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The baccalaureate degrees awarded by the School of Music represent numerous individual programs of study designed to meet diverse professional and personal interests. Specific program requirements can be found in the curriculum outlines.
Music education -- This program allows the prospective music teacher an opportunity to achieve vocal and instrumental certification for birth through 12th grade (B-12) while developing performance and pedagogical skills.
Music Education
Performance/music education (four-and-a-half-year program) -- The performance standards of this program are the same as for the performance degree, with the additional requirements of the music education program. A special audition of a rigorous nature before a committee is required of students desiring to be performance/music education majors. For entering freshmen, this may occur as their entrance audition to the School of Music. However, most students interested in the performance/music education degree wait until the end of their first or second semester for their audition. In the audition the student must exhibit the potential to fulfill, with distinction, the recital obligations of the program.
Performance/Music Education
Performance -- A special audition of a rigorous nature before a committee is required of students desiring to be performance majors. For entering freshmen, this may occur as their entrance audition to the School of Music. However, most students interested in the performance degree wait until the end of their first or second semester for their audition. In the audition the student must exhibit the potential to fulfill, with distinction, the recital obligations of the program.
Performance-collaborative emphasis -- The performance standards are the same as for the piano performance degree, with additional emphasis placed on collaborative performance. Students must meet every performance standard (including semiannual juries, proficiency examinations, and two full solo recitals) expected of piano performance majors. The degree is supplemented with intensive study of foreign languages, diction, chamber music, duo sonata and art song literature, and opera. This program focuses careful attention on the technical and musical skills of the young solo pianist, while providing a solid foundation for further study as a collaborative pianist.
Performance-Collaborative Emphasis
Sound recording technology -- This degree program combines rigorous study of music with courses in electroacoustic music, audio production, and music recording. In addition to passing a standard music audition, applicants for this program must have a personal interview with the faculty and staff who teach in the sound recording technology program, and submit a letter of recommendation that supports the applicants' technical aptitude. Ideally, applicants should have completed advanced mathematics (e.g., trigonometry, calculus) and a physics course. Tape recordings illustrating the applicants' recording expertise may be submitted but are not required.
Sound Recording Technology
Music theory -- Admission to the music theory degree program requires an interview/audition with a committee from the music theory faculty. This should be done during the second semester of the freshman year when possible. Each major must maintain a B average in music theory courses required for the major and meet the jury requirements of the performance instrument area. A piano proficiency examination is required at the end of the fifth semester of study. In the event of a piano deficiency, additional study will be required. Questions pertaining to the degree should be addressed to the chair of the department.
Music Theory
Composition -- Students wishing to major in composition must submit representative scores (at least two) of their compositions and, if possible, a recording of these works. In addition, prospective majors must have an interview with a member of the composition faculty, during which they may take the opportunity to demonstrate their keyboard skills.
All composition students study piano; however, all prospective composition majors are given the option to audition on another instrument or voice in order to be eligible for additional study with the faculty in this secondary area. A successful audition guarantees the student two full years of study in the secondary performance area. Additional study beyond the first four semesters is possible, depending on student performance, faculty studio availability, and a performance study fee for additional credits. (This secondary performance area audition is not a requirement for entrance into the composition program; it is simply provided for those students who are already advanced performers and who wish to continue serious and rigorous study on their instrument or voice.) Pianists may also avail themselves of this opportunity and would receive an additional year of piano performance study during their course of study.
Although students may apply and be accepted into the major as freshmen, most are admitted after they have completed a year of composition study at Ithaca College. Every student, however, must pass a review by the composition faculty after one year in the program in order to continue as a composition major.
All undergraduate composition majors must take a piano proficiency examination by the end of their junior year of study. Graduate students must take the exam during the first year of study. The exam should be scheduled by the student with the composition faculty. The exam is pass/fail. A failure will require the student to retake the exam. The exam may be taken a maximum of three times. Failure to pass the exam will cause the student to be dropped from the composition program.
Music in combination with an outside field -- This program allows students to combine the bachelor of music with a sequence of courses in another discipline.
Music in Combination with an Outside Field
Jazz studies -- This program provides the opportunity for students to major in jazz studies, although, with the exception of jazz guitar and electric bass majors, the private performance lessons are in the classical idiom. Jazz guitar majors may study the electric instrument in the jazz idiom for this degree but must audition on both the nylon-string classical guitar and the electric guitar. Electric bass applicants follow specific audition requirements.
Jazz Studies
Undeclared -- This option provides the opportunity for incoming students to begin study in the School of Music while deciding on a specific degree program. Generally, undeclared students follow the music education curriculum for the individual's specific instrument. Students must decide on a degree program by the fifth semester of study. It is not possible to graduate as an undeclared music major.
Music -- This program provides the opportunity for students to major in music and to pursue substantive studies in the liberal arts.
Musical theater -- This is a performance-based professional program designed for the student who is interested in a career in musical theater. The program, a joint offering of the Department of Theatre Arts in the School of Humanities and Sciences and the School of Music, offers students the option of either a vocal or dance concentration within the context of an acting major. A combined theater/music audition is required of all students interested in this degree (cross-listed under the Department of Theatre Arts, School of Humanities and Sciences).
Musical Theater
By fulfilling academic requirements for the New York initial teaching certificate, this program allows the prospective music teacher an opportunity to achieve vocal and instrumental certification for birth through 12th grade (B-12) while developing performance and pedagogical skills..
The initial teaching certificate is valid for five years, during which time the master's degree in music education or master's degree in an approved related area must be attained in order to maintain teacher certification. In addition to the courses required for the undergraduate degree in music education, candidates must also attain a satisfactory level of performance on three components of the New York State Teacher Certification Examinations -- the liberal arts and sciences test (LAST), the assessment of teaching skills-written (ATS-W), and the content-specific test (CST). A fingerprinting and background check of the student's judicial record is also required. Information concerning test and fingerprinting sites, dates, and cost is available in the Department of Education in 213 Muller Center and the Office of Career Services in the Gannett Center.
Senior Block Student Teaching:
Senior Block Student Teaching: Vocal or Instrumental (MUED 46800 or MUED 46900) represents the culminating experience in the music education curriculum.
Prerequisites (for Senior Block Student Teaching):
• A minimum cumulative GPA of 2.70
• Successful completion of music theory courses MUTH 10100, MUTH 12100, MUTH 12200, MUTH 22100, and MUTH 22200 (or the corresponding honors-level courses)
• Successful completion of sight-singing courses MUTH 13300, MUTH 13400, MUTH 23300, and MUTH 23400 (or the corresponding honors-level courses)
• A minimum cumulative average of C+ in major performance area
• Successful completion of Music Field Experience MUED 10100, MUED 10200, MUED 20100, and MUED 20200 with a minimum cumulative average of C+
• Completion of Choral Conducting (MUED 30100 and MUED 30200), or Instrumental Conducting (MUED 30300 and MUED 30400) with a minimum cumulative average of C+
• Completion of Student Teaching and Seminar: Vocal (MUED 36900 and MUED 37000) or Student Teaching and Seminar: Instrumental (MUED 37100 and MUED 37200) with a minimum cumulative average of C+
• Successful completion of core subjects in either the vocal or instrumental emphasis:
A. Vocal Emphasis
1. Classroom Instruments (MUED 24600) with a minimum grade of C+
2. Music Education for Children (MUED 26700) with a minimum grade of C+
3. Teaching Vocal -- General Music (MUED 36100) with a minimum grade of C+
4. General and Choral Music in the Secondary School (MUED 36800) with a minimum grade of C+
5. Keyboard Musicianship (PFSM 17100, PFSM 17200, PFSM 27300, and PFSM 27400) with a minimum cumulative average grade of C+
B. Instrumental Emphasis
1. Secondary instruments through the junior year with a minimum cumulative average of C+
2. Teaching Instrumental Music (MUED 36200) with a minimum grade of C+
3. String Pedagogy (MUED 34700), for string majors only, or Wind Pedagogy (MUED 37500), for wind and percussion majors only, with a minimum grade of C+
• Successful completion of proficiency examinations in the vocal or instrumental emphasis. These exams are normally completed during block I of the spring semester of the junior year. For proficiency requirements, see pp. 4-7 of the Handbook for Senior Student Teaching in Music Education.
Students who fail to achieve the above academic criteria must meet with the department chair to arrange the necessary remedial coursework.
