zilongwang/ReadingBank huggingface dataset:
OR OR Eye Protection: ANSI approved properly fitting safety glasses or chemical splash goggles. Face shield is also recommended if there is a high probability of a splash hazard. Skin and Body Protection: Lab (100% cotton) must be worn and be appropriately sized for the individual and buttoned to their full length. Laboratory coat sleeves must be of sufficient length to prevent skin exposure while wearing gloves. Personnel must also wear full length pants, or equivalent, and close-toed shoes. Full length pants and close-toed shoes must be worn at all times by all individuals that are occupying the laboratory area. The area of skin between the shoe and ankle must not be exposed. Hygiene Measures: Wash thoroughly and immediately after handling. Remove any contaminated clothing and wash before reuse. Section 6 – Engineering Controls Use of Isoflurane requires the use of adequate general or local exhaust ventilation. The chemical fume hood must be approved and certified by EH&S and have a face velocity between 85 – 125 feet per minute. Section 7 – First Aid Procedures If inhaled: Move into the fresh air immediately and give oxygen. If not breathing give artificial respiration. Consult a physician. In case of skin contact: Immediately flush skin with plenty of water for at least 15 minutes while removing contaminated clothing and shoes. Wash any contaminated clothing before reuse. Consult a physician. In case of eye contact: Check for and remove any contact lenses. Rinse thoroughly with plenty of water for at least 15 minutes. Seek immediate medical attention and continue eye rinse during transport to hospital. If swallowed: Do NOT induce vomiting unless directed by medical personnel. If vomiting occurs naturally, have victim lean forward to reduce the risk of aspiration to the victim. Never give anything by mouth to an unconscious person. Consult a physician. Section 8 – Special Handling and Storage Requirements
Section 14 – Documentation of Training (signature of all users is required) Prior to conducting any work with Tricaine Methane Sulfonate, designated personnel must provide training to his/her laboratory personnel specific to the hazards involved in working with this substance, work area decontamination, and emergency procedures. The Principal Investigator must provide his/her laboratory personnel with a copy of this SOP and a copy of the SDS provided by the manufacturer. The Principal Investigator must ensure that his/her laboratory personnel have attended appropriate laboratory safety training or refresher training within the last one year. I have read and understand the content of this SOP: Name Signature Date
QUIZ III Ch. 14: Suspensions QUIZ IV Ch. 15: Diatonic Seventh Chords; Ch. 16: Harmonization of Melodies (II); Ch. 17: Writing for the Piano QUIZ V Semester Review EXAM (8:00 – 10:00 a.m.) – NO EXCEPTIONS! DO NOT PLAN TO TRAVEL ANYWHERE UNTIL EXAM WEEK IS ENDED!
Musselburgh Area Support from the Start Group – Action Plan * - indicates priority accorded by present at planning meeting No. Action (Circles) Lead Officer / Agency Notes Outcome area 1 Continuing to develop the parenting pathway for Musselburgh area based with particular attention to how parents from the different geographies of Musselburgh can access support. Redevelop the parenting pathway document. Core group Pathways document refreshed Need to extend range of practitioners for key interventions and improve Promotion of parent pathway – a road show – around key venues ? Have positive parenting and experience good attachments at an early stage Have a good opportunity for play Are ready to learn and achieve 2 Measurement of uptake and reach of options on the parenting pathway using improvement methodology. Steven Wray Sammels and practitioner Forms have been updated to include request for postcode Streamlining Access to Services 3 Explore how EYC improvement methodology can be further incorporated in to project work Core – invite Pauline to future meeting to discuss EYC methodology to used for reporting for all appropriate funded projects Streamlining Access to Services 4 Replicate the “Go mad with Dad” work to engage fathers in partnership with Dadswork. Support other means of engaging dads in early years and early education. Pamela Martin Kevin Young Successful event held in Wallyford What is the next step Are included 5. Support Reading is Braw, Bookbug in the home and other early learning initiatives Core group Arrange a session on 2016 EDI results in the autumn Are ready to learn and achieve
However, success so far does not guarantee further success. Problems with the process have been identified. This means that there are some possibilities of Musselman’s applesauce being in trouble or even wiped out unless Knouse Foods take steps in toward the right direction to solve these problems. It is much easier to lose brand reputation Musselman’s has gained than to win some. Supply chain management is a continuous, endless job, not a one-time task. Even a company or a brand with a good image among customers would try to improve its process efficiency and quality to remain successful and maintain their competitive advantage. Musselman’s applesauce, too, need to be continuously managing and solving current problems by staying focused on its process to prevent further problems and improve.
