recursal/Fanatic-Fandom huggingface dataset:
Traditions

Traditions are a very important part of Oak Valley Middle School. Every year, we try to continue the traditions and pass them down to the lower grades.

## ORCHESTRA TRADITIONS:

### Bothering Mr. Geib

Multiple generations have attempted to annoy him to earn a Geiby, either by annoying him, or doing weird things.

### Concerts

Usually, during orchestra concerts, students think of something creative to do, like bring glowsticks, wear hats, or wear fake mustaches.

### Bassies awards

Started in 2014-2015, the bassists give out awards to everyone they know. They are a parody for the beloved Geibies, so we can continue the tradition even when he is gone. The Bassies are made by the bassists, Duh.

## Lunch Traditions

### Masterpieces

Normally served during lunchtime, a masterpiece is a wide variety of food from all food groups beautifully put together. After it is skillfully made, a masterpiece is shared with a random unsuspecting stranger and the stranger's reaction is watched with much amusement. Usually done with many people surrounding it, so the janitor doesn't find out. Also is usually done in someone else's lunch tray.

### Backpack Stealing

Can be very annoying if done the right way. One person steals the backpack and runs off. Another person takes their remaining stuff while the person chases down their bag.

### Zip Tie

Some people zip-tie others' bags so they can't get any of their stuff.
Music Teachers

## Mr. Duley:

He left OVMS in 2013-2014 year, and was replaced by Mr. Nowak. He taught orchestra, we think. No one really remembers him.

## Mrs. Lazzari

Mrs. Lazzari can be laid back but also strict. She is the orchestra teacher, but she plays flute. She can be very nice and relaxed, but don't ask her a lot of stupid questions. You will regret it.

## Mr. Nowak

Mr. Nowak is the band teacher. NEVER GET ON HIS BAD SIDE. HE WILL BE RUTHLESS AND KICK YOU OUT OF THE ROOM THE MOMENT HE SEES YOU.

## Mr. Geib

Best teacher of music, ever. He left in 2014-2015 year for his band "Slightly Stoopid". He plays bass guitar, trombone, trumpet, flute, and many more instruments. Mr. Geib also gives out the prized Geiby awards.
Main Page

<hero description="Welcome to the 'Conquerclub.com' wiki. The oldest, and one of the largest most active online risk communities." imagename="" cropposition="" />

Welcome to the Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Conquerclub boardgames Wikiaaaaaaaaa

Welcome to the 'Conquerclub.com' wiki. The oldest, and one of the largest most active online risk communities.

## Describe your topic

Write a description about your topic. Let your readers know what your topic is about and add some general information about it.

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The Offspring - Americana (Transcribed Scores)

Release Date(s)
 Type
 ISBN

*Not to be confused with The Offspring - Americana (Band Score)*

***The Offspring - Americana (Transcribed Scores)*** is a book based on the album of the same name. It features all songs except "Welcome" and the "Pretty Fly Reprise". It features tablature for guitar and bass. It was released in the USA, and was also sold by Shinko Music in Japan as a part of their Band Score series. Additionally, Oct Corporation made their own Band Score book for the album, which contains different transcriptions.

This was also the only Transcribed Scores book that Hal Leonard made for The Offspring. However Oct made their own version in Japan.

It is unknown who transcribed the bass and drum parts for this book, but Jeff Jacobson, Steve Gorenberg, and Pete Billman are credited in the Guitar Recorded Versions book for Americana.

The book is out of print.

## Tracklist

1. Have You Ever
2. Staring at the Sun
3. Pretty Fly (for a White Guy)
4. The Kids Aren't Alright
5. Feelings
6. She's Got Issues
7. Walla Walla
8. The End of the Line
9. No Brakes
10. Why Don't You Get A Job?
11. Americana
12. Pay the Man

## Credits

Transcribers (uncredited): Pete Billmann, Steve Gorenberg, Jeff Jacobson, Unknown
Places

Oak Valley has many nicknames for landmarks in the school. For example, students typically call the center of the school the quad. Here are some of the ones we've heard (doesn't mean people use all of them jeez)

-the area next to the computer lab-the desert

-bus loop-back

-center of school-quad

-area close to main stairs- the trees

-gym-the cemetery

-cafetera-tables
Lunch

Lunch at Oak Valley is split into two periods: Lunch A for sixth graders and some seventhies. Lunch B for eighthies and some seventhies also. If you're in seventh grade, there's a high chance that you and your friends will be split up at lunch. It's happened, and it's painful, but you've got to work through it. The upside is, you'll make friends with people of different ages.

Lunchtime is truly beautiful. It's where the most memories are made. A variety of games are played during lunchtime \*cough\* \*cough\*.\*pacman anyone?\* \*stop stealing my backpack!!\*

## **Buying Lunch:**

The cafeteria sells many foods. You can either buy from the hot lunch line, or one of the faster lines. The first line is typically longer, but includes a main meal (usually there is pizza, burritos, salad, and a few that are always changing), a salad/fruit, and milk. In the other line, you can get others--bagels, burritos, fruit, ice cream, etc.

Ice Cream: tropical popsicle, chocolate crumble cone, ice cream sandwich, fudge bar, strawberry shortcake bar, chocolate version bar.

Food: Mostly the same as the ones in elementary school. Breadsticks and marinara sauce, salisbury steak and gravy, cheeseburgers, pizza, hot dogs, burritos, chimichangas.

More: Brownies, cookies, chips, cheetos, fruit, salad, milk, juice, etc.

## **Lunch Ladies: Tips**

-Be clear about what you ask for. Once, I asked for a pear, and got an orange. Then I asked for an orange and got an apple.

-When you are getting in line, pay attention to which lunch lady is serving. Make sure you don't get into the slow ones (the old lady ones).

-Get in line with your friends!! Lines can be long, and you'll be bored.
2016 Isolation

## Isolation: Who We Are

Isolation is the group that sits next to the orchestra room at lunch. It is called Isolation due to the fact that everyone there is "isolated" from other groups and social interactions. It has also been called "AC" , "Air-Conditioning", and "Asian Central", however it mostly called Isolation. This is the group that was previously called the 2015 EGA (eighth grade alliance). They have matured quite a bit yet still are infatuated with food.

