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A Source of Richness in the Main Themes of Samuel Barber's Violin Concerto and Piano Concerto: Hierarchical Conflict and the Implication-Realization Model
Robert Maggio
In this paper I will analyze in detail the main themes of Samuel Barber's Violin Concerto and Piano Concerto using the theory of implication and realization. I will argue that melodic richness and aesthetic effect correspond to the degree of cognitive hierarchical conflict between higher and lower-level patterns. Since throughout the critical study of the these melodies I shall employ the various symbols and signs of the implication-realization theory, it will be beneficial at this point to the reader to become familiar with the theory and its symbology.1
An Overview of the Implication-Realization Model
The implication-realization model hypothesizes that as we listen to music we experience a dynamic interaction between cognitive constants (subconscious reactions based on perceptions of grouping, similarity, and differentiation) and learned expectations created from our knowledge of other related music (extraopus style) or from our memory of previous events within the individual work itself (intraopus style) (Figure 1).
Figure 1: Interaction of Learning and Cognitive Constants
Three cognitive constants affect our perception of the three following parameters: pitch, intervallic motion, and registral direction.2 The constants are applied only to one parameter at a time. The first of the three is one of similarity based on Gestalt laws of common direction, similarity, and proximity. Thus, if A + A, then a further A is implied, which means that sameness or similarity (A +A) causes the subconscious expectation of more sameness or similarity (A), all things being equal. The second constant is one of differentiation, a hypothetical construct symmetrical to the Gestalt rules of similarity. Thus, if A + B, then C is implied, which means that differentiation (A + B) causes the expectation of more differentiation (C), all things being equal.3
The definitions of the first constants, (A + A → A and A + B → C), raise two important questions. First, how does the analyst define "similarity" and "differentiation" in musical items. And second, how does the analyst evaluate the meaning of such distinctions when the data are necessarily relative? The solution to these questions lies within the third theoretical constant, the syntactic parametric scale, which defines the relative terms "similarity" and "differentiation." The syntactic parametric scale hypothesizes that intervals from the unison through the P4 are small intervals that imply continuation, or similarity, of intervallic size (I) and registral direction (V) (up, down, or lateral). Intervals from the P5 through the M7 are larger intervals that imply reversal or differentiation, of intervallic size and registral direction (i.e. a small interval and a change of registral direction is expected after a large interval) (Figures 2 and 3). Given the relative nature of intervallic size, the analyst must consider that an interval's degree of implication is directly proportional to its size.
Figure 2: Syntactic Parametric Scale
Figure 3: Continuation and Differentiation.
Five melodic archetypes derived from the theoretical constants form the basis of the system of melodic structures (Figure 4). The first two archetypes, process [P] and reversal [R] are direct analogues of the first two constants (similarity and differentiation, respectively.) A process [P] is a melodic structure with at least three pitches that have relations of similarity of intervallic size and registral direction between all the pitches. A reversal [R] is a melodic structure with three pitches that have relations of differentiation of intervallic size am:1 registral direction.
Figure 4: Synthetic example of five melodic archetypes derived from the theoretical constants
The third melodic archetype is the dyad, a two-pitch structure symbolized by the arabic numeral that corresponds to the size of the interval. This structure occurs when closure on the second pitch denies further implication, due to metric emphasis, harmonic resolution of dissonance, directional cumulation or some combination of these.
The fourth melodic archetype is the monad [M], a single-pitch structure that has neither implication nor realization since implication is created by two pitches and realization by three pitches. Monads are isolated pitches usually because they are followed by a silence (i.e. the last pitch of a piece.)
The fifth and final melodic archetype is exact or near registral return [a b a; a b a1]. These symbols indicate instances where a melody departs from a previously established pitch [a], then returns, either to the same pitch [a] or one very close by [a1]. This archetype does not involve implication since the pitches so labeled need not be successive.
The implication-realization model also proposes six melodic structures derived from the archetypes (Figures 5a + b). Duplications [ID] are derived from processes and consist of three or more repeated notes, where the implicative interval is the unison and the registral direction lateral. Sometimes only one parameter, interval or register is realized while the other is denied. For example, when the implicative interval implies continuation but the realization denies the expected intervallic size or registral direction, the resulting structures are called registral process [VP] and intervallic process [IP]. Just as duplications [D] are derived from processes [P], intervallic duplications [ID] are derived from intervallic processes [IP]. Intervallic duplication refers to the case where the intervallic differentiation is nil and registral implication is denied (i.e. the first and third tones of the structure are the same pitch, and the second is a different pitch.)
Figure 5a: A list of archetypal melodic structures and their derivatives
Figure 5b: Synthetic examples of the melodic structures derived from the archetypes
When the implicative interval
implies differentiation but the realization denies registral
direction or intervallic motion, the resulting structures are called
intervallic reversal [IR] and registral reversal [VR]
respectively. Thus far, each of the implicative
archetypes and their derivatives have been discussed
in their prospective form. A structure is said to be prospective, for instance,
when the implicative interval is small and the terminal pitch reaffirms the
resulting structure to be of a
Figure 6: Synthetic examples of eight retrospective structures
A family tree of melodic structures can be constructed, thoroughly accounting for the myriad of basic melodic shapes found in all music (Figure 7).
Figure 7: Family Tree of Melodic Structures
Rhythm and meter play a major role in the segmentation or
parsing of melody into structures, since an interval in a melody implies metric
and rhythmic placement as well as intervallic motion and registral
direction. Factors such as harmonic resolution of dissonance, placement on a
weak beat, and a counter-cumulative rhythmic position
can interfere with the closure of a structure and
Figure 8: Synthetic examples of harmonic resolution of
dissonance (x), placement on a weak
beat, and counter-cumulative (long-short) rhythmic position causing compound structures
Finally, the analyst must address the issue of transformation, the creation of hierarchical levels (conceptually comparable to the foreground, middle-ground, and background of a Schenkerian analylsis.) The initial tone and the terminal tone in a structure are those that transform to the next level and form their own implication and realization on the next level. Registral and intervallic activity on one level is in some sense embodied in the next higher level. These interactions of level contribute to the richness and subtlety of melodic cognition.
We began this discussion of the implication-realization model, with the hypothesis that our cognitive constants interact with prior learning when we listen to music. Hopefully the relevance of this hypothesis to musical analysis has become clear to the reader. It forces the analyst to clearly separate expectations created from style knowledge from basic human pattern processing and further to provide empirical evidence supporting any claim of style impingement.
Now let us turn to the specific issues involved with the application of the model to the melodies of Samuel Barber's piano and violin concerti.
melodies analyzed in this critical study are presented in order of increasing
complexity and aesthetic affect.4 In this
paper, complexity corresponds to the degree of cognitive conflict between
embodiment of suppressed implication from
The main themes from the slow movements of these works will serve as intermediary stages in the discussion of melodic complexity and aesthetic affect. In both, clearly separated phrases develop subtle motivic variations that create relatively simple conflicts between high and low levels. Melodic dissonance in the slow movement of the Piano Concerto creates a richness and complexity greater than that found in the slow movement of the Violin Concerto. In the most complex melody to be discussed in this study, that of the first movement of the Violin Concerto, all structural hierarchies engage in an elaborate intra- and inter-level dialogue, interlocking with one another to seam an exquisite eleven-bar phrase.
Piano Concerto, First Movement, measures 19 -27.
Over the course of this melody, hierarchical levels diminish in number and complexity (Example 1). The initial angular leaps, contramodal dissonances on stressed beats, and the unusual syncopation of the structural tones create intense excitement in the first four bars (mm. 19-22). The second part of the melody (mm. 23-24) is calmer because the melodic structures are simpler. Measures 25-27, the third section of the melody, are nearly "flat" (i.e. they have very few transformational tones and create only two levels).
The main motive (a descending arpeggio) fights the meter with syncopation, thus shifting the transformational tones to weak beats (Example 2). Note the fortissimo entrance of the violins off the beat in measure 19, the metrically enveloping process [P]5, the sudden reversal [R] on the downbeat of measure 22 (see middle level), and the resolutions of the dyads [7] off the beat in measures 20 and 22 (see again Example 1).