General Information (regarding Senior Block Student Teaching):
In order to fulfill NYSED policies and foster a true commitment to senior student teaching, music education senior student teachers may not participate in official Ithaca College activities related to varsity sports and registered credit-bearing coursework, including zero credit participation or auditing. This coursework includes, but is not limited to, classes, lessons, rehearsals, and performances. In addition, music education senior student teachers are strongly encouraged to consider the impact that additional non-student teaching activities and obligations (including, but not limited to, lessons, performing, rehearsing, employment, and other commitments) may have on completing a successful student teaching experience. Participating in non-student teaching activities may affect a student teacher's ability to complete senior teaching successfully and may affect the related grade negatively or result in removal from senior student teaching. Recognizing the importance of outstanding musicianship to effective music teaching, student teachers are encouraged to continue practicing and making music during their student teaching -- this is the essence of being a high-quality teacher-practitioner (music educator-musician). However, all senior student teachers are expected to consider the above-stated policy and make the student teaching experience their primary focus. (This written policy underscores the commitment expected of every Ithaca College music education student teacher; in addition, it emphasizes the responsibility that student teachers and Ithaca College have to ensure quality music education for the host site's students.)
Other than for absences related to illness, which require immediate contacting of the cooperating teacher, or absences related to serious illness or accidents, which additionally require immediate contacting of the supervisor or chair of music education, all other absences must be approved in advance by the chair of music education.
The senior student teaching program is based on the belief that certain competencies fundamental to successful teaching can best be fostered in the environment in which the teaching will generally occur. Therefore, the senior student teaching program is a cooperative effort on the part of this institution and cooperating secondary schools. An application requesting a student teaching assignment must be submitted by the student by February 15 of the academic year immediately preceding the student teaching assignment. Students are required to preregister for MUED 46800 Senior Block Teaching: Vocal or MUED 46900 Senior Block Teaching: Instrumental during the semester immediately preceding the student teaching assignment. Student teaching is to be completed during the fall (block I or II) or in the spring (block II). Vacation periods coincide with the calendar of the cooperating school district during the assignment. Students are not assigned to teach in a public school they attended as students.
Students are encouraged to live in the community or the school district where they are assigned to teach. Although the student is not charged for meals during the student teaching assignment period, a charge is assessed for on-campus housing commitments that students have made. Transportation and arrangements for housing in the assigned community are the responsibility of the student teacher. Help in making housing arrangements can be sought through the cooperating teacher, the principal's or superintendent's offices, local real estate agencies, or former student teachers. Commuting any great distance may be dangerous or time-consuming and could lead to an inadequate teaching experience. Most cooperating teachers are involved in some evening and weekend teaching duties, and the student teacher is expected to participate in all of these duties. Married students, if they desire, may be placed in schools close to Ithaca as a convenience to their families.
Piano, organ, and guitar majors in music education must declare, no later than in their sophomore year, whether they plan their teaching experience to be in the vocal or instrumental area.
Piano, organ, and guitar students normally receive instruction and experience in the vocal emphasis area. Piano, organ, and guitar majors who want to have a teaching experience in the instrumental area may elect the instrumental emphasis. They must have performance capability on a wind, string, or percussion instrument equal to "outstanding level" on grade IV literature listed in the New York State School Music Association (NYSSMA) manual. This is determined by an audition with a member of the instrumental music education department and the appropriate performance faculty member. The audition determines the amount of study necessary on that instrument. The program makes provision for four semesters of secondary instrument private lessons. Deficiencies may demand further study in private lessons, subject to the elective applied music fee. Membership is required in a major instrumental performing group (on the secondary instrument) each semester, and in choral ensemble for two semesters. The student must follow the curriculum of music education-instrumental.
Pianists, guitarists, and organists who elect the instrumental emphasis will, in these programs, enroll for 2 credits of private instruction on the major instrument -- piano, guitar, or organ. They have a weekly half-hour lesson, attend weekly repertoire class, and perform a jury at the end of the semester. Students may also audition for the four-and-a-half-year degree program. If accepted, the students have a weekly one-hour lesson, attend weekly repertoire class, and perform a jury at the end of the semester. Students in these programs must enroll for 1 credit of private instruction on the secondary instrument; they have a weekly half-hour lesson.
The credits earned in private lessons on the secondary instrument may be counted as music electives.
Credits earned in private lessons on the secondary instrument beyond the four semesters provided for in the program are subject to a private lesson fee in accordance with the schedule shown under "Expenses"; they may be counted as music electives.
Complete information concerning prerequisite coursework, proficiency exams, assignments, procedures and policies, and other information can be found in the Handbook for Senior Student Teaching in Music Education.


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Historically, the need for a community college serving the Oxnard Plain has been recognized by the Oxnard, Camarillo, and Port Hueneme communities and the governing board and administration of the Ventura County Community College District, since the district was formed in 1962.
Founded on the understanding established in those early years, the 118 acre college site was purchased in 1968. In 1969, the first classes offered under an Oxnard Center concept were offered at Ramona School in Oxnard. The Oxnard Center program expanded in the fall of 1973 with the opening of the Oxnard Educational Center at 9th and B streets in Oxnard, under the direction of Ventura College; in February, 1974, a Camarillo Center opened under the auspices of Moorpark College.The 2000 AD Educational Master Plan and strong support from the Oxnard-Port Hueneme area focused attention on the need for a third college in the spring of 1974, and trustees officially voted to build Oxnard College on March 26, 1974.The college officially opened its doors in June, 1975, for its first summer session, utilizing the Oxnard and Camarillo centers begun by the other two colleges in the district, and adding classes at a variety of sites throughout the Oxnard Plain.
By mid-fall, 1975, Oxnard College had more than 4,400 students enrolled and during the spring semester that number was even higher -- in all likelihood a record enrollment for first-year community colleges in this state.In fall, 1979, the first two permanent buildings were occupied on the campus. A Liberal Arts building houses 20 classrooms plus science and business laboratories and faculty office wings, and a Library/Learning Resources Center holds the college Library, Learning Center, general classrooms, and administrative and student services offices.The more recently constructed Occupational Education Building houses the college's information processing, air conditioning and refrigeration, hotel and restaurant management, electronics, and word processing programs. A new Child Development Center opened in early 1992, and a new Physical Education Complex with basketball and racquetball courts, showers and lockers, dance room and weight training facilities officially opened in the fall of 1994. The construction of a Language Arts/Math/Science Building was completed in 1997. Other campus buildings include two relocatable classroom buildings, a vocational shop building, a student services center, student activities center and a food services facility.
Oxnard College continues to be committed to developing a comprehensive educational program as well as a comprehensive campus environment for the students of its service area.

subset: commoncrawl


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Call it a hot technology, call it a fad, call it what you will, but the unmanned aerial system (UAS) has captured the imagination of the American farmer. And if you're interested in getting a better understanding of how these remote flyers work, there's a new show set for July 9 and 10 in Decatur, Ill., that offers you plenty of information. And a highlight will be actual flight demos of the different automated tools too.
The Precision Aerial Ag Show will be held at Progress City, the Illinois location for the Farm Progress Show.
Stu Ellis, show organizer, notes that the attraction of the show will be those open air flight demonstrations. While the U.S. Federal Aviation Administration has limited UAS use to only recreational purposes - a point of contention for agriculture - show organizers are working under the rules of the Academy of Model Aeronautics to allow for the flights. "The Precision Aerial Ag Show is an AMA-sanctioned event for Class D technology demonstrations," he notes.
Ellis is with AgEngage, a Decatur, Ill., firm sponsoring educational seminars for farmers and partnering with Farm Industry News and Farm Progress for the event.
UAS technology works in a variety of ways and at this show you'll have a chance to learn more about how each works in the aerial demonstration area. However, all marketing and sales discussions, and added details will only be available in the exhibit area, Ellis explains.
And show visitors will have the chance to learn more from a range of presentations to help potential users understand the technology.
A look at the speakers
Headlining the event is Brendan Schulman, attorney, Kramer Levin Naftalis & Frankel LLP from New York, N.Y., who will be on hand both days. Schulman will offer observations regarding the FAA and your unmanned aerial vehicle (UAV). Schulman represented an aerial photographer who won a recent case against the FAA and is also represents EquuSearch, a Texas Company that uses UAVs to search for missing people. That group has filed a lawsuit against FAA to overturn prohibition of UAV use of its efforts. The legal landscape for the UAV is changing and Schulman can offer in-depth insight on this topic.
For the technical side of UAV use, Terry Brase, professor, ag geospatial technologies, Kirkwood Community College, Cedar Rapids, Iowa, will discuss the finer points of collecting and using information from a UAV. Working with precision tech since 1993, Brase teaches courses on precision ag hardware and geospatial data collection and overseas use of technology at the Kirkwood Farm Laboratory. He'll be on hand for presentations for both days of the show.
And Brent Johnson, Lebre Crop Consulting, Manson, Iowa, will offer an in-depth look at use of UAV technology in precision agriculture. He's been using the technology on his farm to measure topography, watch emergence and measure field stresses.
Melba Crawford, professor of agronomy and civil engineering at Purdue University will tackle the issue of overlaying information and integrating UAV data for better precision agriculture decision making. Crawford is the director of the Laboratory for Applications of Remote Sensing at Purdue and offers a unique perspective for turning collected data into useful knowledge.