Day/Date ______ _______ ______ ______ ______ ______ ______ Fortified Milk Yes No Yes No Yes No Yes No Yes No Yes No Yes No Fortified Diet Yes No Yes No Yes No Yes No Yes No Yes No Yes No Snack 1 Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Snack Description Snack 2 Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Snack Description
Day/Date ---------- ------------ --------- --------- --------- --------- --------- Drink/Shot 1 Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Drink/Shot Description Drink/Shot 2 Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Drink/Shot Description 3 Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Nil ¼ ½ ¾ All Drink/Shot Description
ACTION 1 ACTION 2 ACTION 3 Date Weight (kg) or MUAC (cm) BMI STEP 1 BMI Score (0-2) STEP 2 Weight Loss Score (0-2) STEP 3 Acute Disease Effect Score STEP 4 Overall Risk of Malnutrition (MUST) Score Signature 0 0 0 0 0 0 0 0
Sources Abd al-Muttarib, `A. (1990) dawr al-talaba fi thawra 1919, 1919-1922 (The Role of Students in the 1919 Revolution, 1919-1922), Al-Hay'a al-Misriya al-`Amma lil-Kitab (in Arabic). Abu-Lughod, I. (1967). The Transformation of the Egyptian Élite: Prelude to the'Urābī Revolt. The Middle East Journal, 325-344. Adamson, F. B. (2005). Global Liberalism Versus Political Islam: Competing Ideological Frameworks in International Politics1. International Studies Review,7(4), 547-569. Adler, E., & Pouliot, V. (2011). International practices. International Theory, 3(01), 1-36. Al-Dusuqi, `Asim (1981): thawra 1919 fl al-aqalim: min al-watha 'iq al-baritaniya (the 1919 Revolution in the Provinces: from the British Documents), Cairo, Dar alKitab al-Jami`i (in Arabic). Al Saadawi, N. (1980). The hidden face of Eve: Women in the Arab world. Zed Books. Amin, A. (1978). My Life. Andersen, M. S., & Neumann, I. B. (2012). Practices as models: A methodology with an illustration concerning wampum diplomacy. Millennium-Journal of International Studies, 40(3), 457-481. Anderson, B. (2006). Imagined communities: Reflections on the origin and spread of nationalism. Verso Books. Ash, T. G. (2009). A century of resistance: Some lessons and questions. Civil Resistance and Power Politics: The Experience of Non-Violent Action from Gandhi to the Present. Badran, M. (1995). Feminists, Islam, and nation: gender and the making of modern Egypt. Princeton University Press. (1988). Dual liberation: Feminism and nationalism in Egypt, 1870s–1925. Gender Issues, 8(1), 15-34. Baer, G. (1964). Egyptian guilds in modern Oriental notes and studies (8). Baring, E. (1910/2010). Modern Egypt. Cambridge University Press.
to meet excessive electricity demands on summer period, to manage take-or-pay obligation, to balance the flow in pipeline system, to decrease fluctuation. Silivri Underground Natural Gas Facility has two reservoirs. One of them is Kuzey Marmara Field which is a depth of 1200 meters and discovered in Marmara Sea in 1988. Other one is Değirmenköy Field which is a depth of 1100 meters and discovered in 1994. After feasibility study that determines the fields appropriate for storage services, "Natural Gas Storage and Reproduction Services Agreement" was signed between TPAO and BOTAŞ on 21.07.1999. Surface Facilities was awarded with EPIC type of bidding and commercial activity has started on 01.04.2007. Storage facilities have a total storage volume of 2,661 BScm (2,1 BScm capacity is allocated to BOTAŞ) with maximum 16 MMScm/day injection and 20 MMScm/day withdrawal capacity. General Terms and Conditions for utilization of Silivri Underground Gas Storage Facilities is approved by Energy Market Regulatory Authority (EMRA) and published in Official Gazette of Republic of Turkey on 06.04.2012. Remaining capacity of 561 MMScm is begun to be used by third parties which has gas import and/or trading license, starting from year 2012. 14.8.National pipeline 2012 years national pipeline crude oil table Pipeline length Thousand barrels Thousand Ton 32 km. 4.823 733
YUV File 2: foreman_qcif.yuv Specifications: QCIF sequence: foreman_qcif.yuv Total number of frames: 300 Height: 176; 144 Total number of frames used: 20 Frame rate: 30 frames/second Quantization Parameter Bit Rate (Kbps) Average Original PSNR(dB) (No Errors) Average PSNR after weighted averaging (dB) Average PSNR after copy paste (dB)
MUSTANG ◄ May 2018 June 2018 Sun Mon Tue Wed Thu Fri Sat 1 BC @ MMGT 2 3 4 CARM 2 @ KRYSTYLES 5 KRYSTYLES @ FAMILY TIES 6 7 FAMILY TIES @ MMGT 8 9 MMGT @ CARM 1 10 11 CARM 2 @ MMGT KRYSTYLES @ JEFF 1 12 JEFF 1 @ FAMILY TIES 13 14 FAMILY TIES @ WGREENE MMGT @ KRYSTYLES 15 16 17 18 JEFF 1 @ MMGT KRYSTYLES @ JEFF 2 FAMILY TIES @ GREENSBORO 19 JEFF 2 @ FAMILY TIES 20 WGREENE @ KRYSTYLES 21 MMGT @ WGREENE 22 23
Massey Mustangs 2017-18 Senior Boys ROSTER Number Name Grade Position Height #14 Ibraheem Aloran 12 Guard 6 ‘ 0 “ #20 Sean Mei 12 Guard 6 ‘ 0 “ #13 Filip Vucak 12 Guard 6 ‘ 3 “ #0 Amjed Alghizi 11 Guard 5 ‘ 10 “ #11 Nyles Duren 11 6 ‘ 3 “ #21 Ahad Khan 11 Guard 6 ‘ 2 “ #1 Nate Norton 11 Guard 6 ‘ 1 “ #2 David Reino Cancela 11 Forward 6 ‘ 3 “ #55 Noah Kovach 11 Forward 6 ‘ 3 “ #23 Omar Ramadan 11 Forward 6 ‘ 2 “ #24 Ajay Sandhu 11 Forward 6 ‘ 5 “ #15 Depen Sharma 11 Forward 6 ‘ 3 “
Student Name ________________________________ Student Signature _____________________________ Date _________________________ Parent Signature _________________________________ Date _________________________
2. Internal Control Procedures YES NO N/A 1. Does the Command have Internal Control Procedures to include at a minimum: audit procedures, billet responsibilities, document work flow within the office and the relationship with other organizations and services? Ref: MCTFSPRIUM para 10300.2 Section Score: a. Total Items: 1 b. Total YES: 0 % YES: 0% (line b / line a) SUMMARY OF FINDINGS IN FUNCTIONAL AREAS ABOVE FUNCTIONAL AREA Functional Area % 1. MUSTER ASSESSMENT 0% 2. INTERNAL CONTROL PROCEDURES 0% CHECKLIST TOTAL (G=90-100% Y=80-89% R=79% and Below) 0% Strengths None Weaknesses None Dep Capable (G=98-100%) Dep Capable w/Assistance (Y=90-97%) Non-Dep Capable (R=89% and Overall Comments None Assistance Provided