Example 1: Piano Concerto, first Movement, measures 19-28, Piu mosso, q = 96.
"Plano Concerto" by Samuel Barber copyright 1962 (Renewed) by G. Schirmer, Inc.
Example 2: Middle-level analysis
This phrase syncopates on a lower rhythmic level as well. Note the [bl a b2 a] that groups the falling arpeggios into three eighths. This conflict between motive and meter and the ensuing deformation of the congruence between structural tones and meter are aesthetically pleasing for their unpredictability and freshness. The motive/meter conflict continues through measures 21 and 22, disappears in the second part of the melody mm. 23-24), then reappears briefly in the third and final part (mm. 25-27). In this respect, and in many others to be discussed below, the three parts are dissimilar.
This comparison illustrates the compositional plan of the theme: the gradual abatement of complexity. Both low and high level structures and registral differentiation underscore the disparity between the three parts of this melody. Note that the first part consists of a four-bar phrase (or two two-bar subphrases connected by an underlapping a1b a1 ..., the second part is a two-bar phrase united by an upper-level process [P]; the final part contains three short one-bar phrases unconnected on the high level. Thus the phrases grow progressively shorter and more independent.
On the low level, Barber's strategy in handling complexity is different. The opening string (mm. 19-20), P-RP(VR)-7, indicates that intricacy lies in the middle of the phrase. The simplicity of the opening process [P] and the closing dyad [7] is integral. These structures facilitate the motion into and out of the chain [RP(VR)], by initiating and terminating the underlapping a b a bl a b2 structure. In fact, the high B is also the initial and terminal note of the high-level I. ID (another a b a, see again Example 2), join the three lower-level structures on a single higher level. Thus the B that initiates the opening process and the B that initiates the closing dyad anchor the first phrase.
The same pitch, B, becomes the point of departure for the second phrase. As in the first phrase, this structure - [embedded VP-P]-7 - is simple in the beginning and end, and complex (i.e. multi-leveled) in the middle. The dyad [7] is marked with (i, os) because: 1) the B is the resolution of the dissonant A# , 2) it duplicates the structure Barber uses to close the previous phrase, and 3) it is the completion of an underlapping process that spans measures 19-22 (D# D C# C B).6
The subtle difference between the descending resolutions of the dyads [7] illustrates the aesthetically affective conflict between embodied yet suppressed low-level implication and larger-scale patterning on the high level. The dyad [7] in measure 20 is stylistically prospective, thus of little surprise, because of the a b a ... patterning which "teaches" the listener to expect descent from the B. In contrast, the dyad [7] in measure 22 is both prospective and retrospective. As the terminal pitch in a registral process [VP] initiated by D# and A# on the highest level, the B is prospective in terms of registral direction and partially prospective in terms of intervallic size. The denial of interval - large instead of small - is made partially prospective by the underlapping process from measure 19 that implies the specific pitch, B, as well as its register.
The conflicting retrospective nature of the downward resolution of the dyad in measure 22 arises because of low-level interference with the high level. The ascending process on the quarter-note level, C F A, in measure 22 embodies ascent and implies a small interval, specifically, a minor second up to B, because of the harmony. This low-level implication, the ascent to B, persuasively fights those of the high level, descent to B, caused by the above mentioned registral process [VP] on the high level and the underlapping a b a... both in measures 19-23 and in measures 21-22. Thus the registral process [VP] is marked with a symbol (e) that indicates the conflicting presence of low-level embodiment. Had the A# in measure 22 resolved upward to B, the transformational tones, D , A, B, would have formed a reversal [R] with conflicting prospective (low level) and retrospective (high level) qualities.7
The second
part of this melody (mm. 23-24), while simpler than the first in many ways,
also displays hierarchical conflict.8 In measures 23-4, the low
level interferes with the middle level causing the middle-level registral reversals [VR] to seem prospective, rather than
retrospective. The ascent embodied in the low-level process [P, C# E# B, in
measures 2- 4 makes the first of the two middle-level registral
reversals [VR], G C#j B, prospective. The registral
and intervallic differentiation (A + B)
Example 3: Low-level interference
In contrast, the initial interval of the second middle-level registral reversal [VR] (m. 24), B G D, is smaller, a major third; thus the registral reversal is less expected, all things being equal. However, all things are not equal here. For the ascent embodied in the low-level process [P], E G B D, of the IDP combination influences the upper level. In effect, the descent implied in beats one and two on the middle level is challenged and overthrown by the low-level ascending process in the second half of beat two. The low level makes the change of direction (down - up) and the intervallic differentiation (small-large) in the middle level [VR] prospective. Also, the first two notes of the high level process [P, G B D, imply similarity of interval (small-small) and register (up-up), enhancing the prospective nature of the registral reversal [VR] on the second level at the arrival of the D in measure 24. Thus the interference from both high and low levels virtually drains the aesthetic power of surprise from these usually highly implicative and open structures.
A cursory glance at the structural symbols of the third part of this melody (mm. 25-7) will reveal its simplicity relative to the two preceeding parts. Note that there are fewer levels, predominantly small (less implicative) intervals, repeated intervals and pitches, and shorter, less dynamic phrases. We see, then, that Barber's basic compositional plan is one of complexity moving toward simplicity. Let us now focus our attention on the subtler hierarchical conflicts that arise from relatively simple melodies constructed of fewer and smaller intervals.
Violin Concerto (1940), Second Movement, measures 3-14
The conformance of the intervals, rhythms, harmonies, and phrasing in this melody create an easily recognizable coherence. Example 4) Unlike the raw energy of the fragmented main theme of the first movement of the Piano Concerto, this melody gathers its aesthetic power from motivic variation. The lower level consists primarily of four-note PIP structures (eight of the sixteen structures are PIP) in which the IP, with one exception, always moves from larger intervals to smaller intervals, or motion-left. Thus, the most common structure of this melody is closural, and not strongly implicative.
That such simplicity and conformity yield an interesting melody is remarkable. The subtle alterations these PIP structures give this melody its distinct, attractive profile. The richness of this motivic variation is manifest in the hierarchical conflicts between the low and high level, as well as in the changes in low-level structures from those implied to those that are unexpected.
Barber's subtle variation technique is best displayed in his handling of the two dyads [7] which are placed in the middle of the first and third phrases (mm. 3-4 and 8-9). Although the G# in measure 3 is the consonant tone of the two that create the dyad [2], the mildly dissonant [(x)] A transforms to the next level because it has a cumulation of 1:3 over the G . This affective G# A dyad is implicative, marked with (i), because the listener expects the beautifully suspended A, an upper neighbor note, to fall to the G# once it becomes clear that it is not going to ascend to B, (i.e. after two beats of the A).
The dyad in measures 8-9 is analogous, motivically, but the dissonance and consonance are reversed. Here, the initial note of the dyad, B, is dissonant and articulative, while the second note, C#, is consonant and transformational. This dyad is also implicative. The listener expects the CO to fall to B because of intraopus style [(os)] (i.e. since the tone following the dyad [2] in m. 4, G# tt, descends from A, the listener expects the same treatment here.) However, the dyad [2] in measures 8-9, B C#, does not immediately imply a downward resolution, as did the dyad in measure 4, because the C# is initially consonant with the harmony. Thus there is a conflict between intraopus style (implied descent) and bottom-up constants (implied ascent). However, with the harmonic change in measure 9, the C# becomes a suspension and the listener expects it to resolve downward, 6-5, to B. Note that the harmonic rhythm in the second half of this melody is faster than that of measures 3-7. The harmonic change on the downbeat of measure 9 gives the C new meaning. Had the harmony been repeated over the bar line, as it was in measure 4, the consonant C# would have seemed lifeless.9
Example 4: Violin Concerto, Second Movement, measures 3-14, Andante, = 84
Concerto" by Samuel Barber copyright 1942, 1949
(Renewed) International copyright secured. All rights
reserved. Reproduced by permission.
