrides. If the structure of the acid and the acid chloride are different, the product is a mixed anhydride. First, the carboxylic acid attacks the acid chloride (1) to give tetrahedral intermediate 2. The tetrahedral intermediate collapses, ejecting chloride ion as the leaving group and forming oxonium species 3. Deprotonation gives the mixed anhydride, 4, and an equivalent of HCl.

Alcohols and amines react with acid halides to produce esters and amides, respectively, in a reaction formally known as the Schotten-Baumann reaction. Acid halides hydrolyze in the presence of water to produce carboxylic acids, but this type of reaction is rarely useful, since carboxylic acids are typically used to synthesize acid halides. Most reactions with acid halides are carried out in the presence of a non-nucleophilic base, such as pyridine, to neutralize the hydrohalic acid that is formed as a byproduct.

Acid halides will react with carbon nucleophiles, such as Grignards and enolates, though mixtures of products can result. While a carbon nucleophile will react with the acid halide first to produce a ketone, the ketone is also susceptible to nucleophilic attack, and can be converted to a tertiary alcohol. For example, when benzoyl chloride (1) is treated with two equivalents of a Grignard reagent, such as methyl magnesium bromide (MeMgBr), 2-phenyl-2-propanol (3) is obtained in excellent yield. Although acetophenone (2) is an intermediate in this reaction, it is impossible to isolate because it reacts with a second equivalent of MeMgBr rapidly after being formed.

Unlike most other carbon nucleophiles, lithium dialkylcuprates – often called Gilman reagents – can add to acid halides just once to give ketones. The reaction between an acid halide and a Gilman reagent is not a nucleophilic acyl substitution reaction, however, and is thought to proceed via a radical pathway. The Weinreb ketone synthesis can also be used to convert acid halides to ketones. In this reaction, the acid halide is first converted to an N–methoxy–N–methylamide, known as a Weinreb amide. When a carbon nucleophile – such as a Grignard or organolithium reagent – adds to a Weinreb amide, the metal is chelated by the carbonyl and N–methoxy oxygens, preventing further nucleophilic additions.

In the Friedel–Crafts acylation, acid halides act as electrophiles for electrophilic aromatic substitution. A Lewis acid – such as zinc chloride (ZnCl2), iron(III) chloride (FeCl3), or aluminum chloride (AlCl3) – coordinates to the halogen on the acid halide, activating the compound towards nucleophilic attack by an activated aromatic ring. For especially electron-rich aromatic rings, the reaction will proceed without a Lewis acid.

Thioesters
The chemistry of thioesters and acid halides is similar, the reactivity being reminiscent of, but milder, than acid chlorides.

Anhydrides
The chemistry of acid halides and anhydrides is similar. While anhydrides cannot be converted to acid halides, they can be converted to the remaining acyl derivatives. Anhydrides also participate in Schotten–Baumann-type reactions to furnish esters and amides from alcohols and amines, and water can hydrolyze anhydrides to their corresponding acids. As with acid halides, anhydrides can also react with carbon nucleophiles to furnish ketones and/or tertiary alcohols, and can participate in both the Friedel–Crafts acylation and the Weinreb ketone synthesis. Unlike acid halides, however, anhydrides do not react with Gilman reagents.

The reactivity of anhydrides can be increased by using a catalytic amount of N,N-dimethylaminopyridine, or DMAP. Pyridine can also be used for this purpose, and acts via a similar mechanism.

First, DMAP (2) attacks the anhydride (1) to form a tetrahedral intermediate, which collapses to eliminate a carboxylate ion to give amide 3. This intermediate amide is more activated towards nucleophilic attack than the original anhydride, because dimethylaminopyridine is a better leaving group than a carboxylate. In the final set of steps, a nucleophile (Nuc) attacks 3 to give another tetrahedral intermediate. When this intermediate collapses to give the product 4, the pyridine group is eliminated and its aromaticity is restored – a powerful driving force, and the reason why the pyridine compound is a better leaving group than a carboxylate ion.