Bill Wiebold, extension agronomist, University of Missouri will explore the use of UAVs on the farm in a talk called "UAV's in tomorrow's agriculture." Weibold works through educational programs targeting growers.
Dennis Bowman, crop systems specialist, University of Illinois, will explore building or modifying your UAV to tailor it to your farming operation. Bowman has a long history of working with farmers throughout Illinois, and today is responsible for crop production programming and support in East Central Illinois.
Familiar presenters at the show
will be on hand for the show's opening day July 9. He'll be moderating a panel of UAV owners to discuss how they're applying the technology on their farms; and their vision for the future as commercial use becomes a reality.
Chad Colby, AgTechTalk.com, will be on hand both days looking at what you should consider when making a UAV purchase; and he'll moderate the user panel on July 10.
The first outdoor show of its type, the Precision Aerial Ag Show offers owners and potential owners of these new-tech systems to fine-tune their use and purchasing decisions. You can learn more by visiting www.paas2014.com. Farm Progress and Farm Industry News are partners with the 2014 show. Check out the seminar schedule below.


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Gordon would love to come on holiday with you, take him away in one of these stunning glossy suitcases.
Made with strong poly-carbonate, and fitted with 360 degree wheels, these cases protect your items and glide easily to your destination.
Robust retractable handles, top and side handles, full interior lining with zip pockets and tie down strips all make travel that bit easier, and your belongings organised.
TSA locks add extra security and peace of mind.
Sizes Available:
H: 78cm x W: 52cm x D: 32cm
Weight: 5kg Capacity: 95 Litre
H: 68cm x W: 45cm x D: 26cm
Weight: 4.1kg Capacity: 80 Litre
H: 56cm x W: 36cm x D: 23cm
Weight: 3.4kg Capacity: 52 Litre
All luggage comes with a 2 year manufacturers warranty


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The Yoga Bag – Aamani (CA)
This versatile yoga bag is designed to perform anywhere you choose.
Carry your mat & essentials to class or run away to a deserted island for the weekend, it's got your back.
Comfy straps, extra pockets, all combined with an luxurious exterior finish help this bag become an everyday must-have.
Length: 73.5 cm / 29 in
Circumference when filled: 53.4 cm / 21 in
Adjustable shoulder strap max length: 85 cm / 33.5 in
- All-in-one
- Multi-pocket functionality
- Soft yet durable construction
- Adjustable shoulder strap for customized bag length
- Full zip closure for easy in and out
- Easy to clean
- Eye catching prints
- Long lasting and durable
- Machine washable


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Facebook is testing a way for its users to "Find friends from different parts of your life."
The tool is very much for discovery of new potential friends, but, as thenextweb.com points out, when Facebook tests something it's usually a tip-of-the-spear approach to a larger initiative.
One of the biggest accolades hoisted upon Google+ is its Circles feature -- where one isn't necessarily sharing an upside-down margarita pic with their boss along with everyone else in their feed.
U.S. & World
In G+ one can quietly follow tastemakers, group people as work colleagues, or create all new categories of social ties (frenemies?).
The initial new "friend discovery" tool from Facebook allows users to parse potential friends by location, school or mutual friends.
Whether these new groups would be manual or automated. We lean toward the manual ... when FB auto-shares stuff it usually doesn't go well for them or for users.


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- The Paradise - The BBC's prospective answer to Downton Abbey draws loosely from the novel Au Bonheur des Dames (The Ladies' Paradise) by Émile Zola, moving its action from post-Napoleonic Paris to an unspecified English city some time in the 19th century, but maintaining its focus on the titular establishment, a department store specializing in ladieswear and accessories. Our heroes are Moray (Emun Elliott), the store's owner, a consummate flatterer who is eager to expand and make his store the hub for fashionable women in the city, Kathrine (Elaine Cassidy), his not-quite fiancée who is both repulsed and intrigued by Moray's ambition and relentless striving, but who he may be taking advantage of in order to get at her father's money, and Denise (Joanna Vanderham), whose uncle's smaller store is being crowded out by The Paradise, and who takes a job there as a shop girl. Despite being based on a novel, The Paradise's approach seems to be more open-ended--the better, presumably, to compete with a soap like Downton Abbey--with individual episodes centering around some self-contained plot while overarching plotlines proceed in the background. Unfortunately, these overarching plotlines veer decidedly towards the soapy--the mystery surrounding the death of Moray's first wife, the mean girl-style disputes between Denise and her colleagues, the burgeoning love triangle between Moray, Katherine, and Denise. And going by the second episode, in which a rich, unhappily married customer kisses a shop boy and then accuses him of assaulting her to protect her reputation, which gives everyone in the cast the excuse to trot out all the rape apology standbys--but why did she invite him to her house, he's such a nice guy, think of how this will destroy his life--and have them be entirely true, the self-contained plots aren't much to look forward to either. Which is a shame, because at its core (and, from what I've read about it, in the original book) The Paradise has an interesting concept that I don't think period dramas have done much to address so far--the growth of capitalism, and the social changes that it spurred among both entrepreneurs and consumers. The fact that the business in question here isn't something male-associated like industry or trains but women's retail, and that Denise discovers in herself a talent for salesmanship and a thirst for success that only Moray truly understands, might have made for an interesting angle on this topic, if only the show were more interested in it than in its more soapy elements.
- Hunted - A British-American co-production written by X-Files stalwart Frank Spotnitz, Hunted is a spy thriller about Sam (Melissa George), an operative for a private intelligence company who is betrayed and nearly killed by someone close to her, and who returns to her employers in order to discover who betrayed her and why. The premise and setting are reminiscent of Steven Soderbergh's Haywire, as is the show's style--lots of atmospheric locations shots, overbearing camera filters (orange for the Middle East, almost colorless in London), offbeat soundtrack (though often low-key and environmental, which sharply contrasts with Haywire), very little dialogue, mainly because the distrustful Sam spends a lot of time on her own, her silent actions or flashbacks, rather than her words, working to fill in the plot (this might also be the show playing to its strengths--when characters do speak it's usually to utter trite clichés such as "Ask yourself this: why won't you trust me? Is it because you don't love me anymore, or because you're afraid you still do?"). While it's nice to see a show about a woman that doesn't feel compelled to surround her with allies and helpmeets, Hunted doesn't really avoid many of the other clichés that dominate shows about vengeful female spies. George isn't exactly Gina Carano as far as her body type or believability as an imposing fighter are concerned, and where most shows of this type motivate their heroine through the kind of emotional connections that women are supposed to care exclusively about--a failed relationship, a dead parent, a lost child--Sam is motivated by all three, and even finds herself, at the end of the first episode, embedded as a tutor in the home of a widower with a young son, which is no doubt intended to play on her emotions. So far what Hunted has going for it is Sam's calculating, emotionless presence at its core, but though George is game the writing isn't quite there to make Sam a three-dimensional figure, or to overcome the clichés that permeate the show.
- Arrow - Pretty much everything I read about this show before watching the pilot compared to Smallville, which is perhaps understandable given that it's on the CW, that the main character was a recurring figure on the earlier show (though Arrow offers a new spin), and that Smallville was the last show based on a major comic book superhero to hit it big. But Arrow lacks Smallville's central conceit--the fact that it was a prequel to the familiar Superman mythos. It kicks off where the Green Arrow's traditional origin story does--having been shipwrecked on an island for years, billionaire Oliver Queen (Stephen Amell) trains himself as a super-fighter and, for some reason, archer, and upon his rescue returns to his home town of Starling City to fight evildoers. Far more than Smallville, Arrow reminds me of last year's disastrous attempt at crafting an original superhero show, The Cape--like that show, it suffers from a toxic combination of po-faced seriousness and cartoonish plot points and dialogue--and even more than that, of Batman Begins. Some the similarities between Batman and the Green Arrow stem from the comics--both are billionaires who have secretly trained themselves into unbeatable fighters, augmented by gadgetry and unlimited financial reserves--but the Arrow pilot seems almost to be cribbing from Batman Begins's script--a former wastrel, Oliver is motivated by the death of his father, who believed that it was his responsibility to "save" Starling City, to do the same, choosing to do so as a vigilante, and he continues to wear the mask of a playboy while wishing that he could reveal the truth to his ex-girlfriend (Katie Cassidy), a crusading lawyer. There are some interesting original notes here and there--Oliver's ex hates him not because of his playboy lifestyle but because he was on the fateful cruise with her sister, who died in the wreck, and unlike the Batman films the pilot doesn't shy away from the emotional toll that his years on the island have taken on him (though on the other hand it is entirely blasé about Oliver's willingness to kill, which he does quite often in the pilot). The problem is that Amell is more Tom Welling than Christian Bale, and the best he can muster in scenes where he should be conveying intensity, grief, or shame, is a uniform woodenness (the show tries to compensate for this with voiceovers that tell us what Oliver is feeling, but these are not only overwrought but read by Amell, who fails to imbue them with emotion in the same way he fails to convey that emotion in his performance), which neither the writing nor the acting around him do anything to compensate for. Arrow is clearly building up to a tangled mythology. The pilot features Lost-like flashbacks to Oliver's time on the island, where he clearly wasn't alone, since he learned martial arts, languages, Eastern philosophy, and of course archery (thus completing the Batman Begins parallel), and he returns to Starling City with a very deliberate plan, and a list of enemies to get rid of. What it doesn't give us is a reason to care about this mission--for all the crap it (rightfully) takes, Smallville had a freshness and levity to it, at least when it started out, that made it intriguing. Arrow is too self-serious, but not nearly accomplished enough to justify that seriousness.