## Members

Jenny

Jae

Jeffrey

Isha

Varsha

Wynnie

Justin

Noah

Nikki

Anna

Angela

Occasionally: Artem, Anurag, Rosey stop that

## History

### The Event of Bae

Varsha's friend Michael was pretty much surrounded and interrogated...so he didn't get to join Isolation, even though he's a super chill guy... :/
2015 Eighth Grade Alliance

2015 Eigth Grade Alliance: The much more mature version of Camp Asia. They are close in bonds to Camp Asia, but are older and seen as leaders, nice kids, and fun to be around. They are also very humble.

## Culture

EGA is commonly seen stealing other people's backpack, carrying conversations about the koreans and other asian things, playing card games, playing geometry dash, booping, and running around a lot. Occasionally, some people will go to Camp Asia Lunch B and bother them mercilessly. Others are also seen in the band room.

EGA is also known for FOOOOOD. Food trades are common, and bread is thrown everywhere (bread wars.) Everyone robs Rosey of her korean lunch, Kaya of her ramen, and Isabel of her pasta.

EGA mingles with Camp Asia B lunch, as they come to sit with us quite a bit. Ships are common here. EGA mostly sits in a circle, which makes it easier to ship people, especially while playing truth or dare.

Inside jokes include wrong looking parts on trees, writing things on trees, bread wars, and extreme asianess.

EGA is especially crazy on rainy days, when crazy asians are seen jumping in puddles, getting soaked, making penguin huddles, and playing tag in the rain.

## Meeting locations:

In the morning: under the trees closest to the 400 building, or the cafeteria. Occasionally with the Camp Asians on the grass square closest to the 400 building.

Lunch B: under the trees closest to 400 blding. The other hand of the EGA is at the cafeteria about two tables away from the main blacktop gate.

After School: Many places, including the front of the school near the MPR and next to the trees, or at the back getting picked up/walking

## Ships

Ships of EGA include Kosey, Kara, Jakota, Jaesabelle, Jikaya, Kikaya, and too many others.

## Members:

Rosey

Nikki

Justin

Kody

Rachelle

Teia

Darrin

Joe

Jae

Anurag

Angela

Amogh

Anna

Varsha

Jagger, sometimes

Wynnie

Katherine

Viet

Parvinder

-alot more-
Main Page

Official Introduction:

Welcome new falcons! OVMS CA wiki is dedicated to welcoming new falcons and sharing tips about different classes, activities, and associations in Oak Valley. It's still a work in progress, so it's a bit sparse in info at the moment.

Actual, Legit Introduction:

This is the OVMS CA wiki, the not-so-secret archives of the CA, FCA, and Friends of CA political parties. The purpose of this wiki is to initiate incoming CA, FCA, and Friends of CA members. The information presented here is highly applicable in school life and is 100% TRUE UNDER ALL CIRCUMSTANCES. Some information may seem foreign, but will quickly make <partial> sense. Have a nice day!

W**elcome to the OVMS wiki. OVMS welcomes you.**

THIS IS WHERE ALL THE STUPID STUFF HAPPENS. Please excuse the lack of pages and organization. This wiki was just recently created.

Examples: where theres a made-up band, a bunch of random ships, and Camp Asia rules.
Pacman Crew

This is the group of people who were originally friends before OVMS. They all went to school at Monterey Ridge Elementary School.

## Members:

Angela C

Justin T

Nathalia T

Emily S

Julia S

Lisa Y

Varsha B

Teia B

Nydia G

Kyle C

Jenna P

Leah P

Karlie H

Shruti M

## Block the Playground

One person is selected to be the "it" person, and one specific area of the playground is selected to be the "escape".

The "it" closes his/her eyes and counts to ten outside of the escape area. This time is given for other players to choose a spot to hide.

The goal of the other players is to reach the escape without the "it" tagging them. The goal of the "it" is so tag another player and defend the escape (without puppyguarding).

If another player is tagged by the "it", he/she will become the next "it". If nobody is tagged, then the last person to reach the escape is the next "it".

## Pacman

-people must stay on the lines

-A person/people are chosen as pacman. the pacman must tag the others.

-when a player is tagged, the must sit down and become a roadblock. other players can not go around them. they are unfrozen if another live player tags them.

-if a player is stuck between two roadblocks, the inside player must also sit down

-if there is another person on the other side, you can jump across or pull them. However, you must have physical contact

-the game ends if the lunch bell rings or all players are tagged

-the pacman is usually chosen by volunteers or the last person in the middle

## Bridge Pacman

Pretty much the same thing, except you can use jackets and other materials to "make a bridge".

## Shadow Pacman

Shadow Pacman is where you can move on your shadows. That means you can jump across if there is a shadow.

## Capture the Flag

Capture the flag is with two team captains and two teams. Each team has to try to get the others flag. There are two sides. If one team is on the other's side, they can get tagged. If they are tagged, then they have to go to jail. If another person tags them, they are free. To win, one team has to get another's flag and bring it back across the line.
How to leave a clan?

Go to Usergroups

Select the usergroup, scroll down to the drop-down menu, select "Resign Selected" and press the submit button.

If your clan is set as your default group, this won't work. In that case, ask one of your clan leaders to remove you.
Other option is to submit an Eticket with the request of being removed from a usergroup.

If you have any questions, concerns, or ideas, as you go through it, feel free to contact any one of the Clan Directors. That’s what they are here for…to help you have fun on the Clan section.
No Worries

Fei Yen is three, maybe?

Jin and Fei Yen (as a bumblebee) swing halfway up Typhoon's thigh, a good hundred or so feet above the hangar floor.

Fei Yen tugs on his sleeve. "Din, weewee, peaz."

"One more twist--" Jin tightens the bolt. "And we're off!" He pushes off the plate, squeezes the brake, and off they rappelle.

Two thirds of the way, Fei Yen makes a sad sound and wiggles a bit.