Esters
Esters are less reactive than acid halides and anhydrides. As with more reactive acyl derivatives, they can react with ammonia and primary and secondary amines to give amides, though this type of reaction is not often used, since acid halides give better yields. Esters can be converted to other esters in a process known as transesterification. Transesterification can be either acid- or base-catalyzed, and involves the reaction of an ester with an alcohol. Unfortunately, because the leaving group is also an alcohol, the forward and reverse reactions will often occur at similar rates. Using a large excess of the reactant alcohol or removing the leaving group alcohol (e.g. via distillation) will drive the forward reaction towards completion, in accordance with Le Chatelier's principle.

Acid-catalyzed hydrolysis of esters is also an equilibrium process – essentially the reverse of the Fischer esterification reaction. Because an alcohol (which acts as the leaving group) and water (which acts as the nucleophile) have similar pKa values, the forward and reverse reactions compete with each other. As in transesterification, using a large excess of reactant (water) or removing one of the products (the alcohol) can promote the forward reaction.

Basic hydrolysis of esters, known as saponification, is not an equilibrium process; a full equivalent of base is consumed in the reaction, which produces one equivalent of alcohol and one equivalent of a carboxylate salt. The saponification of esters of fatty acids is an industrially important process, used in the production of soap.

Esters can undergo a variety of reactions with carbon nucleophiles. As with acid halides and anhyrides, they will react with an excess of a Grignard reagent to give tertiary alcohols. Esters also react readily with enolates. In the Claisen condensation, an enolate of one ester (1) will attack the carbonyl group of another ester (2) to give tetrahedral intermediate 3. The intermediate collapses, forcing out an alkoxide (R'O−) and producing β-keto ester 4.

Crossed Claisen condensations, in which the enolate and nucleophile are different esters, are also possible. An intramolecular Claisen condensation is called a Dieckmann condensation or Dieckmann cyclization, since it can be used to form rings. Esters can also undergo condensations with ketone and aldehyde enolates to give β-dicarbonyl compounds. A specific example of this is the Baker–Venkataraman rearrangement, in which an aromatic ortho-acyloxy ketone undergoes an intramolecular nucleophilic acyl substitution and subsequent rearrangement to form an aromatic β-diketone. The Chan rearrangement is another example of a rearrangement resulting from an intramolecular nucleophilic acyl substitution reaction.

Amides
Because of their low reactivity, amides do not participate in nearly as many nucleophilic substitution reactions as other acyl derivatives do. Amides are stable to water, and are roughly 100 times more stable towards hydrolysis than esters. Amides can, however, be hydrolyzed to carboxylic acids in the presence of acid or base. The stability of amide bonds has biological implications, since the amino acids that make up proteins are linked with amide bonds. Amide bonds are resistant enough to hydrolysis to maintain protein structure in aqueous environments, but are susceptible enough that they can be broken when necessary.

Primary and secondary amides do not react favorably with carbon nucleophiles. Grignard reagents and organolithiums will act as bases rather than nucleophiles, and will simply deprotonate the amide. Tertiary amides do not experience this problem, and react with carbon nucleophiles to give ketones; the amide anion (NR2−) is a very strong base and thus a very poor leaving group, so nucleophilic attack only occurs once. When reacted with carbon nucleophiles, N,N-dimethylformamide (DMF) can be used to introduce a formyl group.

Here, phenyllithium 1 attacks the carbonyl group of DMF 2, giving tetrahedral intermediate 3. Because the dimethylamide anion is a poor leaving group, the intermediate does not collapse and another nucleophilic addition does not occur. Upon acidic workup, the alkoxide is protonated to give 4, then the amine is protonated to give 5. Elimination of a neutral molecule of dimethylamine and loss of a proton give benzaldehyde, 6.