- Nashville - So, should I be happy that the show touted as the great white hope of this miserable pilot season centers around two women, or sad that they spend its pilot--and look set to spend the rest of the series--fighting over fame, money, and men? That's maybe being a little glib: the two women around which Nashville circles, middle aged country music diva Rayna Jaymes (Connie Britton) and up-and-coming crossover sensation Juliette Barnes (Hayden Panettiere) are complex and well drawn, and their dispute--Rayna's latest album is struggling, and her label is trying to force her to tour with, and open for, Juliette in order to expose her to a younger audience, while Juliette is eager to gain respectability by poaching Rayna's professional crew, and particularly her band manager and former lover Deacon (Charlie Esten)--isn't a catfight so much as it is the struggle between two players in a system with only limited spots at the top, both of whom happen to be women and to suffer from the pitfalls of being a woman in the entertainment industry. But the pilot also veers frequently into the realm of too-obvious soap, and most of the its subplots--a love triangle between Deacon's niece Scarlett (Clare Bowen) and two aspiring songwriters, a mayoral campaign thrown into disarray by Rayna's oily father (Powers Boothe in a performance so over the top that it will either become the show's greatest asset or its greatest weakness, it's too soon to tell which) backing her failed businessman husband (Eric Close) as a surprise candidate, whatever tangled history there is between Rayna and Deacon--are uninspiring, which makes it difficult to hope that its main plot strand will develop in intelligent ways. Also, I'm saying this as someone who has been spoiled by Treme, but as a show about the world of music Nashville leaves much to be desired. The glimpses we get of the process and craft of music-making lack the spontaneity, the messiness, and the obvious sense of effort that Treme captures so well--Scarlett, for example, is an obvious Jewel stand-in who writes "poems" to which she sometimes hears music in her head, and when one of her potential love interests finds her notebook he convinces her to work on them together; at the end of the episode, they perform, on the fly and with no preparation or rehearsals, a flawless, implausibly professional version of this song. Even worse, the music itself is rather dull. Rayna complains that Juliette's music is mindless, incomprehensible country-pop, but her songs aren't much better, and there's very little sense in the pilot of the richness of country music and its history (only Scarlett's song at the episode's end, and an earlier one performed by Deacon, are truly attention-grabbing).
Still, comparing every new music-based show that comes along to Treme isn't fair--we should be grateful, I suppose, that Nashville isn't trying to be Glee, since that's clearly where the impetus for it comes from--and even without a genuinely revelatory look at Nashville's music industry, there are things to watch for here. More precisely, two things, the two leads. Britton brings warmth and intelligence to a role that could easily have devolved into a trite diva-ish stereotype. She makes Rayna seem more human than her well-worn storyline has any right being, and convinces us that there's a real person under a plot borrowed from recent Gwyneth Paltrow vehicle Country Strong and a million other country music sob stories. Panettiere, amazingly, has to contend with an even bigger bag of clichés--the young sexpot with a tragic past and well-concealed vulnerabilities--and whether as a deliberate choice or simply as a result of a limited range, she defuses them by playing Juliette as inhumanly cold and calculating, creating the impression of a smart, ruthless young woman who knows that all the performances she's putting on--of innocence, of sexiness, of respect towards her country music forerunners--are but a means to an end. It's a performance that could become wearying very quickly, but for now it's just brazen enough to be interesting. By concentrating on Rayna and Juliette--and hopefully by putting them together more than the pilot does--Nashville could find a core of genuine drama amidst its soapy subplots that could make it worth watching. After all, even if they're fighting each, shows about smart, ambitious women should be celebrated.
- Beauty and the Beast - This show has been taking a pummeling at the hands of reviewers, and though they're not wrong that it is terrible, I can't help but feel that the opprobrium is a little extreme, and motivated more by the obviously bone-headed decisions that drive this remake of the cheesy-but-romantic 80s original--retooling the show into an obvious Twilight ripoff in which Vincent is a soldier experimented on by the government who periodically turns into a rage monster, and calling him a "beast" because he has a small facial scar (because as we all know, a scar running down a man's cheek makes him look horrifying, not sexy and dangerous)--rather than their execution. Which is, again, quite bad, but not significantly worse than, say, Arrow, which has been getting more favorable reviews, sometimes from the same sources that have panned Beauty and the Beast. The two shows have similar flaws--wooden leads (though Kristin Kreuk tries so much harder than Arrow's Stpehen Amell to inhabit her character, here a tough police detective), lazy plots (the pilot centers around a murder investigation that not even Kreuk's Katherine seems very interested in--certainly not once Jay Ryan's Vincent turns up), trite character motivations (Vincent is oh-so-tortured by what's been done to him; Katherine, in a plot ripped straight from Castle, is trying to find out who killed her mother), and very little chemistry between the two leads (though this is less down to the actors and more the fault of a script that gives them little to do in their shared scenes but gaze longingly at each other). There are, on the other hand, points about the show that I like--Katherine has a female, Hispanic partner, which might make them the only all-female cop duo on TV right now, and Katherine's mother is played by an Asian woman, which is more than Smallville ever did for Kreuk, as far as I can recall. They're obviously not enough to make Beauty and the Beast watchable--especially since the mother, as I've mentioned, is quickly killed off, and the partner will no doubt be ditched for Vincent soon enough--but they are enough to make me a little upset at the disparity between the reactions to Beauty and the Beast and Arrow, which may very well be linked to the former's girly subject matter.
Saturday, October 13, 2012
Thoughts on the New TV Season, 2012 Edition, Part 3
6 comments:
- Foxessa said...
When in London, on a night recovering from days straight of much walking, I viewed the first The Paradise ep streaming from the BBC. Gack, I go, seeing Minnie Mude er um, what's her name in The Paradise -- ah, Pauline -- show up from Larkrise to Candleford, and she's playing exactly the same character! I'm looking at Denise and thinking, Laura Timmons. I'm seeing the street and thinking, the Pratts' The Stores, except it's supposed to be Laura's uncle's little dry goods shop instead of Laura's aunt's post office.
Also, what year is it? Where is it?
Ayup -- Lark Rise to Candleford all over again which is no coincidence as Paradise is brought to us by the same team as Larkrise. They couldn't even bother to file off the serial numbers.
BBC bills this as "an intoxicating love story." Stupifying is more like it. Larkrise didn't start out that way, but by third season it got there.
Rather than a generous-hearted, loving examination of rural poverty and provincial class and manners of a specific time and place Larkrise focused on theme park facade and clothing. You never could figure out in which era this tale was located; it slipped around all over the place. The Paradise is doing the same thing, ignoring the class savagery that Zola rose to -- and it sure isn't located in London!
Of course I may be so harsh on Larkrise because it turned one of my favorite English television actors,Brendan Coyle -- how brilliant he is in North and South -- into Bates on Downton Abbey, one of the worst written, worst acted shows evah! (I also saw some eps of season three while in a hotel room in England -- I couldn't help myself -- and it's EVEN WORSE than season two, which was EVEN WORSE than season one.)
Love, C.
- October 14, 2012 9:34 PM
You're right about Kreuk's character on Smallville. She started with two white parents, found her real biological father, and he was white too. So the character was white. I go back and forth on my reaction to this. Why shouldn't Kreuk be able to play a white character? But on the other hand, would it have killed them to cast an Asian parent, and add a bit of realism? Perhaps having had an student who looked almost exactly like Kreuk but was 100% Chinese is biasing me a bit.
- October 19, 2012 3:16 AM
- Abigail Nussbaum said...
As far as I know, Kreuk herself is biracial, and she has no problem "passing" for white (it depends a lot on how she's styled - on Chuck, for example, she had lighter, wavier hair, which deemphasized her Asian features, whereas on B&tB her hair is darker and straighter). But why should she have to? Why shouldn't Lana Lang have been biracial as well? It's hard not to conclude that her ability to "pass" is the reason that Kreuk got the job on Smallville in the first place, and that if her genetic lottery had tended in the other direction she wouldn't be a semi-famous starlet right now. So it is refreshing that B&tB casts her as a biracial character as if it were no big deal, and gives her a partner who is a woman of color (though as I say both the Asian mother and the Latina partner are sidelined for her white love interest).