Although many motives share the same analytic structure [PIP], they are often functionally dissimilar given their particular contexts. The first phrase, PIP-2-PIP-PIP (mm. 3-5), has a simple, familiar shape. It rises serenely, accumulates tension with the open, implicative dyad, then falls to closure. Note, however, that the final PIP is different from those that precede it. It is more strongly closural, motion-left, because 1) it descends and 2) the initial interval of the process is a minor third, rather than a second. That is, the last PIP (mm. 4-5) moves closurally throughout, from larger intervals to smaller intervals (m3 M2 u).
The second phrase (mm. 5-7) resembles the first structurally, PIP-IP-PIP, and motivically in that the opening PIP of the second phrase (m. 5, beat 4) is a transposition of the closing PIP of the first (m. 4, beat 4) (Example 5). An important difference between these two superficially similar PIP structures is that the first is more closural because it ends on a consonance with a change in harmony and because it is placed at the end of the phrase. In contrast, the PIP initiating the second phrase ends on a weak dissonance with no change in harmony over the barline. Thus, though these two motives are structurally identical, they are functionally dissimilar.
Example 5: Identical structure, dissimilar function
Generally, the first and second phrases are similar. Both are more open in the middle of the phrase. In the second phrase, the first PIP (E C B B, motion-left, larger to smaller intervals) is followed by the rising IP (B A C , motion-right, smaller to larger Intervals) that is rhythmically open (quarter note, quarter note, half note). This IP is somewhat analagous to the dyad in the first phrase for its qualities of openness. With the exception of the tied CO that initiates the structure, the closing PIP (CO AGO, motion-left) of the second phrase is identical to the closing structure of the first phrase. Such similarities between the first two phrases make the small differences more effective.
With the exception of the treatment of the dyad (discussed above) and the PID (very similar to the PIP), the third phrase (mm. 8-1 0) is structurally very similar to the first. The variations that account for the new treatment of the dyad and the need for the PID rather than the PIP are the changes in scale degree in the melody and the harmonization. Whereas the first phrase rises from the stable tonic scale degree over a tonic harmony, the third ascends poignantly from the mediant scale degree supported by darker submediant harmony.
The PIPs that terminate the third phrase and initiate the fourth phrase recall tleh motivic link between the first and second phrases. However, the two PIPstructures are, in both cases, only superficially alike. In the latter case, the second PIP (mm. 10-11) begins with a long note (four beats) and moves, at first, toward closure, motion-left (B GO Fti) like the PIP in measures 9-10. Then, however, it becomes more open, moving motion-right (G# F# A).
The only chain [R(R)IP] of this melody follows (mm. 11-12).10 On the low-level, the largely stepwise, intervallically conformant melody gradually shifts from small intervals to a mixture of small and large intervals. In the stylistic context of this melody, fourths and fifths are large intervals; seconds and thirds are small. Thus, Barber saves the larger intervals, which initiate the fresh, contrasting reversal structures, for the final phrases of the melody, measures 11-14. This, too, reveals Barber's strategy of altering the patterns set up over the course of the melody. Also note that in measure 12 we hear the only articulative retardation on the downbeat of a measure. The F# is a particularly "good" note because all three previous phrases end on a consonance.11
The R(R) portion of the chain (A D# F# F#, mm. 11-12) is closural as it moves motion-left, circling in on, and anticipating, the dissonant F# . The dissonance resolves in the final structure of the chain, IP (F# F# G#). Had the F# fallen to E, as the listener might expect it to, the phrase would have closed more decisively. The resolution up to G# is mildly surprising. It keeps the IP more open and implicative, and prepares the relatively large leap into the following reversal.
The final PID-(VR)(R) combinations over the subdominant-dominant progression (mm. 13-14) imitate a stock cadential patterrn. The high level influences the final reversal structure, making it seem partially retrospective. The structural tones in measure 13 are C# above the subdominant and D# above the dominant. Naturally, the listener expects E to follow over the tonic. This would create the analysis (VR) (IP). However Barber closes melodically on B, thus creating a reversal that is neither prospective nor retropective because the B is anticipated. The 'celli play the anticipated E an octave lower as they take the melodic line. Thus the phrases dovetail elegantly.
If the
listener hears measures 10-14 as a single extended phrase, as I do, then the
formal relationship of the four phrases should be identified as A (mm. 3-5) B
(mm. 5-7) A1 (mm. 8-10) C (mm. 10-14). This formal organization is
readily apparent in the structures formed on the second level. Remember that
the second level IPP
Example 6: Second-level analysis
Also displayed in the high level analysis are the level interferences that subtly add to the aesthetic affect of this deceptively simple melody. One change of direction occurs in the high-level IPP structure of the first phrase. Relative to the first, the second structure, (R)VR, which changes direction twice, is more closural. Although the first change in registral direction is unexpected, (R)], the second, [VF1], is expected. Thus, the usually prospective reversal structure and the usually retrospective registral reversal structure are altered by low-level interference (Example 7). The reversal is influenced by the low-level intervallic process [IP] because the denial of register, B A C#, is unexpected. Note that this is the first motion-right structure in the melody. Thus, the implied high-level process, E B C#, reverses unexpectedly. The usually retrospective C# A G#, of the PIP on the low level implies descent. Such dynamic interaction between levels denies the listener the expected high-level structural tones while providing the comforting familiarity of the low level structures (i.e. the PIPs).
Example 7: Low-level interference
As I mentioned above, the high-level RP structure of the third phrase (Example 6) is very much like the IPP of the first. These similar structures reveal the formal similarities between the phrases while indicating that there is a fundamental difference between them. The difference stems from low-level variation. The ID half of the low-level PID combination (m. 9), denies registral direction by ascending and returning to B. On the high level this creates a reversal [R], G# C# B, rather than, say, an intervallic duplication, G # C# G#i or G# C# A, an intervallic process.
A look at the high-level symbols of measures 10-13, the
first half of the final phrase, might indicate that this phrase is highly open.
Yet the PVP, which spans a seventh, B C#, is largely the result of the
necessary melodic return from the dominant scale degree to the closure of the
final cadence. In fact, the closural structures on
the lower level (i.e. reversals) conflict with the openness of the upper
One final observation, on the parameter of meter, supports the argument that the key to this melody's aesthetic effect lies in subtle variation. The ambiguous nature of the meter in the opening measures (i.e., the variation between six-four and three-two) brought out by the interplay between horns and first violins allows the melody to seemingly float, within a flexible meter, through the first measure. In fact, the opening ascent to A can be parsed in two ways, one in each meter. Though the violins eventually clarify the meter in measure 4, the same flexibility can be heard again in measure 8. These moments of metric ambiguity breathe life into this melody.
The subtle variation techniques that individuate the delicate phrases of the slow movement of the Violin Concerto are also found in the slow movement of the Piano Concerto. The two melodies are alike in that they both are deceptively simple, constructed of few motives and highly similar phrases. The latter is, however, somewhat more complex, because it is not rhythmically homogeneous, as is the former, nor do the phrases resemble each other as closely .
Piano Concerto, Second Movement, measures 1-9.
The immediately apparent formal repetition of phrases is, in the Piano Concerto as it was in the Violin Concerto, deceptively simple. This melody plays with the listener's expectations of formal repetition because Barber's strategy centers on the modification of intraopus style structures. Although high-level structures indicate the readily apparent similarities between phrases (e.g. measures 2 and 3, 4 and 8, 6 and 7, see Example 8), close inspection of the low levels of this melody supports the idea that such formal relationships between phrases can be reductive. The aesthetic pleasure derived from the subtle variations from phrase to phrase can be best understood from the low-level structures.
Each phrase borrows and/or alters some aspect
of the phrase it follows. The phrases can be labeled as A-A1-AB-B1-1-
BA. Each letter or pair of letters accounts for one of the six phrases. The
meaning of these symbols will become clearer after a detailed discussion of
each phrase. The second phrase (m. 3) is much like the first (m. 2), but the
closing dyad is deformed to create a dependant relationship between the second
and third phrases. The third phrase (m.4-5) is similar to the first and second
in rhythm and the use of the dyadic beginning and ending. Its ending more
closely resembles that of the first phrase because the dissonance resolves. As
a result of the altered treatment of the opening dyad, the third phrase has an
entirely new high-level structure, P. The fourth phrase (m. 5-6) grows out of
the new melodic shape in the middle of the third phrase and maintains the use
of dyadic beginnings and endings. The fifth phrase (m. 7) subtly varies the
fourth. Finally, the sixth phrase (mm. 8-9)
Example 8: Piano Concerto, Second Movement, measures 2-9, Moderato, q = 44
"Violin Concerto" by Samuel Barber copyright 1942, 1949 (Renewed) International copyright secured. All rights reserved. Reproduced by permission.