Carboxylic acids
Carboxylic acids are not especially reactive towards nucleophilic substitution, though they can be converted to other acyl derivatives. Converting a carboxylic acid to an amide is possible, but not straightforward. Instead of acting as a nucleophile, an amine will react as a base in the presence of a carboxylic acid to give the ammonium carboxylate salt. Heating the salt to above 100 °C will drive off water and lead to the formation of the amide. This method of synthesizing amides is industrially important, and has laboratory applications as well. In the presence of a strong acid catalyst, carboxylic acids can condense to form acid anhydrides. The condensation produces water, however, which can hydrolyze the anhydride back to the starting carboxylic acids. Thus, the formation of the anhydride via condensation is an equilibrium process.

Under acid-catalyzed conditions, carboxylic acids will react with alcohols to form esters via the Fischer esterification reaction, which is also an equilibrium process. Alternatively, diazomethane can be used to convert an acid to an ester. While esterification reactions with diazomethane often give quantitative yields, diazomethane is only useful for forming methyl esters.

Thionyl chloride can be used to convert carboxylic acids to their corresponding acyl chlorides. First, carboxylic acid 1 attacks thionyl chloride, and chloride ion leaves. The resulting oxonium ion 2 is activated towards nucleophilic attack and has a good leaving group, setting it apart from a normal carboxylic acid. In the next step, 2 is attacked by chloride ion to give tetrahedral intermediate 3, a chlorosulfite. The tetrahedral intermediate collapses with the loss of sulfur dioxide and chloride ion, giving protonated acyl chloride 4. Chloride ion can remove the proton on the carbonyl group, giving the acyl chloride 5 with a loss of HCl.

Phosphorus(III) chloride (PCl3) and phosphorus(V) chloride (PCl5) will also convert carboxylic acids to acid chlorides, by a similar mechanism. One equivalent of PCl3 can react with three equivalents of acid, producing one equivalent of H3PO3, or phosphorus acid, in addition to the desired acid chloride. PCl5 reacts with carboxylic acids in a 1:1 ratio, and produces phosphorus(V) oxychloride (POCl3) and hydrogen chloride (HCl) as byproducts.

Carboxylic acids react with Grignard reagents and organolithiums to form ketones. The first equivalent of nucleophile acts as a base and deprotonates the acid. A second equivalent will attack the carbonyl group to create a geminal alkoxide dianion, which is protonated upon workup to give the hydrate of a ketone. Because most ketone hydrates are unstable relative to their corresponding ketones, the equilibrium between the two is shifted heavily in favor of the ketone. For example, the equilibrium constant for the formation of acetone hydrate from acetone is only 0.002. The carboxylic group is the most acidic in organic compounds.

title: Nucleophilic acyl substitution


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DHL Aero Expreso

DHL Aero Expreso S.A. is a cargo airline based out of Panama City, Panama. It is wholly owned by DHL Group and operates the group's DHL-branded parcel and express services in Central and South America. Its main base is Tocumen International Airport, Panama City.

History
The airline was established in February 1996 and started operations on August 15, 1996. It began operations with charter flights, but added scheduled services on November 7, 1996. It is owned by Felix Picardi (51%) and DHL (49%) and has 482 employees in Panama (as of May 2023).

Since April 2020, Pablo Rousselin has been the current Managing Director, replacing Steve Getzler after his retirement.

Destinations
DHL Aero Expreso operates freight services to the following scheduled international destinations (as of October 2023):

Current
The DHL Aero Expreso fleet consists of the following aircraft (as of December 2023):

Former

 * 4 Boeing 727-200F
 * 2 Boeing 737-400SF
 * 1 further Boeing 757-200PCF

Accidents and incidents

 * On April 7, 2022, DHL de Guatemala Flight 7216, a Boeing 757-200PCF (registered HP-2010DAE) from DHL Aero Expreso while operating for DHL de Guatemala, made an emergency landing after taking off from Juan Santamaría International Airport due to hydraulic issues. After the aircraft landed back, it veered off the runway and broke up into two parts after falling into a ditch. The accident caused No casualties nor injuries. The airport was shut down for several hours after the crash and the aircraft was written off.