Jin kisses her head, touches down lightly.

Cheung wanders over with his water bottle.

"What's next?" asks Hu.

"Washroom." Jin sorta cringes. "Had a bit of accident."

Fei Yen wibbles.

Cheung unscrews the top of his water bottle.

"It's okay, Bumblebee," assures Hu.

Cheung splashes his water bottle on Jin's trousers.

"Hey--"

"Really, Jin?" Cheung sighs.

Fei Yen wants to burrow into the harness but she doesn't want to move and get ickier, either.

Hu works himself free of his jumpsuit.

"You have less bladder control than a three year old?"

"Oooo," realizes Jin--

Hu hands overs his jumpsuit.

--takes it, "I am /so embarrassed." Yanks it over his own and Fei Yen (easier said than done with steel-toed work boots). "Right. I'm off to go be not embarrassed." Bends over Fei Yen. "Would you care to join me in not being embarrassed?"

"'es, peaz."

"Awesome." Smooches her head. "We're gone."

"Later!" calls Hu.

"Be good," adds Cheung.

.

Mr Xiong strolls from the elevator--

""Hakuna matata~!""

""Whaddawonder bull faze!""

Mr Xiong follows the off-key warbling--

""Hakuna matata!""

""Ainno passing kaze!""

--down the hall--

""It means no wor-ries!""

""Fodaresofyourdaze!""

--to their quarters, door ajar, and smiles.

""It's a problem-free!""

""Philosophy!""

And in harmony, ""Hakuna matata!!!!""

Mr Xiong finds a pair of workboots on the mat, two socks abandoned in the hall--

Cheerful whistling.

--and a darkening patch of carpet outside the washroom.

""Haku-na matata / Haku-na matata--""

""Ih means nowohriez!""

Mr Xiong peers in to find a wall of bubbles where the bathtub used to be.

"For the rest of your day-ays!"

"I assume my child and a triplet is in there?"

"Yup!" A cloud of bubbles parts for a face. "The 'Jin' triplet, in fact!"

"And Fei Yen?"

""Here, Da!""

"I haven't lost her, promise," assures Jin, disappearing. ""I had her a second ago.""
Sting - The Last Ship (Piano Vocal Guitar)

Release Date(s)
 Type
 Transcriber(s)
 Price(s)
 ISBN

***Sting - The Last Ship (Piano Vocal Guitar)*** is a book by Hal Leonard based on Sting's latest album and play of the same name. It features arrangements of the songs featured on the album. Unfortunately, piano vocal guitar arrangements of songs from the bonus discs of the album were not transcribed. However, a video shows a piano vocal arrangement for Hadaway from the second bonus disc: https://www.youtube.com/watch?v=87lKbcMBEdE (at the 2:08 mark). Though the sheet music presented in the video does not look like it came from Hal Leonard and looks like a custom score made in Sibelius.

It is unknown who made the arrangements found in the book, but it is thought to have been Rob Mathes because he is listed for 'invaluable input', although he's not credited for transcribing it. Rob Mathes played piano in the studio album.

## Tracklist

1. The Last Ship
2. Dead Man's Boots
3. And Yet
4. August Winds
5. Language Of Birds
6. Practical Arrangements
7. The Night The Pugilist Learned To Dance
8. Ballad Of The Great Eastern
9. What Have We Got?
10. I Love Her But She Loves Someone Else
11. So To Speak
12. The Last Ship (Reprise)

## Credits

With thanks to Rob Mathes for his invaluable input
Troy Nelson

Birthplace
 Nationality
 Alias(es)

***Troy Nelson*** is an American guitarist and musician. He is known for his many instructional guitar books, mainly for Hal Leonard. These include Guitar Aerobics, Fretboard Freedom, Rhythm Guitar 365, and One-Man Guitar Jam. He has also transcribed several famous artists include Alice In Chains, Kenny Wayne Shepherd Band, and The Offspring.

Troy handwrote his guitar tablature/vocal transcriptions on sheet music paper and sent it to Hal Leonard.

## Books

* Alice in Chains - Alice in Chains (Guitar Recorded Versions)
* Alice in Chains - Nothing Safe (Guitar Recorded Versions) (Uncredited)
* Kenny Wayne Shepherd Band - Best Of Kenny Wayne Shepherd Band (Guitar Recorded Versions) (Uncredited)
* Kenny Wayne Shepherd Band - Guitar Anthology Series (Authentic GUITAR-TAB Edition)
* Kenny Wayne Shepherd Band - Trouble Is... (Guitar Recorded Versions)
* The Offspring - Ixnay on the Hombre (Guitar Recorded Versions)
OVMS CA Wikia

Official Introduction:

Welcome new falcons! OVMS CA wiki is dedicated to welcoming new falcons and sharing tips about different classes, activities, and associations in Oak Valley. It's still a work in progress, so it's a bit sparse in info at the moment.

Actual, Legit Introduction:

This is the OVMS CA wiki, the not-so-secret archives of the CA, FCA, and Friends of CA political parties. The purpose of this wiki is to initiate incoming CA, FCA, and Friends of CA members. The information presented here is highly applicable in school life and is 100% TRUE UNDER ALL CIRCUMSTANCES. Some information may seem foreign, but will quickly make <partial> sense. Have a nice day!
Science Olympiad

Science Olympiad is 50% of Camp Asia. It is a science competition, where you compete in various events. For example, in Heredity you compete in a test about genetics, or in Bottle Rockets you shoot a rocket and try to get the longest time.

## Teams

Team names have been musician names and Greek names. In 2013-2014, the names were Mozart, \_\_\_\_. In 2014-2015, the names were Hades, Ares, \_\_\_\_\_.
Field Trips

## Sixth Grade Field Trips

### Sixth Grade Camp

Sixth grade camp is probably one of the best field trips. You get to spend a week in Camp Cuyamaca in the nature. Night hikes, hikes, games, campfires, and songs were all part of the fun.

### Sea World

Sea World was pretty fun. You got to walk around the park, look at the animals and eat. You really weren't supposed to go on rides, but everyone did anyway.