Example 9: Second-level analysis
The first phrase, 3-ID-ID - P-2, moves from simplicity, the dyad [3], to slight complexity, dyad [2] (see again Example 8). The opening dyad, E C#, is the germinal cell of this melody, as it is at first integral to the two embedded processes [P], and then initiates the low-level process (C# E G#). The G# transform. and becomes a structural dissonance because of its strong metric position and cumulation. It implies F a harmonically weak resolution. Thus the dyad is implicative and is marked with an (h). The G# is a particularly "good" note because intraopus style (os) and harmony make the F#, instead of the G , the expected note. The leap (E G#) to a cumulative moderate dissonance [x] on a strong beat is affective.
Note Barber's consistent use of dyadic structures to open and close the phrases of this melody. The opening dyads do not function, like many opening dyads, as anacruses. The treatment of the dissonance, consonance, duration, and transformational power of both opening and closing dyads changes throughout this melody. Such subtle variation in dissonance, consonance, and hierarchy in the repetition of these structures adds to the delicacy of this melody.
For example, although the symbols on the
low level of the second phrase, 3-ID-ID-P-2, duplicate those of the first
phrase, marked differences exist between the meanings of these symbols. Both
opening and closing dyads of the second phrase (m. 3) are treated differently
from those of the first phrase (m. 2) with regards to dissonance and transformation.
In the case of the opening dyad [3] in measure 3 the initial note is a weak
dissonance, [(x)]. In measure 2, both notes of the opening dyad [3] are chord
tones. In the case of the closing dyad in measure 3, both notes are
The D# and the contramodal C in measure 3 are strongly implicative. They deny the closure implied by intraopus style learning in measure 2 where the dissonant [x] first note (G#) of the dyad [2] resolves to the second note (F#). The dissonances in measure 3 differ because they require further resolution. This conflict between melody and harmony is shown with the (h) above the dyad [2]. The expected resolution of the D# comes in the oboe's initial E (m. 4). Thus the variation in the treatment of the closing dyad in measure 3 joins measures 3 and 4 on the low level, shown by the horizontal dotted line. This linkage between phrases two and three (mm. 3-4) is unexepected because phrases one and two (mm. 2-3) are separate on the low level. The a b a1 D# C E, and the steady crescendo through the end of the flute phrase also helps dovetail phrases two and three.
The third phrase offers yet another treatment of the dissonance, consonance and transformation of the pair of dyadic structures. At first, the new twist seems to be the metric displacement of the first dyad. But that is only part of the scheme. The interval of this dyad is a second [2], rather than a third [3], and in this case the first note (E) is consonant while the second (DO) is a weak dissonance [(x)], which yields the opposite placement of the dissonance in the opal... .g dyad in the preceding phrase (m.3). Also the second note is counter-cumulative in this measure, whereas it is cumulative in the first two. These variations affect the high-level structure as well as the low-level perception of this phrase. Note that it is the initial note of the dyad in this phrase that transforms to the second level. This is not the case in the first two measures.12
In the third phrase (mm. 4-5) the melody adds new structures to alterations of the familiar ones discussed above. From intraopus style (os) learning we might expect in measure 4 an intervallic duplication to follow the opening dyad. The harmonic change to an augmented chord B# E G# on beat three strengthens this expectation. The first IP (D# G E) of the IPPIP chain is marked with (h) because the harmony leads the listener to expect the change in registral direction and perhaps even the specific pitch, E, as the resolution of the D#. The a b al and the x (!) (o) highlight this relationship. The leap up to the G#, not the nearest resolution of the DO, but a chord tone nonetheless, is a small surprise. The ensuing chain, IPPIP, is a welcome change because it introduces a new structure to the meiody.13
Closure is strengthened by strong motion-left through the ensuing IP-2. This symbol (mL) indicates the propulsion of the melody toward G. The initial note (A) of the dyad [2] is a "good" note because the Fx embodies reversal to G# . Thus the dyad [2] is marked with (h). Barber delays the implied resolution with a cumulative dissonance, A, much as he did at the end of the first phrase. Note the further similarity between this phrase and the first. They begin simply, with dyads, move toward complexity (embedded structures), and end simply, with implicative dyads.
Further transformation of this melody
leads off the fourth phrase, IR [embedded PIP-IP]ID-2
(mm. 5-6). The embedded PIP-IP (m. 5, beats 3 and 4) imitates the chain of the
previous phrase (IPPIP, m. 4) and functions as an upbeat to the passage with
the most embedded melodic structures (m. 6).14 The complex embedding
in measure 6, which resembles an augmented turn, results from various
influences of harmony and voice leading. The B, a lower neighbor note to C, is
dissonant against the A in the harp and violins. The E is dissonant against the
F in the accompaniment. Barber uses a dyad [2] to reach closure. Note that this
dyad differs from those that come before in that it has an embedded trill.
A subtle variation on the complex chain in measure 6 follows in measure 7. The IP structure embedded under the IP in measure 7 is an aesthetically pleasing surprise because the large leap up to G# is unexpected, particularly due to this phrase's similarity with measure 6. The closural dyad is implicative, a resolution from a half-diminished seventh chord to a fully-diminished seventh. This is made clear by the flat trill. In contrast, either C or B can be considered a chord tone in measure 6. From intraopus style learning, the listener might hear the former as an appoggiatura.
Measure 8, the sixth and final phrase, combines phrases two and three (mm. 3-4) motivically. The underlapping dyad, [2] rather than [3], resembles measure 4. The dissonance and the lack of syncopation of the initial note of the opening dyad and the embedded processes [P] and intervallic duplications [ID] recall measure 3.
It is interesting to note the conflicting degrees of closure from level to level. The final phrase closes with non-motion on the low level, motion-left on the middle level, and motion-right on the higher level. The closing low-level intervallic duplication [(ID)] (mm.9) is retrospective because of intraopus style interference. That is, because the closing low-level structures in measures 2-7 are all dyads, the intervallic duplication in the final phrase is at first, unexpected, and thus retrospectively closural.
It may be helpful to restate the motivic relationships between phrases described previously as A-A1-AB-B-B1-BA. The second phrase (m. 3) is much like the first (m. 2), but the closing dyad is deformed to create a dependent relationship between the second and third phrases. The third phrase (mm. 4-5) is similar to the first and second in rhythm and the use of the dyadic beginning and ending. Its ending more closely resembles that of the first phrase because the dissonance resolves. As a result of the altered treatment of the opening dyad, the third phrase has an entirely new high-level structure, P. The fourth phrase (m. 5-6) grows out of the new melodic shape in the middle of the third phrase and maintains the use of dyadic beginnings and endings. The fifth phrase (m. 7) subtly varies the fourth. Finally, the sixth phrase (mm. 8-9) recalls the second and third, combining their materials into a new structure.
Violin Concerto, First Movement, measures 1-11
Deceptively simple, this melody is, perhaps, the most Elegant of the four discussed in this critical study (Example 10). Its sub-phrases are woven into an extraordinarily seamless eleven-bar phrase. The key to this melody's beautiful sense of forward propulsion lies in the interlocking of denied, abandoned, and/or deformed implications in the measure-to-measure level structures which finally blossom (i.e., realization is achieved) when the high B is reached in measure 8. This having been said, the low-level structures will not be given quite the same exhaustive treatment as have those in the previous analyses. Still, it is necessary to address issues of smaller importance first to lay some of the groundwork for the closing discussion.