- October 19, 2012 10:12 AM
Yeah, Kreuk's character being biracial on B&tB is one of the few things in its favour. As for the rest of it, the appearance of the Beast is really unforgivable, destroying the whole point of the story. I actually think the CW is underestimating its audience here. The old CBS show did OK with a animalistic Beast, and thinking that a young female audience would be too shallow for the same thing is a kind of sexism itself.
- October 20, 2012 2:51 AM
- joe said...
what are your thoughs on the female team in rizzoli and isles?
- October 25, 2012 6:43 PM
- joe said...
oh! and of course also "elementary" with lucy liu as joan watson. they infused this show with a couple of more non-caucasian actors as well (well more than is usual, i think, for hollywood), though the show with the most non-caucasian characters i've seen is "beauty and the beast".
abigail, did you ever think about trying asian shows? if i had to suggest a show, i'd pick this: http://en.wikipedia.org/wiki/City_Hunter_%28TV_series%29
- October 25, 2012 6:47 PM


text:
Events for June 17, 2020 › Church Events
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6:30 pm
Centering Prayer is an ancient Christian practice that shares many features with practices in other world religions. It is done in silence and we spend 20 minutes in prayer. If you have never done centering prayer please arrive at 6:15 p.m. for a brief orientation. After the silent prayer we engage in another form of centeringFind out more


text:
- AuthInfo Commands
- Authority Records Commands
- Channel Commands
- CFStruc Commands
- Cluster Commands
- Connection Commands
- Namelist Commands
- Process Commands
- Queue Commands
- Inquire Queue Status Command
- Queue Manager Commands
- Security Commands
- Service Commands
- StorageClass Commands
- Subscription Commands
- System Commands
- Topic Commands
- Escape Command
MQSeries::Command - OO interface to the Programmable Commands
use MQSeries;
use MQSeries::Command;
# Simplest usage
my $qmgr_obj = MQSeries::QueueManager->
new(QueueManager => 'some.queue.manager');
my $command = MQSeries::Command->new(QueueManager => $qmgr_obj);
or die("Unable to instantiate command object\n");
# To use MQ v6 features (PCF for z/OS, Filter commands,
# InquireConnection)
my $command = MQSeries::Command->new(QueueManager => $qmgr_obj,
CommandVersion => MQSeries::MQCFH_VERSION_3);
or die("Unable to instantiate command object\n");
# Inquire XXX Names returns object names,
# all other Inquire XX commands return hash references
@qnames = $command->InquireQueueNames()
or die "Unable to list queue names\n";
foreach my $qname ( @qnames ) {
$attr = $command->InquireQueue
QName => $qname,
QAttrs => [qw(
) or die "InquireQueue: " . MQReasonToText($command->Reason()) . "\n";
print "QName = $qname\n";
foreach my $key ( sort keys %$attr ) {
print "\t$key => $attr->{$key}\n";
# Filter commands (requires MQ v6 and CommandVersion 3)
# Like other Inquire XXX commands (excpet Inquire XXX Names),
# this returns a list of hash references, not obejct names.
my @full_queues = $command->
InquireQueueStatus('FilterCommand' => "CurrentQDepth > 10000");
my @ip_conns = $command->
InquireConnection('FilterCommand' => "ConnectionName like '144.44.*'");
# High-level wrapper method: CreateObject
Attrs =>
QName => 'FOO.BAR.REQUEST',
QType => 'Local',
MaxQDepth => '50000',
MaxMsgLength => '20000',
) || die "CreateObject: " . MQReasonToText($command->Reason()) . "\n";
Clear => 1,
Attrs =>
QName => 'FOO.BAR.REPLY',
QType => 'Remote',
RemoteQName => 'FOO.BAR.REPLY',
RemoteQMgrName => 'SAT1',
) || die "CreateObject: " . MQReasonToText($command->Reason()) . "\n";
The MQSeries::Command class implements an interface to the Programmable Command Format messages documented in the:
"WebSphere MQ Programmable Command Formats and Administration Interface"
section of the MQSeries documentation. In particular, this document will primarily explain how to interpret the above documentation, and thus use this particular implementation in perl. Please read and understand the following sections of the above document:
Programmable Command Formats
Chapter . Definitions of the Programmable Command Formats
Chapter . Structures used for commands and responses
This interface also supports the text-based MQSC format messages used by the queue manager of some platforms, particularly MVS. Using the same interface, either PCF or MQSC command server can be queried, with the results translated into the same format for responses as well. Note that there are limits to how transparent this is (see MQSC NOTES), but the code tries quite hard to hide as many of the differences as possible.
Before we discuss the specific arguments and return values of each of the methods supported by the MQSeries::Command module, we must explain how the keys and values used by the interface were chosen, as this will allow the developer to understand how to take advantage of the very complete documentation provided by IBM (which will not be reproduced here).
For each command documented in 'Definitions of the Programmable Command Formats' (there is a specific page listing all of the commands, grouped by type), there is a corresponding method in this class. For example, there is a method named 'InquireQueueManager', for the obvious (I hope) PCF command.
All of these methods take a hash of key/value pairs as an argument, with the keys being those defined in the documentation for each command. When writing C code to produce PCF messages, the parameter names are macros, such as:
to specify a list of queue manager attributes. Rather than use these names directly, the key strings are taken from the IBM documentation. In this example, the string used for this key is:
The values depend on the structure type of the parameter. If the structure is a string (MQCFST), byte string (MQBACF) or an integer (MQCFIN) then the value of the key is simply a scalar string or integer in perl. If it either a string list (MQCFSL) or an integer list (MQCFIL), then the value of the key is an array reference (see the InquireQueueManager example in the SYNOPSIS) of scalar strings or integers.
Most of the individual methods map to underlying commands which do not return any data. For all of these, the return value is simply Boolean; true or false. That is, the command either worked or failed.
Only the methods associated with those commands documented as producing data responses:
Inquire AuthInfo
Inquire AuthInfo Names
Inquire Authority Records
Inquire Authority Service
Inquire Channel
Inquire Channel Initiator
Inquire Channel Listener
Inquire Channel Listener Status
Inquire Channel Names
Inquire Channel Status
Inquire Cluster Queue Manager
Inquire Connection
Inquire Entiry Authority
Inquire Group
Inquire Log
Inquire Namelist
Inquire Namelist Names
Inquire Process
Inquire Process Names
Inquire Queue
Inquire Queue Manager
Inquire Queue Manager Status
Inquire Queue Names
Inquire Queue Status
Inquire Service
Inquire Service Status
Inquire Subscription
Inquire Subscription Status
Inquire System
Inquire Topic
Inquire Topic Status
Reset Queue Statistics
plus the following equivalents for MQSC
Inquire CFStruc
Inquire CFStruc Status
Inquire Usage
Inquire Security
Inquire StorageClass
return interesting information. Most of these will return an array of hash references, one for each object matching the query criteria. For example. The specific keys are documented in the section of the IBM documentation which discusses the "Data responses to commands", on the summary page "PCF commands and responses in groups". If you have read the IBM documentation as requested above, you should have found this page.
Note that in an array context, the entire list is returned, but in a scalar context, only the first item in the list is returned.
Some of these commands, however, have a simplified return value. All of the below:
Inquire AuthInfo Names
Inquire CFStruct Names
Inquire Channel Names
Inquire Namelist Names
Inquire Process Names
Inquire Queue Names
Inquire StorageClass Names
Inquire Topic Names
simply return an array of strings, containing the names which matched the query criteria.
The arguments to the constructor are a hash, with the following key/value pairs:
Key Value
=== =====
QueueManager String or MQSeries::QueueManager object
ProxyQueueManager String or MQSeries::QueueManager object
RealQueueManager String
ReplyToQ String or MQSeries::Queue object
CommandQueueName String
CommandQueue MQSeries::Queue object
CommandVersion Numeric (1 or 3)
DynamicQName String
ModelQName String
Type String ("PCF" or "MQSC")
Expiry Numeric
Wait Numeric
ReplyToQMgr String
Carp CODE Reference
StrictMapping Boolean
- QueueManager
This argument specifies the queue manager to which commands are to be sent.
If the 'ProxyQueueManager' argument is specified, this should be the name of the target queue manager.
If the 'ProxyQueueManager' argument is not specified, this can either be an
MQSeries::QueueManagerobject, or the name of the Queue Manager. Specifying the queue manager name is deprecated and may stop working in a future release.
The 'QueueManager' argument can be omitted, in which case the "default queue manager" is assumed.