## Seventh Grade Field Trips

### Getty Villa

The Getty Villa was one of the slower field trips. However, it can still be very fun. Make sure you bring sunblock and a hat, it can get very hot.

### Tournament of the Phoenix

The Tournament of the Phoenix had real jousters and various informational booths. They had armor, demonstrations, and even a falconer.

### Medieval Times

Medieval Times is less educational than most field trips. Students got a meal of chicken, garlic bread, potato, and a cookie. BRING YOUR OWN FORK. They don't provide them, because most people ate with their hands. If you want, you can buy expensive drinks and medieval toys. There is also a horse stable where you can watch the horses.

## Eighth Grade Field Trips

### Museum of Tolerance

This field trip was slower than most. It is very interactive, but since most buses arrived late, we weren't able to see much of the museum. It is very interactive with headsets, talking people, conversation in fake figurines, and even a "game show".

### The Wave Waterpark

BEST FIELD TRIP EVER. The Wave Waterpark has waterslides, a surfing wave, a lazy river, and more! They also sell food--root beer floats, dipping dots, nachos, etc. Students got to go here for the end of the year party. Unfortunately, they had promotion practice right after and had to sit there dripping wet

### Knotts Berry Farm

In the supposed "physics field trip", kids mostly rode roller coasters and ate food. You were required to fill out a packet of physics problems. Most students just copied off of others at the end. You were also supposed to stay with your group, but everyone just roamed around the park. Pretty good trip.
Multiword Utterances

Talk about Bloom’s stages of language development

### Analysis

Fei Yen has acquired all of her early-developing sounds and most of her middle developing sounds, but late
developing sounds remain difficult. She uses the phonological process of ‘gliding’ to transform liquids, like /l/, into glides, such as /w/:

7.     “I don’t wike moekeetoes.”

Consonant clusters are still
tricky. Fei Yen deletes the more complicated sound and leaves the stop:

1. “Moekeetoes,” grumbles Fei Yen (3;4.6, Chinese, 3′1″). “I don’t wike moekeetoes.”

1. “It coughs me! Moekeetoes coughs me! Pah!”
2. The fricative /s/ in this /sk/ fricative-stop cluster is deleted so only the stop, /k/, remains.

1. “Bad moekeetoes.” Fei Yen sticks out her tongue. “Moekeetoes, go pest tipets.”

-         The liquids /r/ and /l/ in these /tr/ and /pl/
stop-liquid clusters are deleted, leaving only the stops /t/ and /p/, respectively.

(McLeod et al., 2001)

Fei Yen's syntax and morphology is consistent with a child in Brown (1973)'s Stage Three of language
development, working on grammatical notions, like negation and imperatives, in
lines 12 and 19:

“I don’t wike moekeetoes.”

Negation, “don’t”

1. “Moekeetoes,

 go pest tipets.”
Imperative commands

She has long since left Stage
One and Stage Two, mastering elements like English word order, regular plurals,
and relational meanings:

7.      “I
don’t wike moekeetoes.”

English word order, early pronouns (in this
case, “I”)

12.  “Bad
moekeetoes.” Fei Yen sticks out her tongue. “Moekeetoes, go pest tipets.”

1.      English
word order, regular plurals

19.  Fei Yen
splutters, “Yuck! Bad moekeetoes!”

1.      Regular
plurals, Relational meanings (attribute + entity)

Clark, 2003:142 (Causal errors,
3;1). The social context of meaning acquisition: acquisition of a single
component, such as CAUSE.
Clans

Clans (Usergroups), for those unfamiliar, are member organized and run groups of people. They may share similar styles of play, geographic location, other varying interests, or perhaps may just be a group of friends (or enemies) looking to get together in some organized fashion. Clans are what you make them, that is the beauty.

Note, clans distinguish themselves from social usergroups in the fact that members fight along side each other in clanwars. Social usergroups are mere private forums.

Check out how to join a clan.
Disclaimer

Fei Yen came about because her envisioner, pickleplum, wanted to write a scene with a particular character, Hermann, and a child, overheard by a second character, Newt.

Two issues
arose: the only time those two characters would be in the same place at the same time without meetings, conferences, other engagements, or coincidence
(thus leading to a cliché) was after 2020 when both were stationed in the Hong Kong Shatterdome.

Secondly, the grownups were co-chiefs of the science, neither are very social or from Hong Kong, so it would too idealist for the child’s parent to be a lower-ranked mechanic—the difference in rank would be too great if the parent and Hermann even knew each other—and Hermann would doubtfully be close enough to a fellow division chief for such a favour to be asked so the parent would have to know Hermann and be of a higher rank.

That leaves, at the very least, the Marshal or their second-in-command. The Marshal would have to make an appearance, at the very least for the change 2024 change in command, but the story may go from start to finish without a glimpse of the second-in-command.

http://pickle-plum.tumblr.com/post/115894501505/skeleton-key-for-the-ficspecific-questions-all
Max

"Ma," mutters Fei Yen, tugging at Max's wrinkles.

"No, 'Max'," says Ducky.

"Mak."

"/Max."

"Mak Mak Mak."

"Ma-k-s."

"Mak."

"Can you say that? Ma-k-s. Say it."

Fei Yen looks up. "Max."

"Yea! That's his name! Max!"

"Mak."

Fei Yen sees Feng, dumps Max, and when Feng's hugging her, a cat worms free of his shawl.