One of the problems encountered in analyzing this melody is that the nature of dissonance and consonance varies from measure to measure. This has a direct effect on how the melody is parsed. For example, the A in measure 2 is a mild dissonance [(x)] in a downward enveloping process (E C A F0). Thus the melody does not break on that A. However, in measure 4, A is a chord-tone dissonance because the horns sustain the seventh and the eleventh above the root, blurring the subdominant. For this reason, and due to the influence of intraopus style learning from measure 3, the melody breaks on the A, and parsing occurs on the eighth-note level in measure 4. Such distinctions are important because they directly influence .one dynamics and meanings of the analytic symbols.
Intraopus style further effects the low-level parsing of this melody in measure 5. With the subdominant harmony, the D on beat two is mildly dissonant [(x)]. It subsequently resolves to C. Therefore, ;t seems the dissonant note (D) should be enveloped in a combination. However, this D occupies the metric position of an important implied structural tone, namely C, due to an intraopus style pattern found on the second beats of measures 3 and 4, A (D) C. Thus, this measure-to-measure patterning, along with the effect of cumulation, causes the melody to break on the mildly dissonant D.
Barber's interest in subtle motivic variation is as amply displayed in this melody as it is in the slow movements of his piano and violin concerti. For example, measures 3 and 4 are very much alike formally, but the analytical symbols reflect their subtle dissimilarities. Measure 3 is constructed of two separate structures, P and IP, on the low level. They are not linked because of the cumulation on A (beat 2) and the stress on the first note of the three-note upbeat to measure 4. The triplet figure helps separate the two structures (P and IP). In contrast, the augmentation of the analogous three-note upbeat figure in measure 4 stresses the second note (A), thus breaking the melody on beat four of that measure. This creates three adjacent structures, P-IP-IP, that flow smoothly from one to another because they link on the low-level.
Another example of motivic variation in measures 8-10 helps abate the climactic tension through formal repetition of the descending thirds figure of measure 2 (see again Example 10). These echoes of melody break into smaller chunks, beat by beat, because they lack dissonance. In this manner, they become more closural and less implicative, which seems fitting as they are essentially cadential. Even so, Barber makes this figure elastic, and therefore interesting, by recycling the different groupings of the same notes through a repetitive rhythmic pattern. For example, the triplet figure changes from an intervallic process [IP] in measures 9 and 10 to a combination [PIP] in measure 10.
The leap up a tenth to D (m. 10) also derives its beauty from subtle variation. After numerous repetitions of the descending arpeggio pattern (mm. 8-10) followed by an upward octave leap, to B, the leap from B to D is fresh and pleasantly surprising. Although this melodic fragment's structure [VR] is, at first, highly open D B D1, it is immediately followed by a strongly closural reversal, B D1 D1. The closure of the reversal [R] is, however, exquisitely suppressed by the dovetailed arrival of the opening melody, supported by a seventh chord in third inversion. Thus as the melody closes, the harmony becomes implicative.
Similar to the compositional plans of previously discussed melodies, the middle-level symbols indicate patterns of simplicity moving toward some of considerable complexity, followed by a return to simplicity. For instance, complexity begins in measure 3, where the reversal [(R)] of the IP(R) structure seems retrospective because the listener expects the Ft on beat 4 to resolve upward to G when the subdominant arrives in measure 4. However, the F# is reiterated and becomes part of the chord, C 13, and therefore a structural tone on the next level.
Example 10: Violin Concerto, First Movement, measures 1-11, Allegro, q = 100.
Also, that nearly identical phrases generate
different middle-level structures (e.g. [RP] in measure 4 differs from IP(R) in
measure 3, a phrase that is nearly identical)
Example 11: Nearly-identical phrases with different middle-level structures
Another element that enriches this melody is the conflict of registral direction implications between levels. For example, the tendency of this melody to descend in the middle level is sometimes counteracted by the insistent rise of the low level (Example 2.) The leap up to G on the last eighth-note of measure 5 is particularly beautiful due to the conflict between levels. The middle-level registral reversal [VR], D C G, in measure 5 is partially retrospective because the falling D C of the reversal (R) on the middle level implies a continuation of registral direction, downward, and similarly of interval, small. This conflict between levels makes the large leap up, initiating the reversal structure that leads into measure 6, a pleasant surprise.
Example 12: Conflict of registral direction between levels
The inter-level conflict between rising and falling is apparent in the next phrase as well. While the middle level G F# implies registral continuanward, the low-level process F# G implies ascent. The down-up pattern on the middle level is also influenced by the intraopus style of motion doweasure 5. Thus the low-level changes of down-lateral registral direction is expected in the intervallic process [IP], marked (os), and the middle-level intervallic process [IP] is also somewhat prospective, marked ("I") (see again Example 2.)
Interestingly enough, the tendency of the second level to descend in measures 3-7 conflicts with the third level's implied ascent (Example 13). The descending registral direction is implied then denied, on the syncopated half-note level. At the same time, two ascending processes are realized on the whole-note level.
Example 13: Inter-level conflict
There is, finally, an aspect of this melody that is as equally important in providing the listener with an understanding of its extension into a seamless eleven-bar phrase as the previous discussion of subtle phrase variations and level conflicts. As I stated above, the key to this melody's beautiful forward propulsion lies in the interlocking of denied, abandoned, and/or deformed implications in the measure-tomeasure level structures which finally blossom (i.e., realization is achieved) when the high B is reached in measure 8. To explicate such a hypothesis, it is necessary to lay out the various underlapping processes and their implications.
Example 14 illustrates the numerous implicative patterns. The realized process on the whole note level, E F# G, emerges both retrospectively and prospectively. This retrospection is due to the influence of the implied registral descent on the second level. The medial note of the high-level process, F# is not implied on the middle level because the retrospective reversal [(R)], part of an IP(R) combination, denies registral continuation downward. On the other hand, the terminal note of the high-level process, G, is implied by the middle-level process that is combined with a reversal.
Example 14: Numerous implicative patterns
Simultaneous with the high-level process is an a b al b1 a2 b2
The underlapping dyads [4] in measures 3-4 are the combination
of the a and b of the a b a1... pattern (Example 15). This motive, initiated by the
sixteenth notes on the lowest embedded level, implies continuation in measure
5. However, the pattern is broken by the arrival of a new rhythmic and
intervallic structure, the dyadic fifth, shown underlapping
the reversal on the downbeat of measure 5. Even as Barber denies the processive implication of the dyadic fourth motive, he initiates a new one, for another dyadic fifth motive arrives
on the fourth beat of measure 5. This, in turn implies another motivic process. The reversals [IR] in measure 5 (beats 1
and 4) introduce a new structure and larger intervals. The following pair of
structures, IP- P
Example 15: Underlappng dyads
Example 16: Complex conflict between levels: the approach to the climax of the phrase
The lack of congruence between parameters at the climax of the phrase in measure 8 is particularly noteworthy. First, the dynamics diminuendo from forte on the A in measure 7 to piano on the climactic B. Second, the B is durationally counter-cumulative, an eighth note, relative to the initial and medial notes of the high-level process. Third, the bright upper register is immediately abandoned in the octave descent to the low B. Finally, the tempo resumes immediately, advising the soloist and conductor to press on at the highpoint. Such understatement renders an exquisite climax.
The aesthetic affect of the non-congruence between separate parameters at the climax discussed above is analogous to the power of non-congruence between hierarchical levels of analysis. The richness of these melodies, and all melodies, is, in part, derived from such cognitive conflicts between embodiment of suppressed implication from the low-level and large-scale patterning on a high level.
1 For a thorough discussion of this theory, see Eugene Narmour, The Analysis
and Cognition of Melodic Complexity. Chicago: University of Chicago Press,
2 Keep in mind that implications and realizations take place on many levels. The interaction of levels either reinforces or interferes with our on-going understanding of the melody.
3 The variables in the formulas (A,B,C) can stand for both small-scale and large-scale elements in music. They apply to single elements in a parameter, such as a pitch or an isolated duration, and to relationships within a parameter, such as interval (I), registral direction (V), or rhythmic patterns, as well as to form on any level.
4 Consequently, their ability to manifest the strength and depth of Eugene Narmour's implication-realization theory of melody.
5 Ascending and descending processes EP] tend to envelop additive and counter-cumulative rhythmic relationships, regardless of metric accent. Thus, I do not parse the melody on the downbeat of measure 20 because the G is the medial tone of a metrically enveloping process (B G D), which is the middle structure in the RP(VR) chain.