- ProxyQueueManager
The name of the queue manager to which to MQCONN(), and submit messages on the QueueManagers behalf. This is to be used if a direct connection to the QueueManager is not possible, for example MVS queue managers with support for direct client access.
The messages will be put to what is assumed to be a remote queue definition which routes to the command queue on the desired QueueManager.
In order to specify the "default" queue manager as the ProxyQueueManager, an empty string must be explicitly given.
- RealQueueManager
If a remote queue manager is controlled through a proxy, by having the
QueueManagerparameter specify the proxy and the
CommandQueueNamean object descriptor, then by default any output will print the queue manager name incorrectly. The
RealQueueManagerparameter specifies the name used for display purposes.
- ReplyToQ
The ReplyToQ can be opened by the application, and the MQSeries::Queue object passed in to the MQSeries::Command constructor, if so desired, os, a fixed queue name can be given. This is a somewhat advanced usage of the API, since the default behavior of opening a temporary dynamic queue under the covers is usually prefered, and much simpler.
The responses are retrieved from the reply queue using gets by CorrelId, so there should be no issue with using a pre-defined, shared queue for this, if so desired.
- CommandQueueName
This specifies the queue to which the command messages will be put. The defaults are usually reasonable, and depend on the command message Type (PCF or MQSC).
If the ProxyQueueManager has been specified, then we assume the messages are being written to a remote queue definition, and the defaults are then:
PCF => SYSTEM.ADMIN.COMMAND.QUEUE."QueueManager" MQSC => SYSTEM.COMMAND.INPUT."QueueManager"
See "MQSC NOTES" for some examples of how to use this in practice.
Alternatively, the
CommandQueueparameter can be used.
- CommandQueue
For complex set-ups, where a remote queue manager is managed by the name of the command queue does not fit the standard scheme, the command queue can be opened manually and specified in the MQSeries::Command constructor as the
CommandQueueparameter must be combined with the
RealQueueManagerparameter. In the example below, a mainframe queue manager
CSQ1is managed from the queue manager
UNIXQMwith a non-standard queue name:
$queue = MQSeries::Queue::-> new('QueueManager' => 'UNIXQM', 'Queue' => 'REMOTE.FOR.COMMANDQ.ON.CSQ1', 'Mode' => 'output', ) || die "Cannot open queue"; $cmd = MQSeries::Command::-> new('ProxyQueueManager' => 'UNIXQM', # Also ReplyToQMgr 'RealQueueManager' => 'CSQ1', # Displayed in messages 'Type' => "MQSC", 'CommandQueue' => $queue, ) || die "Cannot create command";
If both queue managers run MQ v6, then PCF commands can be used to communicate with MQ on z/OS. The above example would be changed as follows to use PCF commands:
$cmd = MQSeries::Command::-> new('ProxyQueueManager' => 'UNIXQM', # Also ReplyToQMgr 'RealQueueManager' => 'CSQ1', # Displayed in messages 'Type' => 'PCF', 'CommandVersion' => MQSeries::MQCFH_VERSION_3, 'CommandQueue' => $queue, ) || die "Cannot create command";
This mechanism can also be used when the command queue needs to be opened with special options. This is typically combined with a call to the
my $queue = MQSeries::Queue::-> new('QueueManager' => 'UNIXQM', 'Queue' => 'SYSTEM.ADMIN.COMMAND.QUEUE', 'Options' => (MQSeries::MQOO_FAIL_IF_QUIESCING | MQSeries::MQOO_OUTPUT | MQSeries::MQOO_SET_IDENTITY_CONTEXT, ), ) || die "Cannot open queue"; $cmd = MQSeries::Command::-> new('RealQueueManager' => 'UNIXQM', 'Type' => 'PCF', 'CommandQueue' => $queue, ) || die "Cannot create command"; $cmd->MsgDesc('ApplIdentityData' => "MyData", 'UserIdentifier' => "mqm", );
- CommandVersion
This argument is introduced mainly to support the new PCF commands in MQ v6 (such as FilterCommand filter options) and to use PCF with QueueManagers on OS/390. It indicates the required PCF Command Version (MQCFH_CURRENT_VERSION) and Type. This is an optional argument and Version "1" is used as default. If a value '3' or higher is specified, then the Command Type "MQCFT_COMMAND_XR" will be used and also the version is set to "MQCFH_CURRENT_VERSION". Any value less then 3 will be ignored and the defaults are used (MQCFT_COMMAND and default version).
- Type
This argument indicates whether the command server on the QueueManager supports either PCF or MQSC messages. The default is PCF. See the section "MQSC NOTES" for the Ugly Truth about the MQSC support.
- Expiry
This value is used as the MQMD.Expiry field on all requests sent to the command server. The value is passed to the MQSeries::Message constructor, and should specify the time in tenths of a second. The default is 600, or 60 seconds.
A symbolic value ending on 's' for seconds or 'm' for minutes may also be specified, e.g. the symbolic value '45s' will have the same meaning as the number 450.
- Wait
This value is used as the Wait argument to the MQSeries::Queue->Get() method call made against the ReplyToQ (a dynamic reply queue). and should be a time specified in milliseconds. The default is 60000, or 60 seconds.
A symbolic value ending on 's' for seconds or 'm' for minutes may also be specified, e.g. the symbolic value '45s' will have the same meaning as the number 45000.
NOTE: Both the Expiry and Wait defaults may be too slow for heavily loaded queue managers. Tune them appropriately.
- ReplyToQMgr
The ReplyToQMgr normally defaults to the QueueManager, but it can be overridden, perhaps as a means of specifying an alternate return path over a specific channel. For example, the author uses special channels for SYSTEM related traffic, over which we forward MQSeries events from one queue manager to another, and also over which we wish the command server queries to flow.
The "default" path between QMA and QMB flows over a channel called QMA.QMB, but this traffic is application data, not administrative system data. The system queries flow over QMA.QMB.SYSTEM, and we need to ensure that replies to queries follow a similar reverse path. Specifying the ReplyToQMgr as "QMB.SYSTEM" accomplishes this.
- Carp
This key specifies a code reference to a routine to replace all of the carp() calls in the API, allowing the user of the API to trap and handle all of the error message generated internally, or simply redirect how they get logged.
For example, one might want everything to be logged via syslog:
sub MyLogger { my ($message) = @_; foreach my $line (split(/\n+/, $message)) { syslog("err", $line); } }
Then, one tells the object to use this routine:
my $command = MQSeries::Command->new( QueueManager => 'some.queue.manager', Carp => \&MyLogger, ) or die("Unable to connect to queue manager.\n");
The default, as one might guess, is Carp::carp();
- StrictMapping
If this argument has a true value, then strict mapping of PCF parameters and values will be enforced. Normally, if you feed a bogus string into the API, it will attempt to map it to the underlying PCF macro value, and if the mapping fails, it will quietly forgive you, and ignore the parameter. Enabling this feature will cause the translation of an encoded PCF message into the data structure for a Response, or the translation of a Request into an encoded PCF message, to fail if any of the mappings fail.
Usually, the command server will generate errors if you feed bogus data into the API. but that will only occur after the data has been encoded and sent to the command server. This feature will allow you to detect this error before the data is ever sent.
This method will return the MQI CompCode for the most recent MQI call made by the API.
This method will return the MQI Reason for the most recent MQI call made by the API.
This method will return different strings depending on whether the command is MQSC or PCF. For MQSC, the command server sends back some text explaining the reason code, and for PCF, we simply call MQReasonToText on the reason code and return that instead.
MQSC sends back far less information encoded into the reason than PCF does, and the interesting information is usually found in the ReasonText. Therefore, this method should be used when raising exceptions, in order to get the most descriptive explanation for any given error.
Normally, the data of interest is returned from the method in question, but the individual responses are available via this method. This returns a list of MQSeries::Command::Response objects, one for each individual message recieved.
This method will return a list of parameters structures from all of the responses messages sent back which were not error responses. Some errors will send back responses with parameters, and these could easily be confused with real data (until you start looking at the actual data, of course).
This method will return a list of parameters structures from all of the responses messages sent back which were error responses. If a command fails, the Reason() will usually tell you enough about the cause of the failure, but if the reason is MQRCCF_CFIN_PARM_ID_ERROR, then the parameters in the error message will indicate which Parameter key was invalid.
In some cases, it is useful or necessary to override specific MQMD fields in outgoing request messages. Examples include manually changeing the Persistence field, or changing the message identity or origin context. The MsgDesc method allows you to do so:
$cmd->MsgDesc('Persistence' => 0);
$cmd->MsgDesc('ApplIdentityData' => "MyData",
'UserIdentifier' => "mqm",
Note that setting the message identity or origin context requires you to open the command queue with the relevant open options; see the description of the
CommandQueue parameter to
Note that the
ReplyToQMgr and
Expiry fields for the request message descriptor can be specified in the constructor
new. The
MsgDesc method is intended for the more obscure options.