VCE VET MUSIC INDUSTRY – 2018 Assessment Plan Template: Music Industry (Performance) CUA30915 Certificate III in Industry Student Number: Assigned to: VASS data entry no: Work Perf. (1st) Work Perf. (2nd) Work Project (1st) Work Project (2nd) Product (1st) Product (2nd) Portfolio (1st) Portfolio (2nd) 01 02 03 04 05 06 07 08 CUAMPF301 Develop technical skills in performance 20 CUAMPF302 Prepare for performances 35 CUAMPF305 Develop improvisation skills 35 CUAMPF402 Develop and maintain stagecraft skills 70 Select ONE elective: CUAMPF404 Perform music as part of a group 70 CUAMPF406 Perform music as a soloist 70 Allocation of nominal Assessment Plan Sample 1: Music Industry (Performance) CUA30915 Certificate III in Music Industry Student Number: 1 2 3 4 5 6 7 8 9 Assigned to: Work Performance (1st) Work Performance (2nd) Portfolio (1st)
Let’s Make Music Fun series – Eileen Diamond Voiceplay – Alison Street and Linda Bance Singing Games and Rhymes for Tiny Tots Singing Games and Rhymes for Early Years Shaftoe Clap Your Hands – A&C Black Pat-a-cake, Make and Shake – A&C Black The Handy Band – A&C Black Michael Finnigin – A&C Black Three Singing Pigs – A&C Black Tapping Teddies – A&C Black Tom’s Musical Maths – A&C Black Playsongs - A&C Black Bingo Lingo – A&C Black Tam Tam Tambalay – A&C Black Let’s Go Zudie-O – A&C Black Let’s Go Shoolie-Shoo – A~&C Black Stockists BMS EYFS ASSESSMENT GRID School ................................................... Class...................................................... Class Teacher........................................ BMS Use whole body actions to move to the beat Use confidently Use voice to show control of pitch Control instruments Perform a pulse using instruments Follow signals Pupil’s Name 1 2 3 4 5 6 7
Strand: Creating Content Standard 2: Students will organize and develop artistic ideas and work. CCSS Alignment CR.2.MTECH.1 Develop, using digital tools, multiple musical ideas (e.g., create a loop to use as ostinato for vocal or instrumental improvisation) to reflect purpose and personal aesthetics CCRA.W.5, 6 CCRA.SL.5 CCRA.L.6 CR.2.MTECH.2 Arrange accompaniment (e.g., change the key or in MIDI format, add or delete tracks in MIDI format) of a musical work for a soloist or group, using digital tools CCRA.W.5, 6 CCRA.SL.5 CCRA.L.6
Music Theory Strand Content Standard Creating Students will generate and conceptualize artistic and work. Students will organize and develop artistic ideas and work. Students will refine and complete artistic work. Presenting Students will analyze, interpret, and select artistic work for presentation. Students will develop and refine artistic work for presentation. Students will convey meaning through the presentation of artistic work. Responding Students will perceive and analyze artistic work. Students will interpret intent and meaning in artistic work. Students will criteria to evaluate artistic work. Connecting Students will synthesize and relate knowledge and personal experiences to make art. Students will relate artistic and works with societal, cultural, and historical context to deepen understanding. Notes: SLEs may be taught in any sequence. Italicized in this document appear in the glossary. The examples given (e.g.,) are suggestions to guide the instructor. Common Core State Standards (CCSS) alignment key, CCRA.R.1 = College and Career Ready Anchor Standard.Reading.1
Contributors The following people contributed to the development of this document: Dr. Deborah Barber – Arkansas Tech University Holder – Rose Bud School District Kaci – Springdale School District Alexander Michaels – El Dorado School District Kerry Blakemore – Pulaski County Special School District Patrick Mugridge – Helena/West Helena School District Casey Buck – Conway School District Karen Murphy – Greenwood School District Jeremy Carter – Corning School District Dr. I.J. Routen – Little Rock School District Laura Cornelius – Arkadelphia School District Bennie Vincent – Monticello School District Hatch – Pulaski County Special School District John Wilkerson – Star City School District
Content Area Music Grade Level 4th Grade Course Name/Course Code Standard Grade Level Expectations (GLE) GLE Code Expression of Music Perform using accurate production techniques MU09-GR.4-S.1-GLE.1 Perform a variety of rhythmic, melodic, and harmonic patterns MU09-GR.4-S.1-GLE.2 Perform extended melodies from the treble using traditional notation MU09-GR.4-S.1-GLE.3 Creation of Music Improvise simple musical phrases MU09-GR.4-S.2-GLE.1 Notate simple musical selections MU09-GR.4-S.2-GLE.2 Theory of Music Application and demonstration of the use of more advanced dynamics, tempo, meter, and articulation using appropriate music vocabulary MU09-GR.4-S.3-GLE.1 Identification of aural and visual notations of basic musical forms MU09-GR.4-S.3-GLE.2 Analyze vocal and instrumental examples MU09-GR.4-S.3-GLE.3 Identify and aurally recognize melodic, rhythmic, and harmonic patterns MU09-GR.4-S.3-GLE.4 Aesthetic Valuation of Music Explain personal preferences for specific music MU09-GR.4-S.4-GLE.1 Comprehend and respect the musical values of others considering cultural context as an element of musical evaluation and meaning MU09-GR.4-S.4-GLE.2 Colorado 21st Century Skills Critical Thinking and Reasoning: Thinking Deeply, Thinking Differently Information Literacy: Untangling the Web Collaboration: Working Together, Learning Together Self-Direction: Own Your Learning Invention: Creating Solutions The Colorado Academic Standards for Music are not intended to be taught in a linear (checklist of coverage) fashion, but rather should be implemented as a cyclical creative process. Each unit within this sample blueprint intentionally includes standards from all four music standards to illustrate this process-based philosophy. Unit Titles Length of Unit/Contact Hours Unit Number/Sequence