6 The second half of this underlapping process is marked with a dashed line because the C comes so much later than the C#. While this descending process might not be immediately apparent, I believe the formal similarity of the closing dyads makes it noticeable. Also, this helps account for the resolution of the A# to the B a major seventh below. That this resolution is an octave lower than expected makes the B a particularly "good" note.)
7 Not only does the hierarchical conflict of the dyad [7] provide the listener with a rich aesthetic experience, it also makes apparent one of Barber's most effective compositional strategies: the inventive and unconventional use of the dyad. Dyads as anacruses can be found in almost all of the musical literature, for the notion of upbeat-downbeat is widespread. However, the use of the dyad as a closural structure also became somewhat of a cliché in tonal western music, when aesthetically pleasing appoggiaturas became cadential style structures. As we can see in this melody, Barber took this style structure and "modernized" it, for the closural dyads here are of such large intervals that they hardly resemble those of, say, the eighteenth and nineteenth centuries. Yet they function in much the same way. The second movement of this concerto makes this clear, for the dyads are smaller, seconds and thirds, and seemingly much more conventional. This is not to say that all of Barber's closural dyads are either conventional or modernized conventional style structures of the eighteenth and nineteenth centuries. The dyads in measures 20 and 24-26 imitate that style structure, but do not have the resolution from dissonance to consonance necessary to make them function as such. Thus, a third kind of closural dyad is that of stylistic imitation.
8 The relative simplicity of these measures lies in the use of smaller intervals, lack of syncopation, the predominance of low and high-level realization. The low-level structures, l-DP-(R)-IDP-4, and the highest level structure, P, indicate the prevalence of realizations.
9 Because the second tone of the dyad in measure 3 is dissonant, the listener may initially perceive the second tone of the dyad in measure 8, C#, to be dissonant as well. That this tone does eventually become dissonant is somehow pleasing. Barber has his cake (i.e., the illusionary, intraopus style-influenced, implicative dyad in m. 8) and eats it too (i.e., the actual implicativeness of the dyad at measure 9). Such subtle variation in the treatment of dissonance in this melody is truly elegant, for it not only affects the low-level structures, but also alters the implications on the higher level, to be discussed later.)
10 Unlike the compositional plan of the first movement of the Piano Concerto, that of the second movement of the Violin Concerto positions the most complex phrase at the end. The reversal structures on the lower level seem well-suited to this final phrase (mm. 10-14) for they are more closural than the IPs which end the first three phrases.
11 The F# in measure 12 occurs over a change of harmony. This makes it stronger than the B in measure 6, where the harmony does not change.)
12 Of the two tones that form the opening dyad in the first, second, and sixth phrases, the second is the structural tone. In all three instances, the second tone is cumulative. In the second and sixth phrases, the first note of the dyad is deformed, though by different degrees, by dissonance. Note again that it is the initial note of the opening dyad of the third phrase (m. 4) that transforms. Of the two tones that form the closing dyad in the first, third, fourth, and fifth phrases, the second is the structural tone. The deformational dissonance on the terminal note of the dyad in the second phrase (m. 3) prevents closure on both high and low-levels. Thus, as I indicated earlier, Barber's varied treatment of dissonance in the dyads on the low level alters the structural tones on the upper hierarchical level. The high-level symbols reflect the subtle variations from phrase to phrase.
13 The addition to the chain structure in the third phrase is perhaps formally expected as A + A --> B.
14 The IP embedded under the IR influences the latter structure because the former implies a small interval in the opposite direction, namely the resolution of the B to C. This makes the continuation of register and differentiation of interval implicative on the upper level, B D C.


text:
Revelation 6
New American Standard Bible
The First Seal—Rider on White Horse
6 Then I saw when the (A)Lamb broke one of the (B)seven seals, and I heard one of the (C)four living creatures saying as with a (D)voice of thunder, "Come[a]." 2 I looked, and behold, a (E)white horse, and he who sat on it had a bow; and (F)a crown was given to him, and he went out (G)conquering and to conquer.
The Second Seal—War
3 When He broke the second seal, I heard the (H)second living creature saying, "Come[b]." 4 And another, (I)a red horse, went out; and to him who sat on it, it was granted to (J)take peace from the earth, and that men would slay one another; and a great sword was given to him.
The Third Seal—Famine
5 When He broke the third seal, I heard the (K)third living creature saying, "Come[c]." I looked, and behold, a (L)black horse; and he who sat on it had a (M)pair of scales in his hand. 6 And I heard something like a voice in the center of the (N)four living creatures saying, "A [d]quart of wheat for a [e]denarius, and three [f]quarts of barley for a [g]denarius; and (O)do not damage the oil and the wine."
The Fourth Seal—Death
7 When the Lamb broke the fourth seal, I heard the voice of the (P)fourth living creature saying, "Come[h]." 8 I looked, and behold, an [i](Q)ashen horse; and he who sat on it had the name (R)Death; and (S)Hades was following with him. Authority was given to them over a fourth of the earth, (T)to kill with sword and with famine and with [j]pestilence and by the wild beasts of the earth.
The Fifth Seal—Martyrs
9 When the Lamb broke the fifth seal, I saw (U)underneath the (V)altar the (W)souls of those who had been slain (X)because of the word of God, and because of the (Y)testimony which they had maintained; 10 and they cried out with a loud voice, saying, "(Z)How long, O [k](AA)Lord, (AB)holy and true, [l]will You refrain from (AC)judging and avenging our blood on (AD)those who dwell on the earth?" 11 And (AE)there was given to each of them a white robe; and they were told that they should (AF)rest for a little while longer, (AG)until the number of their fellow servants and their brethren who were to be killed even as they had been, would be (AH)completed also.
The Sixth Seal—Terror
12 I looked when He broke the sixth seal, and there was a great (AI)earthquake; and the (AJ)sun became black as (AK)sackcloth made of hair, and the whole moon became like blood; 13 and (AL)the stars of the sky fell to the earth, (AM)as a fig tree casts its unripe figs when shaken by a great wind. 14 (AN)The sky was split apart like a scroll when it is rolled up, and (AO)every mountain and island were moved out of their places. 15 Then (AP)the kings of the earth and the great men and the [m]commanders and the rich and the strong and every slave and free man hid themselves in the caves and among the rocks of the mountains; 16 and they *(AQ)said to the mountains and to the rocks, "Fall on us and hide us from the [n]presence of Him (AR)who sits on the throne, and from the (AS)wrath of the Lamb; 17 for (AT)the great day of their wrath has come, and (AU)who is able to stand?"
- Revelation 6:1 One early ms reads and see
- Revelation 6:3 One early ms reads and see
- Revelation 6:5 One early ms reads and see
- Revelation 6:6 Gr choenix; i.e. a dry measure almost equal to a qt
- Revelation 6:6 The denarius was equivalent to a day's wages
- Revelation 6:6 Gr choenix; i.e. a dry measure almost equal to a qt
- Revelation 6:6 The denarius was equivalent to a day's wages
- Revelation 6:7 One early ms reads and see
- Revelation 6:8 Or sickly pale
- Revelation 6:8 Or death
- Revelation 6:10 Or Master
- Revelation 6:10 Lit do You not judge and avenge
- Revelation 6:15 I.e. chiliarchs, in command of one thousand troops
- Revelation 6:16 Lit face
Copyright © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation

subset: commoncrawl


text: Home > News Narco-politicians are overnight millionaires - Duterte ABS-CBN News Posted at Jan 19 2017 05:48 PM Share Save Facebook Twitter LinkedIn President Rodrigo Duterte said politicians involved in the illegal drug trade become millionaires overnight. "Itong mga ito, overnight. Itong mayor ng Albuera, itong sina Odicta, Mindanao, both the Moro and Christians, nandiyan, naglalaro. So ito, walang pagod ito. All they have to do is order their servants to cook it in front of me, and if you have an organization, ipagbili mo. In one month's time, they own hotels, ships, good life. Mga anak nila, Australia, Amerika nag-aaral. Why? Because they go around as warlords," Duterte said during the oath-taking of police officials. He also said this is the reason why he ordered all soldiers to go back to their mother units, so these politicians wouldn't be as well protected as before. "Protektado sila, mayor, barangay captain, tapos may pulis na body guard, may army. The first thing I did really was, sabi ko, all of you, return to your mother units. So I left them naked," Duterte added. ABS-CBN News, January 19, 2017 Share Save Facebook Share on Twitter LinkedIn Rodrigo Duterte, narco-politicians, millionaires, war on drugs Read More: Rodrigo Duterte narco-politicians millionaires war on drugs /news/01/12/17/japans-abe-vows-to-help-duterte-in-war-on-drugs/news/01/06/17/duterte-govt-sets-new-record-on-illegal-drugs-seized/news/01/03/17/war-on-drugs-also-used-vs-leftists-says-ndf-lawyer/news/01/14/17/martial-law-possible-to-fight-illegal-drugs-duterte-reiterates/news/01/15/17/watch-bato-makes-anti-drugs-pitch-at-rock-concert


text:
We will be in touch soon.