## To Do

#Doggy

* Fei Yen, Max, and Chuck: dodi -> gogi -> dogi (Clark) but with "kitty" and Feng. Also semantic roles? (Clark.) which wasn't what I thought of here.
* "May I have a spoon please" from Hoff.
* Phonological process(es) for /k/
* Inconsistent production, too? (what can /k/ deform into? or inconsistent productions of "kitty". Was this my thought?)
Cooing

## Timing

Cooing and laughter: 6-8 weeks (laughter around 16 weeks) (Hoff, 2013)

6- 16 weeks (Yeni-Komshian 1980:74)

## Description

* Happy, contented baby sounds (Hoff, 2013)
* First coos: one long #vowel (Hoff, 2013)
* First produced in pleasurable interaction but may be subsequently elicited in situations that do not involve interaction (\*but doesn’t ‘elicit’ imply interaction?). At the time of onset of cooing, the presence of a smiling, nodding face would appear to be a powerful, if not necessary, eliciting stimulus (Yeni-Komshian 1980:74)
	+ Social thing (Hoff, 2013)
* Increased control over voicing and the vocal tract reflects an integration of previous vocalization types in a first structure allowing a consonant – vowel like configuration of the “coo”. (Lust, 2006:152)
	+ These vocalization types are a vocalic mechanism in crying and a consonantal mechanism in vegetative sounds
* Cooing and gooing, where basic syllable shapes (V, CV) and velar-like #closants are identified during the ages of two to four months (Robb et al., 1994)
* Continue producing cooing noises for many more months, and the quality changes with age (Hoff, 2013)
	+ one change is the variety of different vowel-like sounds  (\*what determines quality in a coo?)
	+ instead of one sound, a series of different #vowel-like sounds strung together but separated by intakes of breath.
* Cooing: infant starts and stops #phonotation within a single breath unit, moving beyond #vegetative + #reflective sounds (Oller, 1981; See also, Koopmans-van Beinum and Van der Stelt 1998:122) (Lust, 2006:152)
* More #features of speech sounds are present in these vocalizations than there were in earlier ones (\*specifically which earlier vocalizations? coos? vegetative sounds?) (Hoff, 2013)
* #Babbling period is introduced in the child by so called cooing period: the tongue maintains approximately its normal position and indeterminate neutral sounds are produced (Jackobson 1968: 68)
	+ Neither vowels nor consonants = both at the same time
Stages

* These stages can be broken down even more into these smaller stages: pre-production, early production, speech emergent, beginning fluency intermediate fluency and advanced fluency. (enlsac2max)

Vegetative, Reflexive sounds

Comfort sounds, cooing, laughter

Vocal play

Reduplicated babbling

Nonreduplicated babbling

10 months - Pre-linguistic schemas (Clark, 2003)

12 months - First words

12 months - Holophrastic speech

15 months - Brown's Stage One

18 months Combinatorial Speech (Rodgon, 2009)

Brown's Stage One

Brown's Stage Two

Telegraphic speech (enlsac2max)

Brown's Stage Three

Brown's Stage Four

Brown's Stage Five

## Sources

https://enlsac2max.wordpress.com/stages-of-language-acquisition/

http://webspace.ship.edu/cgboer/langdev.html

file:///C:/Users/Maryanna/Downloads/ADVANCED%20MANUAL%20P.%20376%20-%20468.pdf

Maris Monitz Rodgon, 2009. http://www.cambridge.org/ca/academic/subjects/languages-linguistics/psycholinguistics-and-neurolinguistics/single-word-usage-cognitive-development-and-beginnings-combinatorial-speech-study-ten-english-speaking-children
Conversations

## Intent

* How soon can we be sure children are intent not just on achieving some goal but on making sure their addressees have understood them? (Clark, Eve 2003:53)
	+ Some say they do, some say they don’t but others argue it’s to change someone’s behaviour rather than a want to be understood

## Confirmation

* Establishment of a conversational topic, kids often pause and wait for adult confirmation before continuing. (Keenan & Schieffeln, 1976) (Stilwell-Peccei, 2006. 27 (e40)
	+ Initially, adults seeks clarification from the kid, but as they grow older, kids increasingly initiate their own repairs when they perceive their utterance has been unsuccessful.
	+ 2;9 – they show a greater precision of articulation their self-repairs, increased volume, and use of contrastive stress (it was UNDER the chair, not on it).
	+ Rely heavily on contextual cues, gestures and naming
		- Before 3;0 – tend to have difficulty with non-situated discourse topics
Colourblind Pallet Check

Colorblindness is more common in males than females, and roughly 1 in 20 people have some form of color-vision deficiency.

The most common form of colorblindness is red-green, although some people can have yellow-blue colorblindness.

This website: http://www.vischeck.com/vischeck/vischeckImage.php has a useful simulator, which you can use to see how an image may look to someone who is colorblind.
Making a Note

## Dialogue Two Note

(4
½ months)

Miyahira,
arms full of Fei Yen, catches the eye of a maintenance worker driving a cart.

“Need
a lift?” they ask.

Fei
Yen gurgles.

“If
you’re headed in the general direction of the marshal’s quarters,” replies
Miyahira.

“Hop
on,” offers the worker.

Fei
Yen makes happy sounds.

“Thank
you!”

“You’re
very welcome.” Announces, “Vroom vroom!”, twists the key—

*Beep-Beep!*

Fei
Yen makes happier sounds.

—and
chauffeurs them through the halls.

.

“Thank
you very much,” says Miyahira.

“You’re
very welcome.” The worker tips their hat. “Have a good day.”

“Thanks,
you, too!”

The
worker restarts the cart—

*Beep-Beep!*

and
drives off.

Miyahira
lets her and Fei Yen into the marshal’s suite and heads to Fei Yen’s room. “Sorry,
Feiby,” she says gently, laying Fei Yen on the playmat, “It’s tummy time.”

Fei
Yen squalls and glares up at Miyahira.

She
notes the time, lies down beside her.

.

*Child language production diary data—Xiong*
FY (0:4.18) and Miyahira S,

Recorded 14:29, 24 May 2015 and thank heavens for air conditioning

Marshal’s quarters

[attachment: audio]

14:29
– open-mid, back vocalic cries (*experimenter*
note: FY on playmate on tummy)

14:30-32
– definite goos, only one coo; sonorants are more resonate than
CLPDD\_XFY\_0:0.28 (*experimenter note:*
experimenter has joined FY on playmate on tummy)

14:33-14:34
– ingressive back obstruent-like sounds, exhales are mostly soundless

14:35
– half a raspberry dissolving into a giggle

14:36
– squeaks and a trill, gurgling

14:37
– voiced ‘yelling’—

14:37a
– *experimenter note: I may have heard a*
voiced, dental consonant.