Sample assessment outline Music – ATAR Year 11 Practical component (Performance) – applicable to all contexts Assessment component Assessment type and weighting (from syllabus) Assessment task weighting Due date Assessment task Practical (50%) Prepared repertoire 10% 2% Semester 1 Week 7 Task 1: Prepared repertoire – students will select one piece that they are preparing for the Semester 1 performance examination to present to the class. 3% Semester 1 Week 14 Task 3: Recital practice – students will select two contrasting pieces from examination repertoire and perform them in a recital setting. Accompaniment must be provided if required. The performance will be marked by the classroom teacher and an external marker. 2% Semester 2 Week 5 Task 6: Prepared repertoire – choose one piece that you are preparing for the Semester 2 performance examination and perform it for the class. 3% Semester 2 Week 14 Task 8: Recital practice – students will select two contrasting pieces from their examination repertoire, and perform them in a recital setting before an audience of family and friends. Accompaniment must be provided if required. The performance will be marked by the classroom teacher and an external marker. Other performance activities 10% 3% Semester 1 Week 10 Task 2: Sight reading – students will sight read a given 8–12 bar excerpt, observing articulation/bowings, phrasing and dynamics. OR Task 2: Improvisation – students will play an improvised solo over an F Blues progression using a backing CD, backing band or instrumentalist, demonstrating rhythmic, melodic and harmonic creativity. 2% Semester 1 Week 15 Task 4: Instrumental teacher report – summative report accounting for student progress according to set criteria. 2% Semester 2 Week 9 Task 7: Technical work – students will present a selection of technical work or a technical study to the class which has been selected and approved by your instrumental teacher. 3% Semester 2 Week 15 Task 9: Instrumental teacher report – summative report accounting for student progress according to set criteria. Performance examination 30% 15% Week before examination week Task 5: Semester 1 performance examination – students will present an 8–10 minute recital with a minimum of two contrasting pieces and provide suitable accompaniment where required. 15% Week before examination week Task 10: Semester 2 practical examination – students will present a 10–15 minute recital with a minimum of two contrasting pieces and provide suitable accompaniment where required. 50% OR
Rubric for Slide Show and Oral Presentation Awesome 4 Admirable 3 Acceptable 2 Unacceptable 1 Self- Assessment Teacher Assessment Critical thinking/ Analysis Thoughtfully and accurately interprets results, shows in-depth understanding of major ideas. Identifies relevant arguments, justifies results, offers reasons Usually justifies results and offers reasons Misinterprets data, gives unjustified arguments Organization Well organized and coherent, topics are in logical sequence, includes clear introduction and conclusions Organized, some topics are out of logical conclusions are generally clear Some organization, topics jump around, conclusions are unclear Not organized, topics make no sense Grammar and spelling All grammar and spelling are correct Only one or two errors More than two errors Very frequent grammar and/or spelling errors Visual design Visually appealing, clean simple layout, text is easy to read, graphics enhance understanding of ideas Visually attractive, text is easy to read, colors enhance readability, graphics and special effects do not distract from understanding Text is sometimes hard to read, sometimes graphics or special effects distract from understanding Text is very difficult to read, layout is cluttered and confusing Oral presentation Well prepared, speaks clearly, makes eye contact with audience, delivers with ease, invites questions Engages audience, fluid delivery, uses different approach other than simply reading screen, invites questions Clear and understandable, uses limited delivery techniques Not clear, not understandable Total
Song Suggestions To Get You Started THEME/CONCEPT SONG TITLE COMPOSER WHERE TO FIND IT Creation Great Big God Vinyard Kids Rainbow Andrew Cosmic Hymn Of Praise Michael Mangan God Does Not Make Rubbish Fr Rob Indescribable Chris Tomlin Testify To Love Avalon Meditation/Stillness/Quiet Time Be Gavin Agnew (MusicFire) Bambelela Marty Haugen A Tandem Bike Ride With God Author Unknown Meeting Jesus: A Guided Meditation Saint Mary’s Press Quiet Time With Jesus Abraham and O’Brien Just To Be In Your Presence emmanuelworship Mantra One and Two John Burland Sacred Silence Tom Booth Scriptural Good Samaritan Christopher Hoyne The Steph Unger (MusicFire)
40 Days Matt Maher My Soul Is Thirsting Steve Angrisano Magnificat Angrisano prayer GoD and DoG Wendy Francisco Our Father Sr. Janet Mead Aborginal Lord’s Prayer Andrew Chinn Lord Hear My Prayer John Angotti Trading My Sorrows Darrell Evans Every Move I Make Hillsong Kids Morning Thanks MusicFire My Lighthouse Rend Collective Dancing Generation Matt Redman 10,000 Reasons Matt Redman Saints/Litanies Saint Mary MacKillop Gary Pinto and Guy Sebastian Beneath A Cross Of Stars Andrew Chinn Litany Of The Saints Matt Maher Secular Examples Another Day In Paradise Phil Collins Flashlight Jessie J Can’t Stop The Feeling Justin Timberlake Roar Perry Que Sera Justice Crew
Lay It All On Me Rudimental Liturgy/Sacramental Come Holy Spirt John Angotti We Are One Body Dana Scallon Light The Fire Amanda McKenna One Body In Christ Amanda McKenna Hearts On Fire Michael Mangan Receive The Power Guy Sebastian God Is Here Roby Curtis Remembrance Matt Redman Let God’s Spirit In Music Fire Go Make A Difference Steve Angrisano Broken Vessels Hillsong Oceans Hillsong Go Out In The World Ed Bolduc Children Of God Steph Unger (MusicFire) All The People Said Amen Matt All Are Welcome (All Belong) Jesse Manibusan Be God’s Danielle Rose Mass Settings Rivers Youth Pat Keady and Rob Curtis Glorify Fr Rob Galea Glory And Praise Paul Mason