Following Monaco, Hong Kong and Mexico, the dining adventure continues between Ricardo Giraudi, creator of the Beefbar restaurant concept in 2005, and the internationally acclaimed interior architects Emil Humbert and Christophe Poyet. This time, the studio design chose one of the restaurant's Paris location; a suite of Art Nouveau and Art Deco rooms that used to house the classic brasserie, La Fermette Marbeuf. Restoring and transforming the interiors, the restaurant area has quickly become one of the city's luxurious design destinations, a beautiful contemporary design that appreciates and accentuates the original features, fabric and style of the building to create an unforgettable luxury dining experience.
This is the eighth Beefbar to open, joining worldwide branches in locations such as Monaco, Hong Kong and Budapest. The restaurant is located just off Champs Elysées, occupying the former site of prestigious eatery The Fermette Marbeuf. Although The Fermette Marbeuf opened in back in 1898, the atrium wasn't discovered until almost 80 years later – the room had been walled-in since world war two when it had to be hidden from Nazis.
Heavily damaged and in a state of deterioration, the interior design studio duo worked with the finest artisans and restorators to repair the structure and breathe life once again into the much-marvelled design, repairing and restoring damaged arches, pilasters, friezes and missing enamelled ceramic panels. Colours have been matched to the original decor in shades of green and bronze followed by the introduction of contemporary fixtures and fittings that give the building new purpose without impeding on the grandeur of the Art Nouveau and Art Deco styles.
SEE ALSO: Best Paris restaurants – Hexagone, a Gilles & Boissier decor signature
Humbert & Poyet have selected a rich colour palette that takes notes from the original Art Nouveau and Art Deco style along with the beautiful painting and murals by Jules Wielhorski. Olive green restaurant upholstery on the booth seating has been paired with a darker teal to create a two-tone effect that runs throughout the entirety of the restaurant.
The contemporary dining room seating was upholstered with an olive green and navy blue hues, echoing the wall panels color scheme. This contrast is offered by red velvet dining chairs that have been placed around brass edged tables, matching the restaurant carved gold pillars.
One of the most striking new additions is the black and white carpet design with spring-like motif, a bold decision that successfully pays off, uniting the interior and connecting the worlds of contemporary and traditional style.
SEE ALSO: World's best restaurant design ideas with a luxury taste
In the adjoining bar area and rooms, a similar design aesthetic continues with the same carpet, upholstery fabric and colour palette used to echo that of the central atrium. The murals give way to walls glad on the bottom half with a luxurious green marble while the tops are presented with a mix of simple white and Art Deco-inspired panelling, framing the contemporary brass and opal glass wall lights.
Built into the alcoves and constructed to create partitions between seating are a series of planters containing collections of tropical palms and foliage. The introduction of greenery softens the edges of the contemporary design, adding a natural touch and providing intimate spaces for guests to dine and socialise.
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text:
OAK Solutions 16 bit Classnet (Development Card)
The 16bit ClassNet cards were designed for the Acorn Archimedes and A5000. The ClassNet card uses a Fujitsu MB6960A LAN controller.
This Oak Solutions ClassNet card originally came from Mike Harrison who designed it. The ClassNet ROM is missing from the socket on the top right. It may have been a development card as the RAM ICs in the top centre differ from the production card and there are 4 wire fixes on the reverse.
Manufacturer : OAK Solutions
Format : Expansion Board
Physical Description : Expansion board
This exhibit has a reference ID of CH49925. Please quote this reference ID in any communication with the Centre for Computing History.


text:
1999 Audi A3 Pricing and SpecsClick here to see 2020 pricing
Current prices range from $3,600 to $7,700 for the A3 1.6 and A3 1.8 Turbo, respectively.
|Audi A3 Models
|1.6LPULPPremium Unleaded Petrol4 SP AUTO4 speed automatic
|$4,000 – 6,490
|1.6LPULPPremium Unleaded Petrol5 SP MAN5 speed manual
|$3,800 – 6,160
|1.8LPULPPremium Unleaded Petrol4 SP AUTO4 speed automatic
|$4,400 – 7,040
|1.8LPULPPremium Unleaded Petrol5 SP MAN5 speed manual
|$4,100 – 6,710
|1.8 Turbo
|1.8LPULPPremium Unleaded Petrol4 SP AUTO4 speed automatic
|$5,000 – 7,700
|1.8 Turbo
|1.8LPULPPremium Unleaded Petrol5 SP MAN5 speed manual
|$4,600 – 7,370
Disclaimer: Glass's Information Services (GIS) and Carsguide Autotrader Media Solutions Pty Ltd. (carsguide) provide this information based on data from a range of sources including third parties. Whilst all care has been taken to ensure its accuracy and reliability, GIS and carsguide do not warrant or represent that the information is accurate, reliable, complete, current or suitable for any particular purpose. You should not use or rely upon this information without conducting an independent assessment and valuation of the vehicle.
To the maximum extent permitted by law, GIS and carsguide exclude all liability for any direct, indirect, special or incidental loss, damage, expense or injury resulting from, arising out of, or in connection with your use of or reliance upon this information.


text: Schwaig 40 Posted November 4, 2014 I had a question regarding this card (Dorea Sand) and quick forum search did not provide me with an answer. Dorea Sand's Response: Response: After you lose a challenge as the defender, until the end of the phase Sand Snake characters you control gain: "This character does not kneel to attack." So following situation: I have Red Viper (TftRK) in play and also Dorea Sand. I lose a challenge and trigger the response of Dorea Sand, so all Sand Snakes do not kneel to attack until the end of the phase. After this at some point in the same challenge phase, the Red Viper dies to any card effect. I play No Use for Grief and bring out all Sand Snakes remaining in the Deck. The question is now: Do all the newly in play Sand Snakes also dont have to kneel to attack? Thanks in advance! Quote Share this post Link to post Share on other sites


text:
Rory McIlroy, the pre-tournament beloved, was left with batch to meditate on after struggling to read the greens
It is surprising Rory McIlroy is not a superstitious sort, since he seemed to have tried every other little thing he was able to think of that might help him win. This time he h s come here with a recital guru, Dr Clayton Skaggs from the Central Institute for Human Performance, a stockpile of self-help works and a newfound interest in meditation. But having regard to the lane he started on Thursday, it is just as well he does not believe in omens.
McIlroy blew his opening drive broad right into the trees, just like he did back at the start of the final round in 2018, where reference is started the working day in second place and wound up six photographs back.
This time, McIlroy's ball thrashed into the leg of a young eyewitnes accompanying back towards the tee and precipitated dead in the pine straw." You owe me, Rory ," said here kid." I really saved you two photographs ."
McIlroy sketched a route out through the trees to the lettuce, aiming low-grade underneath the divisions, but the projectile cracked flush into a trunk and ricocheted away to the other side of the fairway. He required three more from there, so he started with a bogey. He should have procreated it up on the very next puncture, but his short putt wandered idly around the right side of the hole and he had to tap it in for par.
You could tell then that it was going to be one of those daylights when McIlroy would have to sweat every putt. He missed five of them between five and 10 feet, which meant that he required 32 putts and as soon as he stepped off the 18 th he ran back to the practice green.