\*\*\*14:38-14:40
– extreme pitch slides, (reminiscent of(?)) growling and squealing

14:41
– open back, vocalic —

14:48
– *experimenter note:* *FY’s* *diaper changed*.

14:49
– velars. More velars. Glottal stop-ish, kinda muffled—

14:49a
– *experimenter note: FY vocalizing around*
foot.

14:50
– *experimenter note: experimenter has*
given FY a teething toy (a triceratops)

14:51
– FY gooing, kinda sounds like she’s saying ‘knaw knaw knaw’

14:53
– the most adorable yawn /ever

14:54
– *experimenter note*: *FY showing signs of wanting a nap*

*Experimenter’s note:* no sign of
fricatives–can’t say I blame her, they /suck. (Goodluck, 2001)"
Semantics

## Theories

* Approaches based on semantic components fail overall as only part of the lexicon is compositional. Semantic feature hypothesis has a mixed record about predictions and although assumes a cognitive basis for universal semantic features, it pays no attention to social aspects of language use. It lacks account of how interaction might affect meaning acquisition but also any role for negotiations about what the right words are or how meanings are negotiated. No account of pragmatic factors in language use and acquisitions. (Clark, Eve 2003:141)
* Assigning meaning: acquisition of a single component, like CAUSE (Table 6.1, Bowerman 1974, 1982a, b, Figueria 1984) (Clark, Eve 2003:141)

## Semantic roles

* In selecting elements within events to talk about, children develop the ability to talk about different semantic roles or functions in a consistent order Clark, Eve 2009:73/130 (Part 2)
	+ Agents of Actions (Greenfield & Smith, 1976)
		- 0 1;1.3 (hearing someone come in or father coming in and starting up steps) – dada -> agent of actions
	+ 0 Actions or states associated with agents and with objects (Greenfield & Smith, 1976)
		- 00 1;1.16 (responding to “do you want to get up?” by reaching up and saying,) – up
		- 00 1;2.21 – 1;3.18 (whenever he sits or steps down) – down
	+ 0 Objects affected (Greenfield & Smith, 1976)
		- 00 1;4.19 (asking for a fan (/bar/) to be turned on or off) – bar
		- 00 ? (having just thrown a ball) – ball
	+ 0 Only after this did the kids talk about objects associated with places, recipients, 0  and possessive, and about modifications of events as when they requested an event or action to be repeated (Greenfield & Smith, 1976)
		- 00 “Again!” ? Would /love an example of this
	+ 0 As they started to use single word utterances – consistent kinds of roles within events
		- 00 Things they talked about most were generally animate objects (people, animals) or else small, inanimate objects (after things that they themselves were manipulating). Also about the actions in question and the states that resulted.
		- 00 Suggests that actors their activities, and the objects affected by the activities of various kinds stand out over places and properties of objects (for example)
			* 000 \*places of objects or two separate list items?
			* 000 \*does attach to activies or objects? Also, the activities of actions or the activities or the child in question? (Re “their activities”))
		- 00 In turn, suggests that some kinds of things may be more salient to very young children (Prudden et al 2006)
			* 000 Kids seem to talk more about things that move (that are animate) and that are moveable or manipulateable, both properties that attract the attention of infants
			* 0000 \*scientific proof that Jaegers are not part of Fei Yen’s semantic knowledge of “Ranger”, thus proof she would associate her playmates more closely with the title than the robot, if she could even /see the robot)
The Smithereens - Especially For You (Guitar Vocal)

Type
 ISBN

***The Smithereens - Especially For You (Guitar Vocal)*** is a book by Cherry Lane Music. It was transcribed by Kenn Chipkin. It also contains a biography by Bruce Pollock.

Some of these transcriptions would later appear in Hal Leonard's The Smithereens - Best Of The Smithereens (Guitar Recorded Versions), though without giving credit to Kenn Chipkin and with slight modifications.

The book does not contain the songs released on later versions of the album White Castle Blues and Mr. Eliminator.

## Tracklist

In book order:

1. Strangers When We Meet
2. Listen to Me Girl
3. Groovy Tuesday
4. Cigarette
5. I Don't Want to Lose You
6. Time and Time Again
7. Behind the Wall of Sleep
8. In a Lonely Place
9. Blood & Roses
10. Alone at Midnight
11. Hand of Glory
12. Crazy Mixed-Up Kid

## Guitar Tunings

Like all other songs by The Smithereens, all guitars are tuned a half-step down: Eb Ab Db Gb Bb Eb.

## Credits

### Front Cover

Transcribed by Kenn Chipkin

Introduction by Bruce Pollock

### Inside Cover

DEWEY NICKS COURTESY OF CAPITOL RECORDS

As recorded by THE SMITHEREENS on ENIGMA Records

Management: Freddy Demann & Burt Stein/The Demann Entertainment Company

Transcribed by Kenn Chipkin

Edited by Jon Chappell, Mark Phillips and Jeff Jacobson

Music Engraving by W. R. Music

Production Manager: Daniel Rosenbaum

Art Director: Alisa Hill

Administrator: Monica Corton

Director of Music: Mark Phillips

Original cover design by Arthur K. Miller

ISBN: 0-89524-569-8

Copyright © 1990 Cherry Lane Music Company, Inc.

International Copyright Secured All Rights Reserved

### Table of Contents

CHERY LANE MUSIC: THE PRINT COMPANY

**EXECUTIVE:** Michael Lefferts, President; Kathleen A. Maloney, Director of ADvertising and

Promotion; Len Handler, Creative Services Manager; Monica Corton, Contracts Administrator;

Karen Carey, Division Secretary

**MUSIC:** Mark Phillips, Director of Music; Jon Chappell, Associate Director of Music, Jeff Jacobson,

Music Editor; Steve Gorenberg, Music Editor

**ART:** Alisa Hill, Art Director; Kerstin Fairbend, Assistant Art Director.

**PRODUCTION:** Daniel ROsenbaum, Production Manager; Betty Chasan, Production Assistant
Joe Satriani - Surfing With The Alien (Authorized Edition Guitar)

Type
 ISBN

***Joe Satriani - Surfing With The Alien (Authorized Edition Guitar)*** is a book by Cherry Lane Music. It contains full guitar transcriptions of each song on the album. It contains hits such as Always With Me Always With You and Satch Boogie.