This is a generic "wrapper" method for creating any generic MQSeries object. The arguments to this method are a hash, with the following key/value pairs:
Key Value
=== =====
Attrs HASH reference
Verify Boolean
Clear Boolean
Quiet Boolean
Force Boolean
Callback CODE reference
The key/value pairs in the Attrs argument are passed directly to the corresponding CreateQueue(), CreateChannel(), or CreateProcess() method. However, there is more to this than just creating the object. For clarity, this discussion will use creation of a queue as an example.
First, InquireQueue is called to see if the object already exists. If it does not exist, then the object is simply created, with the specified attributes.
If it does exist, and the QType matches, then the actual object attributes are compared against those passed to the CreateObject method, and if they match, then no action is taken, and the object is not modified.
If it does exist, but of a different QType, then the existing object is deleted, and the new object created as requested.
The idea here is to match the modification of the object conditional on the need for modifying the object. If the same CreateObject method call, with the same arguments, is called twice, then the second method invocation should be a noop, as far as the actual MQSeries object is concerned.
- Attrs
As discussed above, this is a HASH reference, whose key/value pairs are used to determine what type of object is being created or updated, and those key/value pairs are passed as-is to the appropriate Create* method call for the specified MQSeries object type.
- Verify
If this key has a true value, then no changes will actually be implemented. They will merely be reported via test messages on stdout.
- Quiet
CreateObject is by default rather chatty about what it is doing, but all of the messages, other than errors, can be suppressed if this key has a true value.
- Clear
Normally, when a Local queue is being replaced with another QType (eg. Remote or Alias), then the Local queue is not cleared before being deleted. If there are messages on the queue, this will cause an error. If the queue needs to be cleared, then this key must be passed with a true value.
This is a seperate option due to the inherit danger of destroying data accidentally. If you really want to clear the queues before recreating them as another QType, you will have to be explicitl about it.
- Force
This option will be passed to the Change* method, if the object already exists and is of type Queue, forcing changes to be applied to objects which are currently in use. It is ignored for the other object types. Note that this should not be passed as a key to the Attrs hash, since this is not really an object attribute.
If Force is given as an Attrs key, and the underlying Create* method is called, since the object does not already exist, then the command server will return an error.
- Callback
This optional argument allows you to provide an object comparison subroutine, instead of relying on the built-in function. This is virtually never required, unless your request contains some 'meta' attributes that translate to multiple or different MQSeries attributes.
Callbackparameter must be a reference to a subroutine that receives three parameters: a reference to the requested attributes, a reference to the attributes found in the object, and a reference to a subroutine that compares two single attribute values. The return value from the subroutine must be a reference to a hash with those attribute names and values that actually should be changed.
Please see the source code of
MQSeries::Command, specifically the
_CompareAttributesmethod, for the default callback. Any callback you provide must behave in a similar way.
This section is NOT intended to replace the IBM "MQSeries Programmable System Management" documentation, and it merely serves to document the specific keys and values used by the perl implementation of the API.
In all cases, the keys which can be passed to the command are identical to the strings found in the documentation. However, some of the values also have more convenient string mapping as well, as these are not easily intuited by reading IBMs docs, thus these are clarified here.
The IBM docs list the possible values for each key as a list of MQSeries C macros (eg. MQCHT_SENDER), and if given, these will be respected. It will be faster to use the strings given, since these map directly to the actual macro values via a hash lookup, rather than a function call (all of the various C macros are implemented as function calls via an AUTOLOAD). Also, the author finds the replacement strings far more readable. YMMV.
For each key shown, the format of value is one of the following:
- (string)
The value given must be a scalar value, interpretable as a text string.
- (string list)
The value must be an ARRAY reference of scalar values, all of which must be interpretable as strings.
NOTE: Some of the parameters (for example, the MsgExit parameter for the various Channel commands) can take either a string or string list. In this case, the API will be forgiving, and try to determine what you meant automatically. If you pass a reference, it will create a string list parameter, and if you pass a plain scalar, it will create a string.
ANOTHER NOTE: if you pass a simple scalar string where a string list is explicitly required (as opposed to optional), then the API will create a list of one string for you.
- (integer)
The value given must be a scalar value, interpretable as an integer. In some cases, a table will show a mapping from more readable text strings to the macros documented in the IBM manuals.
- (integer list)
The value must be an ARRAY reference of scalar values, all of which must be interpretable as integers. As with the integer format, in some cases, a table will show a mapping from more readable text strings to the macros documented in the IBM manuals.
- (Boolean)
The value given need only be 0 or 1. This was done for some of the integer types which are documented to take a pair of macros, whose values were simply zero or one, and when the true/false nature of the key was considered to be intiuitive. For example, "DataConversion" is either on (true) or off (false).
Note: List of keys are not documented anymore to avoid needless redundancy. Please refer to the IBM documentation for the names and values of keys.
AuthInfo Commands
Change AuthInfo
Copy AuthInfo
Create AuthInfo
Delete AuthInfo
Inquire AuthInfo
Inquire AuthInfo Names
Authority Records Commands
Delete Authority Records
Inquire Authority Records
Set Authority Record
Channel Commands
Change Channel
Change Channel Listener
Copy Channel
Copy Channel Listener
Create Channel
Create Channel Listener
Delete Channel
Delete Channel Listener
Inquire Channel
Inquire Channel Initiator
Inquire Channel Listener
Inquire Channel Listener Status
Inquire Channel Names
Inquire Channel Status
Ping Channel
Reset Channel
Resolve Channel
Start Channel
Start Channel Initiator
Start Channel Listener
Stop Channel
Stop Channel Initiator
Stop Channel Listener
CFStruc Commands
Change CFStruc
Create CFStruc
Delete CFStruc
Inquire CFStruc
Inquire CFStruc Names
Cluster Commands
Inquire Cluster Queue Manager
Refresh Cluster
Reset Cluster
Resume Queue Manager Cluster
Suspend Queue Manager Cluster
Connection Commands
Inquire Connection
Stop Connection
Namelist Commands
Change Namelist
Copy Namelist
Create Namelist
Delete Namelist
Inquire Namelist
Inquire Namelist Names
Process Commands
Change Process
Copy Process
Create Process
Delete Process
Inquire Process
Inquire ProcessNames
Queue Commands
Change Queue
Clear Queue
Copy Queue
Create Queue
Delete Queue
Inquire Queue
Inquire Queue Names
Move Queue
Reset Queue Statistics
Inquire Queue Status Command
InquireQueueStatus command does not behave like the other queue commands. Please refer to IBM documentation for complete details.
For a request, the following keys are supported:
The output of the
InquireQueueStatus is dependent on the
StatusType specified.
Queue Manager Commands
Change Queue Manager
Inquire Queue Manager
Inquire Queue Manager Status
Ping Queue Manager
Security Commands
Service Commands
Change Service
Copy Service
Create Service
Delete Service
Inquire Service
Inquire Service Status
Start Service
Stop Service
StorageClass Commands
Change StorageClass
Create StorageClass
Delete StorageClass
Inquire StorageClass
Inquire StorageClass Names
Subscription Commands
Change Subscription
Copy Subscription
Create Subscription
Delete Subscription
Inquire Subscription
Inquire Subscription Status
System Commands
Inquire Group
Inquire Log
Inquire System
Inquire Usage
Set Log
Set System
Topic Commands
Change Topic
Clear Topic String
Copy Topic
Create Topic
Delete Topic
Inquire Topic
Inquire Topic Names
Inquire Topic Status
Escape Command
This command is not really part of a grouping, so its all by itself here.
The following keys have special value mappings:
There are several commands which return data. The return value of the actual command methods depends on the specific command. All of the "Inquire*Names" commands return a list of the actual names returned, which greatly simplifies the parsing of the return value.
For example:
@qnames = $command->InquireQueueNames( QName => 'FOO.*' );
will result in @qnames containing a list of strings of all of the queue names starting with FOO.
The rest of the commands return a list of Parameters HASH references, extracted from each of the messages sent back from the command server. In a scalar context, only the first Parameters HASH reference is returned. Refer to the "RETURN VALUES" section for the list of commands.
For example:
@queues = $command->InquireQueue( QName => 'FOO.*', QAttrs => 'All' );
will result in @queues containing a list of HASH references, each of which has key/value pairs for the attributes of one of the queues starting with FOO.
The keys in the Parameters HASH references are mapped from the numeric macro values back into the same strings described above for simplifying the input Parameters.
However, there are a few keys in the responses which are not supported as keys in the inquiry. In general, the return values are left unmolested.
For PCF requests to MQ v6 and above, filter commands can be used to have the queue manager filter out only objects of interest. For example, you can inquire for queues with a certain maximum message length, for connections from specific IP addresses, or for queue status with a minimum queue depth.