Content Checklist Topic Area Learner Must Know Red Amber Green Defying Gravity All content relating to (using notes/scores): Structure, Instrumentation, melody, Sonority, Dynamics, Mood/context, Rhythm / metre / tempo, tonality, texture, harmony. Release All content relating to(using notes/scores): Structure, Instrumentation, melody, Sonority, Dynamics, Mood/context, Rhythm / metre / tempo, tonality, texture, harmony. Samba em Preludio All content relating to(using notes/scores): Structure, Instrumentation, melody, Sonority, Dynamics, Mood/context, Rhythm / / tempo, tonality, texture, harmony. Melodic /rhythmic dictation There will be a question on this. Students should familiarise themselves with basic rhythms/notations in preparation. Theory: Intervals/notation/key signatures/chords/ Cadences etc. There will be a question on unfamiliar music with a score. Students should revise general theory in preparation. Theory booklets can be collected from the music department. Some useful revision websites for theory and melodic dictation:
dynamics/expressive devices, tempo, instrumentation) Skeleton score: 2–4 parts, 4–8 bars Compose an 8–12 bar melody that includes a modulation Peter, Paul and Mary in No Direction Home Listening – comparison between Bob Dylan and Peter, Paul and Mary in Blowin’ in the Wind. Use as an exercise in identifying chord progressions Resources: YouTube for versions of Blowin’ in the Wind No Direction Home (Martin Scorsese film) 7 Task 8: Formal assessment – Aural test (3%) Arranging Review of arrangement techniques and notation-bass lines, passing notes, auxiliary notes, slash notation for guitar Listen to and analyse guitar and bass guitar techniques-slap, walking bass etc. and drum parts and drum kit notation More on ‘protest’ song – from 1963 and Martin Luther King’s speech in Washington to Woodstock in 1969 The Vietnam War – watch Joan Baez and performances by other folk singers at Woodstock – use songs as Aural analysis activities – chord recognition etc. Resources: No Direction Home What’s that first edition by John Covach ‘Rockin’ Out – Popular Music in the USA’ by Reebee Garofalo ‘The Jazz and Rock Resource’ by Geoff Lowe Woodstock – The Music DVD Analysis of designated work: folk characteristics, chords, lyrics, performance style Composition portfolio Task 4 – Composition assessment (5%)
Minor Blues progression i, i7, iv, iv7, V and V7 Modulation: relative major/minor and dominant in a range of examples Rhythmic dictation: 8 bars, simple time continued, include syncopation Compound: , , Write an 8 bar melody for a given chord progression Complete an 8 bar melody from a given motif Composition/arranging Revise instrumental and vocal techniques Revise drum notation, slash notation Symbols and terminology for tempo, dynamics, accents and articulation Back to ‘What is Folk?’ Revision of Semester 1 Melodic dictation: 8 bars, treble and bass clef, based on scales covered, including chromatic passing notes Discrepancies: treble/bass clef, 4–8 bars, 4 discrepancies in both pitch and rhythm Skeleton score: 3–4 parts, mixed ensembles; identifying compositional devices, dictations, chords Week 12 – Task 12: Aural test (4%) Week 12 – Task 11: Melody and accompaniment writing (2%) 14–15 Revise all scales, intervals and chords Harmony: revise all cadence types in major and minor keys Modulation: relative major/relative minor and dominant, using a range of examples Rhythmic dictation Simple metres: 8 bars, including syncopation and anacrusis Compound time: , , , Melodic dictation: 8 bars, chromatic passing Discrepancies: treble/bass clef, 4–8 bars, 4 discrepancies in both pitch and rhythm. Skeleton score: mixed parts and ensembles –compositional devices, dictations, chords Revision of year’s work Revision for exam: transposition exercises, scales, chords, melody-writing and arrangement exercises. Review year’s work Week 14 – Task 13: Cultural and historical analysis (3%) Revision of Semester 2, using familiar and unfamiliar excerpts, focusing on the designated works. Week 14: Performance Task 8 – Recital practice (3%) Week 15: Performance Task 9 – Instrumental teacher report (3%) Week 15: Composition Task 5 – Composition portfolio supervisor report (5%)
10 Sept 18/19 Sept 21 School visit Focused lesson observation PT1 booklet Philpott & Spruce p45 – task 4.2 Composing & arranging in the classroom PRACTICAL - accompanying songs:in pairs, choose a song, work out a backing, teach it to the group Purpose of study from the Natonal Curriculum PDP Mentor Conference – meet your PT1 mentor pm tbc National Curriculum for Music:DFE Philpott & Spruce Learning to music ch. 4 11 Sept 25/26 Mentor day follow-up Instrument demos Starters, plenaries Ken Robinson – ‘W?hy teach music’ etc PDP/SKP/ECM Observing teachers teach Classroom management PT1 booklet Tutorials by arrangement Philpott & Spruce (2007):Learning to Teach Music in Secondary Schools ch.2 12 Oct. 2/3 “Acting like a teacher” - Professionalism lesson observation; LO sheets countering bullying codes of behaviour Discuss school experience School music environment lesson planning – pro forma Voice care Work on arrangement Stock, J (2002) Concepts of World Music etc, in Spruce, G (ed) Aspects of Teaching Secondary Music, London; Routledge Falmer
13 14 Oct 9/10 Oct 16/17 Modes & scales Music resources Monitoring & assessment music technology assessment World Music workshop – Samba to be Confirmed School Keyboards Targeted question Visit from last year’s student Preparing for PT1 Timetables Topic plans Reading days - School half term Philpott,C, Assessment in Music Education, in Learning to Teach Music Philpott & Spruce Learning to teach music Ch 7 15 Dec. 18/19 Review of PT1 Rehearse and play the arrangement Assessment Faultey Developing KS3 topic. Pedagogy & Practice 19 16 Nov 8/9 Assignment Brief - 100% Coursework