The book was for the most part, single-handedly transcribed by Jesse Gress. However, Andy Aledort transcribed Satch Boogie.

## Tracklist

1. Surfing With The Alien
2. Ice 9
3. Crushing Day
4. Always With Me, Always With You
5. Satch Boogie
6. Hill Of The Skull
7. Circles
8. Lords Of Karma
9. Midnight
10. Echo

## Credits

### Front Cover

Transcribed by Jesse Gress

Edited by Andy Aledort

Introduction by Wolf Marshall

### Inside Page

Management: Bill Graham Management

Transcribed by Jesse Gress

("Satch Boogie" transcribed by Andy Aledort)

Edited by Andy Aledort

Production Manager: Daniel Rosenbaum

Art Direction: Alisa Hill

Aministration: Tom Haydock

Director of Music: Mark Phillips

ISBN: 0-89524-414-4

Copyright © 1988 Cherry Lane Music Company, Inc.

International Copyright Secured All Rights Reserved
Winslow Yerxa

Alias(es)

***Winslow Yerxa*** is a professional harmonica player. He has authored many books for harmonica including Harmonica For Dummies and Blues Harmonica For Dummies.

In the 90's, Warner Bros. hired Winslow to take on the challenge of transcribing all of John Popper's harmonica parts for the guitar book for the Blues Traveler album Four.

Yerxa started playing harmonica when he was (ca.) 14 years old, and was playing it in garage bands. He has also studied many musical genres while he was in music school and gives harmonica lessons.

Yerxa's last name may be of Jewish descent.

## Books

* Blues Traveler - Four (Authentic GUITAR-TAB Edition)

## Links

* Official Website
* Facebook
Journey - Escape (Piano Vocal Chords)

Type
 ISBN

***Journey - Escape (Piano Vocal Chords)*** is a book by Columbia Pictures Publications. It features piano notation arrangements with vocal notation, lyrics and guitar chord diagrams for each song found on the normal release of the album. There are also several color and black and white photos of the band.

## Tracklist

1. Don't Stop Believin'
2. Stone In Love
3. Who's Crying Now
4. Keep On Runnin'
5. Still They Ride
6. Escape
7. Lay It Down
8. Dead Or Alive
9. Mother, Father
10. Open Arms

## Credits

Photography: JOHN WENER, CHARLY FRANKLIN,

HISAO TAKAHASHI, RANDY BACHMAN,

MIKE HAUSMANN, ROGER RESSMEYER

Cover Art: STANLEY MOUSE

Design: JIM WELCH

Management: HERBIE HERBERT, NIGHTMARE, INC.

```
P.O. Box 404, San Fransisco, CA 94101

```

Arranger: TOM ROED

Editor: AUDREY L. KLEINER

Production: FRANK J. HACKINSON

Printer: CENTRAL LITHO (MIAMI)

© 1981 WEED HIGH NIGHTMARE
Sublime - 40oz. to Freedom (Guitar Recorded Versions)

Type
 ISBN

***Sublime - 40oz. to Freedom (Guitar Recorded Versions)*** is a book by Hal Leonard, based on Sublime's debut album of the same name. It contains vocal notation and guitar notation with tablature for most songs found on the normal release of the album. *Rivers of Babylon* was for some reason excluded from the album.

A version by Warner Bros. Publications was also made. It appears to feature the same transcriptions.

## Tracklist

1. Waiting For My Ruca
2. 40oz. to Freedom
3. Smoke Two Joints
4. We're Only Gonna Die For Our Arrogance
5. Don't Push
6. 5446 That's My Number
7. Ball And Chain
8. Badfish
9. Let's Go Get Stoned
10. New Thrash
11. Scarlet Begonias
12. Live At E's
13. D.J.s
14. Cica Me Tipo
15. Right Back
16. What Happened
17. New Song
18. Ebin
19. Date Rape
20. Hope
21. KRS-One

## Credits

(Note: Credits featured in Hal Leonard version only.)
Music transcriptions by Jeff Story
Nonreduplicated Babbling

Nonreduplicated babbling

Range of consonants and vowels expands further, and infants combine different C + V and C + V + C syllables into series, unlike the repetitive series that characterized the first canonical babbling

Prosody becomes particularly noticeable; infants sound as though they're speaking until one listens closely and realizes that the infant is producing the melody of language without the word.

* these wordless sentences are often referred to as jargon
* some infants produce more than others and some infants spend much longer in this stage than others
	+ those who produce a great deal of jargon and who do so for a long time: "intonation babies", those who produce relatively little jargon and who move quickly on to learning the words to the tune as "word babies" (Dore 1975)

By the end of the babbling stage: great progress from their first vowels to an increasingly large repertoire of consonants and then to knowing something about the prosody and sound patterns of their language.

* Just 11 different consonants, /h, w, j, p, b, m, t, d, n, k, g/ account for 90 percent of consonant sounds produced by 12 month olds learning American English and children learning other languages have similar--though not identical--sound repertoires (J L Locke & Pearson 1992)
* English learners: consonant clusters are rare
* /æ, ʌ, ə/ more frequent than /i/ or /u/ (Vihman 1988a)

Another different between children's production and target language : number of syllables. Vocalizations are most frequently single syllables, with some two-syllable productions (\*but what about reduplicators?)

(Hoff 2010)
Oasis - Be Here Now (Band Score)

Type
 ISBN

***Oasis - Be Here Now (Band Score)*** (*オアシス／ビィ・ヒア・ナウ バンド・スコア*) is a book by Shinko Music. It features full transcriptions of each song from the album.