title: DHL Aero Expreso


text: User talk:81.99.0.91

title: User talk:81.99.0.91


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Deltha O'Neal

Deltha Lee O'Neal, III (born January 30, 1977) is an American former professional football player who was a cornerback for nine seasons in the National Football League (NFL). He played college football for the California Golden Bears, and was recognized as a consensus All-American. He was selected by the Denver Broncos as the 15th pick overall in the 2000 NFL draft, and he played professionally for the Broncos, Cincinnati Bengals and New England Patriots of the NFL. He was a two-time Pro Bowl selection.

Early years
O'Neal was born in Palo Alto, California. He is a 1995 graduate of Milpitas High School in Milpitas, California, where he was a running back, cornerback, and kick returner for the Milpitas high school football team. In track & field, he was a state-qualifier in the 100 and 200-meters, with personal-bests of 10.75 in the 100 and 21.66 in the 200. He was also a member of the 4 × 100 m (41.65s) relay squad.

College career
He attended the University of California, Berkeley, and played for the California Golden Bears football team. In his senior year with the Golden Bears, O'Neal set the NCAA single-season record of four interceptions returned for touchdowns and was recognized as a consensus first-team All-American. He graduated from California with a degree in social welfare in 2000.

Denver Broncos
O'Neal was originally drafted by the Denver Broncos in the first round of the 2000 NFL draft.

Due to O'Neal's speed, former Broncos head coach Mike Shanahan briefly flirted with converting O'Neal to wide receiver in mid-2003. O'Neal had two receptions, for four yards, in two games. O'Neal was also used frequently to return punts and kickoffs on special teams. While with the Broncos, O'Neal tied the record for most interceptions in a game with four.

Cincinnati Bengals
In April 2004, an unhappy O'Neal and the Broncos' 24th (first round) and 117th (fourth round) spots in the 2004 NFL draft were traded to the Cincinnati Bengals in exchange for Cincinnati's 17th spot in the first round.

In the 2005 season, O'Neal recorded ten interceptions, breaking the franchise record of nine, set by Ken Riley in 1976 and equalling Ty Law as the NFL's interception leader that year. He broke the record on December 18, 2005, against the Detroit Lions.

In early December 2006, O'Neal was arrested on DWI charges. In the 2007 season, O'Neal recorded 52 tackles and one interception.

O'Neal was released by the Bengals on August 30, 2008.

New England Patriots
On September 1, 2008, O'Neal was signed by the New England Patriots.

Houston Texans
O'Neal signed with the Houston Texans on August 6, 2009 following an injury to cornerback Jacques Reeves. He was released on September 5, 2009.

Legal issues
On December 9, 2006, O'Neal was arrested in the Pierce Twp community of Cincinnati after he was pulled over for driving while intoxicated. O'Neal was driving a black Cadillac Escalade. He was one of 9 Bengals players arrested during the 2006 offseason and regular season.

In December 2019, O'Neal was charged with one count of DUI with serious injury and one of DUI with property damage in Royal Palm Beach, Florida after speeding 100 mph in his Mercedes Benz and striking a utility pole, causing the vehicle to catch fire on August 7, 2019. He and a passenger were airlifted to St. Mary's Medical Center, where O'Neal suffered a broken ankle, a fractured back and neck, an eye injury, brain bleeding and intestinal injuries.

title: Deltha O'Neal


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Vīts Rimkus

Vīts Rimkus (born 21 June 1973) is a Latvian former professional footballer who played as a striker. Rimkus is of Lithuanian descent.

Club career
Born in Riga, Vīts Rimkus started his career in 1993 with Pārdaugava Rīga, scoring twice in 14 league appearances. After a promising start youngster was transferred to DAG Rīga in 1994. He played 15 league games for the team and scored three goals that season. He kept changing clubs and the next season was spent with another club from Riga, Amstrig Rīga. The 1995 season turned out to be a loud start of his career as he managed to net eight times in 26 matches.