situations Independently structuring and communicating educational ideas, flexibly handling subject knowledge within individual and collaborative tasks The work is structured and presented to communicate ideas. Written expression is generally clear and coherent throughout with some grammatical errors. References used are generally accurate and consistent. Work follows a structure, but may at become unclear or confused. Some grammatical errors may impair communication at times. References are attempted, but may contain errors and/or are used inconsistently. Work weakly ordered and/or presented. Grammatical errors significantly impair communication. References are mostly inaccurate and/or inconsistent. Overall Comment A SOUND piece of work. Some engaging features with some strong aspects. Some aspects may need addressing. Does meet the L6 Assessed Learning Outcomes An ACCEPTABLE piece of work for level 6. Specific aspects require attention. Does meet the L6 Assessed Learning Outcomes An INADEQUATE piece of work. Significant aspects requiring attention. Does NOT meet the L6 Assessed Learning Outcomes Summary Comments Feedforward Actions Second Marker’s Comments
C. Recommended language skills The sending institution, following agreement with the receiving institution, is responsible for providing support to its nominated candidates so that they can have the recommended language skills at the start of the study or teaching period: Receiving institution [Erasmus code] Optional: Subject area Language of instruction Language of instruction 2 Recommended language of instruction Student Mobility for Studies [Minimum recommended level: B1] Staff Mobility for Teaching [Minimum recommended level: B2] D FREIBER01 041 German English B1 for German; B2 for English English B 2 For more details on the language of instruction recommendations, see the course catalogue of each institution provided on the first page]. D. Additional requirements [To be completed if necessary, other requirements may be added on academic or organisational aspects, e.g. the selection criteria for students and staff; measures for preparing, receiving and integrating mobile students and/or staff] [Please specify whether the institutions have the infrastructure to welcome students and staff with disabilities.] D FREIBER01: Our institution has the infrastructure to welcome students and staff with disabilities. E. Calendar 1. Applications/information on nominated students must reach the receiving institution by: Receiving institution [Erasmus code] Autumn term* [month] Spring term* [month] D FREIBER01 01.10. – 30.03.: June 01.04. – 30.09.: December 1 [* to be adapted in case of a trimester system] 2. The receiving institution will send its decision within [x] weeks. D FREIBER01: We will send our decision/ letter of acceptance as soon as possible.
Non-Fireball Sailors All inclusive Membership Temporary Nomination Fee $400 HAT AL1410 FAST DRY BRIMMED HAT $30 CAP PAL0030CC FD CAP $21 SHORT SLEIVE SHIRT PMP24227CC TIPPED PIQUE POLO $58 LONG SLEIVE SHIRT SE0264 EVOLUTION FD L/S POLO $69 SLEEVE SHIRT MP24227CC PIQUE POLO $50 Rashi KS007JO DINGHY UV FD L/S $34 Fast Dry shorts SE0791 $85 Sardinia Jacket SB0101 $164 Dinghy Smock SO0012 $175 OPENING DINNER Non Competitor Over 12 years of age $15 OPENING DINNER 12 years of age $5 PRESENTATION DINNER Non Competitor Over 12 years of age $20 PRESENTATION DINNER 12 years of age $5
SHORT SLEIVE SHIRT PMP24227CC TIPPED PIQUE POLO EVOLUTION FD L/S POLO SE0264 EVOLUTION FD L/S POLO PIQUE POLO MP24227CC PIQUE POLO Rashi KS007JO DINGHY UV FD L/S Fast Dry shorts SE0791 Sardinia Jacket SB0101
_________________________________ ________ Executive Dean for Academic Affairs Date _________________________________ ________ Vice President for Academic & Student Affairs Date Current Course Number e.g., HS 151 Current Short Course Title for Banner (30 character limit) (e.g., Treating the Problem Gambler) Current Full Course Title for print catalog (e.g., Issues in Assessing and Treating the Problem Gambler) MUS 265 History of Rock 2 History of Rock Music 2 Proposed Course Number Proposed Short Course Title for Banner (30 character limit) Proposed Full Course for print catalog MUS 265 Golden Age of Rock & Roll Golden Age of Rock & Roll CURRENT COURSE DESCRIPTION (to aid review of changes): MUS 265 History of Rock Music 2 .......................................... 4 credits This course is designed to provide the student with an opportunity to explore the musical, social and cultural aspects of Rock music from its pre-Rock influences and its development through while learning about important artists in this style Rationale for change To remove the appearance of being a course sequence or prerequisite. College Approval (before signing, please see Curriculum Committee recommendations for this course in the committee’s ) _________________________________ ________ Executive Dean for Academic Affairs Date _________________________________ ________
Antonio Vivaldi was born into an Italian family in March of 1678 to a father who was a professional violinist. The young Vivaldi travelled frequently with his father when he was young, and it did not take long for him to follow in his father’s footsteps. Beginning in 1693, Vivaldi was trained for the priesthood. He remained in training for ten years and in the priesthood for an additional three years after this, but he soon quit, blaming his illness, which most modern physicians identify as bronchial asthma. Despite this reasoning, it is often suspected that Vivaldi left the priesthood after receiving a free education in order to pursue his dreams as a violinist and composer. Although he remained pious for the remainder