Filters require that the command object is created with CommandVersion 3, i.e.
$command = MQSeries::Command::->
new('QueueManager' => 'SOME.QUEUE.MANAGER',
'Type' => 'PCF',
'CommandVersion' => MQSeries::MQCFH_VERSION_3);
Following that, most Inquire commands accept an optional FilterCommand parameter that specifies an attribute to filter on, a comparison operator, and a value. (See the IBM documentation for which Inquire commands support filters.)
The filter can be specified in pseudo-SQL syntax, e.g. :
@queues = $command->
InquireQueue('FilterCommand' => "QName like 'SYSTEM.PE*'");
@queues = $command->
InquireQueue('FilterCommand' => "MaxQDepth > 10000");
Alternatively, if the value used contains quotes, or if the filter is constructed dynamically, the filter can be specified as a hash reference:
@queues = $command->
InquireQueue('FilterCommand' => { Parameter => 'MaxQDepth',
Operator => '>',
Value => 100_000,
The supported filter parameters (field names) are almost any field returned by the Inquire command (see the IBM documentation for details). The supported value can be an integer, string, string wildcard (a value ending on a '*'), or (for enumerated types) the constant name as returned by the Inquire command. For example, for an enumerated type, to query for alias queues that have a rmote queue as their base type:
@queues = $command->
InquireQueue('FilterCommand' => "BaseType == Remote");
The operators supported depend on the parameter type. All types support equal (==) and unequal (<>, !=); numeric types also support the numeric comparators (<, >, <=, >=); string types support 'like' and 'not like' with a wildcard value ending on '*'; integer list types support 'contains' and 'excludes'; and string list types support 'contains', 'excludes', 'contains_gen' and 'excludes_gen', where the latter to values perform a wildcard comparison. The examples below illustrate supported usage.
BaseType == Local
BaseType <> Local
BytesSent > 10000
CurrentQDepth > 10000
Msgs <= 100
ConnectionName like '144.14.*'
BaseQName not like 'SYSTEM.*'
HeaderCompression contains 'gzip'
HeaderCompression excludes 'gzip'
Note that the filter is not evaluated as a perl expression. The MQSeries::Command class parses the expression into a parameter, operator and value; then converts the value to the appropriate type (a value lookup for enumerated types, a conversion to integer for numbers, and conversion to string for strings). In other words, the expected amount of DWIM is in place.
MQSeries(3), MQSeries::Queue(3), MQSeries::Message(3), MQSeries::Command::Request(3), MQSeries::Command::Response(3)
In addition, the MQSeries documentation is the primary source of documentation for the commands and their arguments, especially the following sections.
For MQSeries 5.2 and before, this is:
"MQSeries Programmable System Management"
Part 2. Programmable Command Formats
Chapter 8. Definitions of the Programmable Command Formats
Chapter 9. Structures used for commands and responses
For WebSphere MQ 5.3, this is:
"WebSphere MQ Programmable Command Formats and Administration Interface"
Part 1. Programmable Command Formats
Chapter 4. Definitions of the Programmable Command Formats
Chapter 5. Structures used for commands and responses
For WebSphere MQ 6.0 and 7.0, this is:
Same as 5.3 except the Chapter numbers. In 6.0 doc they are Chapter 3 and 4.


text:
Florida State favorite to win conference crown again
The following summary was provided by the Atlantic Coast Conference
Defending national champion Florida State is the consensus choice to repeat as Atlantic Division champion and defeat Miami in the 10th annual Atlantic Coast Conference Football Championship Game, according to a poll of media members in attendance at the 2014 ACC Football Kickoff.
Reigning Heisman Trophy winner and Walter Camp National Player of the Year Jameis Winston, who led the Seminoles to an unbeaten season and their third national title as a redshirt freshman in 2013, was chosen to repeat as ACC Player of the Year.
Florida State was picked as the likely overall ACC winner on 104 of 112 ballots cast. The Seminoles were picked to finish atop the Atlantic Division by 109 voters and amassed 780 total points. Clemson received the remaining three-first-place votes and placed second with 660. ACC newcomer Louisville placed third at 564, followed by Syracuse (368), NC State (326), Boston College (301) and Wake Forest (136).
Miami's 26 first-place votes placed third among Coastal Division teams, but the Hurricanes' 614 total points led overall. Defending division champion Duke received 33 first-place votes and finished with 597 points, followed by Virginia Tech with 571 points and 23 first-place votes. North Carolina was just behind in fourth place with 570 points and 27 first-place votes, followed by Georgia Tech (322 with one first place vote), Pitt (319 with two first-place votes) and Virginia (142).


text:
Being John Casteenovich: The lighter side of the UVA president
John Casteen is not at all keen to do the Hot Seat. Maybe he figures he's in the hot seat enough as UVA president.
After all, he's the one charged with maintaining the standards at Virginia's flagship university amid staggering state deficits and ever-dwindling funding. He's the one who must be the voice of moral authority at Mr. Jefferson's university when students stage tasteless antics, such as dressing in blackface or– egads– as West Virginians. And much like a parent of mischievous children, it falls in his lap to respond when the governor of West Virginia demands an apology.
Casteen's public persona is nothing if not serious. And indeed, raising a billion bucks and staving off plunging ratings are serious business.
Because he's a private man, despite his protestation to the contrary, you get the feeling he thinks interviews like this are some of the more distasteful aspects of his job. Besides, "It's hard for me to answer these questions without sounding idiotic," he complains.
But what about his lighter side?
"This is it," he replies in a low voice without cracking a smile in his humongous Madison Hall office, a former gymnasium, where a sailboat model in the center of the room hints of outside interests.
Maybe he was scarred as an undergrad here in the early '60s. "This was not a warm and fuzzy place," Casteen recalls.
The biggest change since those days, of course, is the presence of women and minority students, which he believes has lured UVA's top-tier faculty.
Casteen's first taste of multiculturalism occurred during a stint teaching at UC Berkeley in the 1970s. He's most animated talking about those days a time "full of phenomenal creative activity"– when a Nobel prizewinner had the office down the hall, Allen Ginsberg lived down the street, and Patty Hearst was getting kidnapped.
These days his neighbors are fraternities. "It helps if you're deaf in one ear," he says. There are the occasional frat pranks to be endured, like the time his Carr's Hill doorbell rang in the middle of the night and he found a guy on the front porch with no clothes on. "I gave him a blanket and called the police to take him home," the Prez dryly reports.
Casteen does offer one startling revelation, especially from a scholar who's been on college campuses most of his life: "I've never seen a streaker," he admits. Not to give those frat boys any ideas...
Posing for a picture, during which he's no doubt wondering how much longer this interview will continue, he responds in character to a photographer trying to cajole him into a lighthearted display of spontaneity.
"Go away," says Casteen, only half-jokingly.
Age: 59
What brought you here? Originally, enrollment in the College; other things at other times; now, job, and family, and personal preference.
What's worst about living here? US 29 north
Favorite hangout? A boat called Surprise
Most overrated virtue? Stoicism
What would people be surprised to know about you? Not much. Privacy is scarce in my trade.
If you could change one thing about yourself, what would it be? I'd learn to play the piano.
What accomplishment are you proudest of? One shouldn't brag.
What do people find most annoying about you? Probably not my full head of hair.
Whom do you admire? Mary Wollstonecraft, Sojourner Truth, and a man named Doc Hurley.
Favorite book? The Divine Comedy
What subject causes you to rant? Stoics don't rant.
What thrills you about life in the 21st century? That it looks better than Stanley Kubrick thought it would.
What creeps you out about life in the 21st century? That every day it looks more like Aldous Huxley said it would.
What do you drive? Depends. When parking is plentiful and I have time for repairs along the way, a silver Airstream on a Gillig bus chassis; otherwise, a pickup truck.
What's in your car CD player right now? Gillian Welch, "I Want to Sing that Rock and Roll"
What's your next journey? Richmond, probably. It's that time of year.
What's the most trouble you've ever gotten in? If I told you, I wouldn't be in it any more.
What do you regret? How many pages do you have for this?
Favorite comfort food? Pizza
What's always in your refrigerator? Diet Coke, grapefruit juice
Must-see TV? I don't think TV is required.
Favorite cartoon? "Doonesbury"
Describe a perfect day. Cumulus clouds, May or September, winds SSW, 8 knots, reaching north.
Walter Mitty fantasy? Being president of UVA
Who'd play you in the movie? I guess Elton John is out. Gene Hackman? Russell Crowe?
Most embarrassing moment? Too many– the list would fill your paper.
Best advice you ever got? Forget embarrassing moments.
Favorite bumper sticker? Don't have one, but I like those little blue disks with the V on them.Read more on: John Casteen