Several offers to go abroad appeared and the player chose to move to Switzerland, signing a contract with FC Winterthur. Scoring eight goals in ten matches that season, he moved to Germany in 1996, signing for 1. FC Nürnberg. Despite the loud boom in Switzerland, Rimkus couldn't prove himself in Nürnberg, so he was given away to another German club, FC Erzgebirge Aue. Ten matches with no goals made him return to Latvia then.

In 1998, he was signed by Skonto Riga. After a really successful season the player was given away to FK Valmiera, where he played for two years, showing great performance. In 2001 FK Ventspils signed Rimkus for free and had him playing there until 2004. Scoring 70 goals in 100 matches, he attracted attention from many Russian clubs and was signed by FC Rostov in 2005. Staying goalless in nine games he was soon released and he returned to FK Ventspils. In the next five seasons, as a player of FK Ventspils, Rimkus scored 66 league goals in 109 matches. In 2009, he left the club after rumors about betting on his own team results, but nothing was proved in the end, and later it turned out to be a serious conflict with the board of the club.

In 2010 Rimkus moved to Lithuania, signing a one-year contract with FK Ekranas. He became the highest scorer of the team that season with 15 goals in 26 matches respectively, just one goal behind the top scorer of the league Povilas Lukšys. After the season Rimkus moved to Cyprus, signing a half-season contract with the Cypriot Fourth Division club Finikas Ayias Marinas Chrysochous. In July 2011 he returned to Latvia and signed a contract with the Latvian Higher League newcomers FC Jūrmala. Despite joining in mid-season, with ten goals in 18 games he became the team's highest scorer in the league. In March 2012 Rimkus was signed by the Latvian Higher League newcomers FK Spartaks Jūrmala, but after just playing one match he was released.

In January 2013 Rimkus joined the Latvian First League club FB Gulbene. With 20 goals in 23 matches during the 2013 season Rimkus became his club's second best top scorer. Despite Rimkus scoring a goal in the promotion/relegation play-offs, his team lost to FS METTA/Latvijas Universitāte 5–2 on aggregate and failed to secure a place in the Latvian Higher League for the 2014 season. Prior to the 2014 Latvian First League season Rimlus moved to AFA Olaine. Aged 40, he scored four goals in the first three league appearances for the club, but then left the team turning to playing indoor football.

Before the start of the 2016 Latvian First League season Rimkus returned to association football at the age of 42, joining Skonto FC. Throughout the season Rimkus participated in 19 league matches, scoring 13 goals.

International career
Rimkus has played 73 international matches and scored 11 goals for the Latvia national team. He debuted in 1995, and played at Euro 2004.

Honours

 * CIS Cup top goalscorer: 2009 (shared)

title: Vīts Rimkus


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Talk:No Disgrace

YAAAAAAAAAAAAAAAAAY IM FAMOUS!! hannah xxx peace and love to all my loyal and adoring fans out there that's right all 3 of you xxx actually it is two and a half, one of them is missing a leg

title: Talk:No Disgrace


text: User talk:69.222.254.53

title: User talk:69.222.254.53


text: User talk:80.196.176.179

title: User talk:80.196.176.179


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User:Fallsend

What I do
Mostly, I browse the new articles out there fixing things as I see them and nominating things for deletion when necessary. As to the last point, I like to see either a decent amount of notability or a well presented (and referenced!) articles. That being said, I quite imagine some people will see differently then me, especially about articles they made- so feel free to let me know (civilly) in my talk page, I'll gladly give you my reasoning if I haven't already in the article's discussion.

Some Wiki Beliefs

 * Pages should either be of notable subjects or useful in the information they provide.
 * Use categories instead of lists.
 * Cite your sources.

title: User:Fallsend