of his life, this theory is strengthened by accounts of his retiring from at least one sermon to write down a fugue that had come to him at the pulpit. Regardless of his reasons for leaving, joining the priesthood was very advantageous for Vivaldi, particularly as Baroque Venice was the musical capital of Europe at the time, and thus it offered him arguably the very best education he could have found. After his time spent in the priesthood, Vivaldi began working as a violin teacher at the Ospedale della Pietà, an orphanage in Venice, Italy. These institutions were well known for aspiring young musicians, and often concerts held by these students were popular among the Venetian nobility and foreign visitors. These performances became so prominent during the 18th century that they even began to rival performances held at the opera houses. It is highly likely that some of this fame can be attributed to Vivaldi, as after he had become established at the institution, it became known as the ospedale with the most prestigious instrumental instruction. This position was extremely important for Vivaldi’s career because in addition to teaching these young orphans, this job proffered him the opportunity to compose; the position
1 2 3 4 5 RNA sequence Partial RNA sequence written with some errors Partial RNA sequence written with no errors RNA sequence written with many errors. RNA sequence written with some errors Correctly written complete RNA sequence Amino Acid Sequence Partial Amino Acid sequence written with some errors Partial Acid sequence written with no errors Amino Acid sequence written with many errors. Amino Acid sequence written with some errors Correctly written complete Amino Acid sequence Coloring the pictures accurately Partial coloring of the pictures One picture colored, the second is not colored Both pictures colored with many errors The 2 pictures are colored with some errors All the colors are in the appropriate locations Compare and contrast the 2 pictures Student shows pictures and sequences with little to no reasoning of the similarities or differences. Student can explain that there is a similarity and/or difference between the 2 pictures. Student can explain that there are a similarities and/or differences between the 2 pictures, and that it is related to a mutation. Student can explain that is a similarity and/or difference between the 2 pictures, and relate it to the change in the DNA, RNA, or Amino acid sequence. Student can explain that there are a similarities and differences between the 2 pictures, and relate it to the mutation in the DNA. The student will also discuss how the DNA mutation has altered the RNA and Amino acid sequences
Capstone Project 75% will score a B or higher 17-18 year 23-24 year Opportunities for developing repertory and techniques for auditions Students will develop an awareness of identity, character and vocational calling through opportunities for developing repertory and techniques for auditions Capstone Seminar; Capstone Practicum THEA 420 Audition Techniques Auditions Showcase performance grade 75% B or Higher 17-18 year 23-24 year Faith knowledge & application: Students will develop informed and mature convictions about Christian faith and practice Students will develop abilities to: cultivate the stewardship of the intellect and imagination explore the intersections between Christian faith and theatre art Capstone Seminar Art and Faith Integration Paper 75% of seniors will score a 5 on the rubric. 13-14 year 18-19 year
2013 – 2018 System in Integrative Biology T32 Grant (Role: Participating Faculty) 2013 – 2018 Mouse Pathobiology: Models of Human Disease T32 Grant (Role: Participating Faculty) 2013 – 2018 Medical Scientist Training Program T32 Grant (role: Participating Faculty) Pending Submissions: 2015 - 2020 NCI R01(PAR 13-302) – Phosphatase Activation as Therapeutic Strategy for Chronic Lymphocytic Leukemia. (Role: PI) 2015 - 2020 U54 – CCNE – Ohio Center for Nanotechnology Excellence. Integration of Nano-fluidic Electroporation to identify and characterize leukemic stem cell properties and drug resistance in leukemia (Role: Co-Leader, Project 4) Research Grants- funded (past): 2009 – 2014 NCI SPORE P50 CA140158-05 - Experimental therapeutics of leukemia – Project 3: Lenalidomide as an Immune Modulating Agent for Chronic Lymphocytic Leukemia. (Role: 2012 - 2013 10010859-45024 Boehringer Ingelheim (PI:Marcucci) In vitro evaluation of MAb 33.1 on primary CD33 antibody, alone and in combination with either lenalidomide or decitabine. Muthusamy Co-Investigator 2011 – 2013 NCCN (approved for funding- Declined) (PI: Muthusamy) A Phase I/II study of the gamma-chain receptor cytokine IL-21 + oftaumumab in previously treated chronic lymphocytic leukemia (CLL)/small lymphocytic leukemia (SLL) and B-prolymphocytic leukemia (PLL). (Role: PI) 2008 – 2013 NIH-RO1- CA135243-01 (PI: Lee) Targeted Lipoplexes for oligonucleotide delivery to Acute Myeloid Leukemia (PIs-Robert Lee and Guido Marcucci) Muthusamy-Co-investigator 2007 – 2010 Leukemia & Lymphoma Society- Translational Grant CD37 with Small Modular Immune pharmaceutical TRU16 (PI-John Byrd-
Capstone Project 75% will score a B or higher 17-18 year 23-24 year Opportunities for developing repertory and techniques for auditions Students will develop an awareness of identity, character and vocational calling through opportunities for developing repertory and techniques for auditions Capstone Seminar; Capstone Practicum THEA 420 Audition Techniques Auditions Showcase performance 75% B or Higher 17-18 year 23-24 year Faith knowledge & application: Students will develop informed and mature convictions about Christian faith and practice Students will develop abilities to: cultivate the stewardship of the intellect and imagination explore the intersections between Christian faith and theatre art Capstone Seminar Art and Faith Integration Paper 75% of seniors will score a 5 on the rubric. 13-14 year 18-19 year