## Tracklist

1. D'You Know What I Mean? (ドゥ・ユー・ノウ・ワット・アイ・ミーン？)
2. My Big Mouth (マイ・ビッグ・マウス)
3. Magic Pie (マジック・パイ)
4. Stand by Me (スタンド・バイ・ミー)
5. I Hope, I Think, I Know (アイ・ホープ、アイ・シンク、アイ・ノウ)
6. Fade In-Out (フェイド・イン―アウト)
7. Don't Go Away (ドント・ゴー・アウェイ)
8. Be Here Now (ビィ・ヒア・ナウ)
9. All Around The World (オール・アラウンド・ザ・ワールド)
10. It's Gettin' Better (Man!!) (イツ・ゲッティン・ベター（マン！！）)
11. All Around The World (オール・アラウンド・ザ・ワールド（リプライズ）)

## Credits

１９９７年１２月８日 初版発行 (First Edition Issued)

１９９９年５月１８日 ４版発行 (4th Edition Issued)

発行人•草野昌一 (Issuer: Shoichi Kusano)

発行所•株式会社 シンコー・ミュージック (Publisher: Shinko Music Co.)

東京都千代田区神田小川町２―１ （〒１０１―８４７５） (Ogawamachi Kanda, Chiyoda-ku, Tokyo 2-1)

Ｔｅｌ：（０３）３２９２―１３４１（編集）・（０３）３２９５―４１９１（販売）

Ｆａｘ：（０３）３２９２―３２７２（編集）・（０３）３２９５―０００６（販売）

Ｉｎｔｅｒｎｅｔ：http://www.shinko-music.co.jp

Ｅ―ｍａｉｌ：shinko-m@shinko-music.co.jp

郵便振替口座•００１４０―２―９８２３３ (Giro Account)

採譜・解説：阿部靖広 畑下好和 (Transcription Commentary: Yasuhiro Abe Yoshikazu Hatashita)

協力•エピック・ソニー、（株）グローバル・ライツ (Cooperation: Epic Sony, Global Rights Inc.)

デザイン•Shinko Music Design Room (Design)

印刷•平版印刷株式会社 (Print: Lithographic Printing Co., Ltd.)

日本音楽著作権協会（出）許諾第９７１３０７４―９０４号 (Japan Society for Rights of Authors, Composers and Publishers (de) License No. 9713074-904)

©1997 by SHINKO MUSIC PUB. CO., LTD.

★定価（本体３、３００円＋税） (Price (Body 3,300 Yen + Tax) ISBN4-401-34956-3

Printed in Japan
The Alan Parsons Project - I Robot (Sketch Score)

Type
 ISBN

***The Alan Parsons Project - I Robot (Sketch Score)*** is a book by Almo Publishing. While the book does not say it on the front cover or spine, it is a sketch score, as explained by the following text inside:

"all selections are arranged in "sketch score" style suitable for piano, vocal and small ensemble except for "Total Eclipse" which is arranged for orchestral ensemble."

As previously stated, while most of the songs are transcribed in Sketch Score form; in other words, instead of a piano *arrangement* of the song, the parts that are shown are transcribed in their entirety until another lead instrument comes in, then the folio transcribes that part in its entirety. However, the song Total Eclipse was transcribed entirely. However, the bass part only shows the notation and no tablature.

According to the book, all the songs were arranged by Andrew Powell, who worked on the album itself.

The book contains sketch score transcriptions of each song from the album. It does not include any tracks from the Legacy Edition, as it was released years after.

## Tracklist

1. I Robot
2. I Wouldn't Wanna Be Like You
3. Some Other Time
4. Breakdown
5. Don't Let It Show
6. The Voice
7. Nucleus
8. Day After Day (The Show Must Go On)
9. Total Eclipse
10. Genesis Ch.1 V.32

## Credits

(Inside page)

All Selections Arranged By:

Andrew Powell

(Back page)

Cover Design and Photography: Hipgnosis

Robot Design: George Hardie

Illustration: Richard Manning

Folio Design and Photography pg. 7: Heather Harris
Single Word Utterances

## Single Word Period

* the single word period is not a discrete stage but a period in which children learn to produce larger and larger numbers of intelligible vocalizations (Clark, Eve 2003:83)
	+ Non word : Word = steady 1:1 from 1;1 to 1;9
	+ 1:2 as vocabulary gets larger
	+ 1:3 50 word mark

* Identifying the first vocabulary spurt = difficult (Clark, Eve 2003:83)
* Holophrasic speech: why it lasts almost a year/up until they’re 2 years old: Geoffrey Rush, it’s a mystery! (Lust, 2006)
	+ Plenty going on w/r/t syntax, though.
* One and one half: two distinct speech modes: fairly intelligible one word utterances but low intelligibility longer utterances (Peters, 1977) (Goodluck, H. 2001:34)
	+ Longer utterances: preserved intonation contour of the target but omitted or severely distorted the segmental consonant
	+ [á lər ri g`ʊ mu nyai] -> I like to read Good moon Night’ (Good Night Moon)
		- \*An early version of “Work” used this for beginning to drive
	+ A child may have quite a solid command of vocabulary, syntax, and prosody, but calling up those features of their knowledge in a single utterance may simply be beyond their capacities. So they may paln a fully-fledged utterance, complete with syntax, words, and appropriate intonation, but they may be able to execute only one part of that plan—either one or two individual words one carefully articulated or the overall intonation and a few features of the words one realized at the expense of intelligibility (1 ½ - 2 years old)
* Children’s first sentences over the next two years seem to demonstrate slow development (Lust, B. 2006:195)
	+ o   For months, speech is often short and may omit subjects and other arguments as well as minimal and verbal inflection. Functional categories are frequently absent or diminished
	+ o   Even the single word period appears to involve several developmental steps between 12 and 28 months (Bloom 1973)
	+ o   Grammatical knowledge greatly exceeds their seemingly simple productions
		- §  Sensitiveies to syntactic foundations of order and consitituent structure, as well as to functional categories, appear to be contstantly at work during this time
	+ o   Holophrastic speech: true explanation remains a mystery: neither lack of motor control, lack of vocabulary, nor lack of cognitive complexity can explain it (Bloom 1973)