Provide assistance A Recipient must provide such assistance as may be reasonably requested by the Discloser in relation to any or proceedings that the Discloser may take against any third party for unauthorised use or disclosure of the Confidential Information. Counterparts and commencement Counterparts If this deed is signed in counterparts then each counterpart is an original and together they constitute one deed. Date if undated If this deed is undated and there is no contrary intention stated, the date of this deed is the date of last execution by a party. Notices Requirements Any notice given in connection with this Deed must be in legible writing and must be addressed to a party and either hand delivered to, or sent by post to the relevant address, faxed to the relevant fax number or, if the parties have expressly agreed that email is to be used for the purposes of giving notices, emailed to the relevant email address set out in the Key Details section of this Deed. When given A notice is taken to have been given: in the case of being hand delivered, on the date on which it is delivered; in the case of being sent by post, on the third (seventh if sent to an address in another country) day after the date of posting; in the case of being sent by fax, at the time of dispatch as confirmed by a transmission report by the sending machine; and in the case of delivery by email, at the time sent, unless the sender is notified, by a system or person involved in the delivery of the email, that the email was not successfully sent. Further assurance Each party must do everything necessary, or reasonably required, by another party, to give effect to this deed and the transactions contemplated by this deed. Waiver No waiver A party does not waive a right or remedy in connection with this deed if it:
Mutual Aid Drill Planning Checklist (Cont.) Prepare for rehabilitation as needed. ○ Winter/Summer Review Compact SOG’s ○ Personal Accountability System ○ 20 Minute MARC ○ Mayday Policy ○ Emergency Evacuation Procedures ○ Rapid Intervention Team (RIT) Implementation If Live Burn, obtain approval from appropriate agencies ○ ***PLAN AHEAD*** Prepare for critique ○ Location ○ Objectives: positive/negatives ■ What worked? ■ What didn’t work? ■ Lessons learned?
Item Parameter Symbol Unit Min Max PD Type Additional information 1 voltage VPort_PD V 37.0 57.0 1 See 33.3.7.1, 33–1 42.5 57.0 2 2 Transient operating input voltage VTran_lo V 36.0 2 For time dura- tion defined in 33.2.7.2 3 Input voltage range during overload VOverload V 36.0 57.0 1 See 33.3.7.4, Table 33–1 41.4 57.0 2 4 Input average power, Class 0 and Class 3 PClass_PD W 13.0 1 See 33.3.7.2, Table 33–1 Input average power, Class 1 3.84 1 Input average power, Class 2 6.49 1 Input average power, Class 4 25.5 2 5 Input inrush current IInrush_PD A 0.400 1, 2 Peak value— See 33.3.7.3 6 Inrush to operating delay Tdelay s 0.080 2 See 33.3.7.3 7 Peak operating power, Class 0 and Class 3 PPeak_PD W 14.4 1 See 33.3.7.4 Peak operating power, Class 1 5.00 1 Peak operating power, Class 2 8.36 1 Peak operating power, Class 4 1.11 × PClass_PD 2 8 Input current transient (absolute value) mA/ µs 4.70 1, 2 See 33.3.7.5 9 PI capacitance during MDI_POWER states µF 5.00 1, 2 See 33.3.7.6, 33.3.7.3
provider agrees that it is likely to lead to an early employment outcome; or you have been unable to get a job and have six months or less remaining to complete your course that would greatly improve your job prospects. Newstart Allowance and Youth Allowance (other) Principal Carer Parents receiving the Pensioner Education Supplement (PES) for their course are able to study full-time in courses that are 12 months or longer. Do I still need to look for work while studying? Yes, most job seekers need to do up to 20 job searches a month as well as their other activities. Your provider will set the number of job searches you need to do, taking all of your circumstances into account, including your English language skills. You must report your job searches to your provider each month. Must I accept paid work in an approved course? Yes, you must accept any suitable work that is not at the same time as any approved course in your Job Plan. What if I am unable to meet my requirements? If you can’t make an appointment or one of your activities, you must let your provider know beforehand or you might lose some of your payment or your payment might be stopped. If you are unable to tell them beforehand, you must contact your provider as soon as possible so they can decide if you had a good reason for not telling them beforehand. Want more information? If you have any concerns with your provider you can telephone the Department of Employment National Customer Service Line 1800 805 260 (free call from landlines). If you need an interpreter, please call the Translating and Interpreting Service (TIS) on 131 450*and ask them to assist you with a call to the Department of Employment’s National Customer Service Line If you are deaf, or have a hearing or speech impairment you can use the National Relay Service. For more information, visit .
February 16, 2017 AGREEMENT FOR MUTUAL RESCISSION OF LEASE AND TERMINATION OF HUD CONTRACT This agreement entered into on between (Date) and (Landlord) (Tenant) shall be the mutual agreement to completely rescind the lease executed between the two parties. This lease was executed for the premises at: (Address) The named property will be vacated no later than (Date) Be aware that after this date no additional housing assistance payments can be made even if tenant fails to vacate. It is hereby agreed that all claims or demands of this lease are fully released by both parties for the time of acknowledged occupancy. The security deposit will be handled by the tenant and the owner according to state and local laws. Tenant Owner/Manager Date Date Mutual Rescission rb 12/11