" I'm going to go try to flesh this out ," he said." It was the speak more than anything else. I over-read a few early on, and then I started to under-read them coming in ."
He had a theory that the ball was not ending like he expected because the greens is very much slow, but he resounded quite flummoxed about it.
He finished with a 73, his worst opening round here since 2010. Despite that he toy some fabulous golf tee to green, though, and reeled out a series of preposterously long drives. He averaged 324 yards off the tee and if he was not always that accurate he was good enough out of the bumpy that it did not matter.
Augusta's founders, Bobby Jones and Clifford Roberts, would have winced to see the road he dallied their far-famed 13 th by crashing his tee shoot over the trees, but would have enjoyed his magnificent approach on the 15 th, which property on the back advantage of the green.
There were five birdies, three of them at the three remaining par-fives, and six bogeys, including two back-to-back at the 10 th and 11 th, where he fluffed a flaccid little chip, and two more at the 17 th and 18 th, which was a rotten highway to finish.
It had been that course the working day, up on one flaw, down on the next, his round was all fluctuates, straps, roundabouts and arrows. McIlroy said:" I've been through it all now before ."
At least he was still in quarrel. In previous years he has devastated his lucks with a scamper of nine bad faults somewhere along the way in the first three days.
McIlroy reckoned the course was there for the taking. There was simply a lick of breeze and after 2 day of heavy rain the sand was soft and absolve, but the tournament committee, eager to protect the old-time place's honor, were relatively pitiless with the pin positions.
Not that that is what cost him. He said himself that he made" too many mistakes from quite simple orientations ". Which sounds like more of a mental problem than a technological one. You guess that Dr Skaggs may have had a long night over at McIlroy's house.
Those two aged supporters, Jack Nicklaus and Gary Player, were chatting about this in the morning." Right now Rory is dallying probably better than anybody ," Nicklaus said." At least from what I've seen watching him pattern in the last month or so ."
Player agreed with that." He has the best swing in the field , no question. The endowment is all there. But it all comes back to the brain ."
Nicklaus had a theory on that, extremely. He feels McIlroy should stop worrying about the grand slam. He says that the entitlement is not problem a damn anyway, which is the kind of thing you can say when you've won it yourself.
" I never even thought about it ," Nicklaus said." When I won the British Open in' 66 I don't recall anyone even mentioning it. So I never thought about it. And if I was in Rory's situate I would just be looking at trying to earn the Masters , not trying to finish a grand slam. To earn the Masters, that's enough to worry about it ."
Read more: https :// www.theguardian.com/ boast/ 2019/ apr/ 11/ rory-mcilroy-opening-round-swings-roundabout-masters-golfPosted in Football


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Image Management was founded in 2007, and is located at 2392 Coney Island Ave in Brooklyn.
Image Management is located at 2392 Coney Island Ave, Brooklyn, NY. This location is in the Sheepshead Bay neighborhood. This business specializes in Talent Agencies.


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Anti-opioid ad campaign will come with challenges
Success will depend on cultural change
MADISON, Wis. — Two experts with 70 years' experience in the advertising industry believe a successful ad campaign to combat the opioid epidemic can be achieved, but it will come with challenges.
"Behavioral change is a far more complicated proposition," said Jennifer Savino, co-owner of KW2, an advertising agency in Madison that has worked on behavioral change ad campaigns.
Savino says the complexity of the opioid crisis will require a complex advertising approach.
"This really has to be sort of a two-pronged approach where we talk about effective treatments for people that are engaging in this behavior, and then we also have to look at effective ways to get people to not engage in the first place," said Savino.
The approach is also complicated because opioid addiction crosses demographics and geographic boundaries.
"There are different reasons why people are starting and so you have to really break apart the reasons why people are starting, right down to high school students and why they think it is cool to take prescription drugs," said Savino.
Thomas O'Guinn, a marketing and advertising professor at UW-Madison says the ad campaign will seek a cultural change.
"It is not like we need people to understand that opioids are bad. Everybody understands they are bad. It is getting it to be culturally unacceptable to use drugs. It is making opioids uncool," said O'Guinn, who has been in the advertising industry for 40 years.
The anti-tobacco and stop-smoking ad campaigns have shown success in changing culture. Cigarette use in the U.S. has been reduced to 15 percent, according the Centers for Disease Control and Prevention. But it took nearly a half century of anti-smoking ad campaigns to achieve that success.
"It takes an awful long time because you have to change the culture along with everything else. That's very, very hard to do." said O'Guinn.
Because the opioid epidemic is so widespread, Savino believes many stakeholders involved in the issue will have to come to the table and be part of an effective campaign.
It will also take time and a financial investment.
"I think it can work, but I think we have to make a commitment to back it up with real dollars," said Savino.


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Milling (machining) - Wikipedia. Milling is a cutting process that uses a milling cutter to remove material from the surface of a workpiece The milling cutter is a rotary cutting tool, often with multiple cutting points
Full view of a 3-axis clone of a Bridgeport-style vertical milling machine. Milling is the process of machining using rotary cutters to remove material by advancing a cutter into a workpiece.
Máquina fresadora universal,Perforadora de mano,Sierra. Tri-Union es fabricante de Máquina fresadora universal en China. Nuestra máquina fresadora universal LM1450A, cuyo eje Z puede alcanzar los 600MM, se caracteriza por tener una operación manual/eléctrica, dos ejes alimentados automáticamente y tres ejes endurecidos.
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Milling Machine Types, Uses & Prices. There is a wide range of machine tools capable of performing this operation for all variety of metal projects, many of which are easily and conveniently available from used industrial machinery auctions.
Introduction Milling Machine. This full article is about milling machine operations. If you haven't read our complete article on types of milling machine you can read now by clicking here.
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9" x 42" Used Kondia Vertical Milling Machine with Variable Speed Head, Mdl. FV-1, Newall 2 Axis Digital Readout System, One Shot Lube, X Axis Servo Table Power Feed, Variable Speed Head, Kurt Power Draw Bar, #A5776
Most modern manufacturing centers have both milling machines and lathe machines. Each machine follows the same machining principle, known as subtractive machining, where you begin with a block of material and then shape that material into the desired specifications.
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A milling machine is an integral part of any serious hobby or engineering workshop. Axminster stocks a wide variety of machines to suit both the occasional DIY model maker or …
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Basically the milling machines are divided into two types first is horizontal milling machine and second one is vertical milling machine. They are further classified as knee-type, ram-type, manufacturing or bed type and planer-type milling machine.
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Hi all, I picked this figure up at the Telford IPMS show two years ago, it was pre painted and a simple push fit together kit. I wanted to see if I could add some lighting and bring it to life, not an easy project as the body was not completely hollow but made up of complex moulded chambers, however with a bit of perseverance I got there in the end. I powered the 5 LED's with a pp3 9v battery under the base. Iron man's head looked too small for his body and the back of the helmet looked more like a skull in shape, so I mixed up six layers of quick setting clear epoxy and built up the back of the head and neck to bulk out the profile. With a bit of battle weathering and a flat coat I think it turned out well.
Iron Man Model repaint
Samuelmcguire posted a topic in Science Fiction DiscussionHi guys I'm looking at repaint my Dragon Models Iron Man and I was wondering if anyone can recommend a good paint to get that nice red metallic look. I'm not to fussed about the gold and silver I think I will look at the alclad colours although I welcome any advice on these as I've never really painted any kind of metallic look before thanks Sam
Dragon 1/9 Iron Man Mk XLII
annemarie7477 posted a topic in Figure Work In ProgressI have an obsession about Iron Man. I'm not sure what it is, possibly Robert Downey Jr as Tony Stark, I'm not sure. All I know is that I have what some may consider a strange obsession with him. I have built the Moebius Iron Man kit (MKVI) which I fitted with LEDs so that his hands, eyes and arc reactor lit up. I then built the MKVII by Dragon which didn't go so great, the paint was a little gloopy and I enjoy brush painting and tried to brush paint Iron Man but it didn't work out very well. He looks great from a distance but, close up, he looks a bit ropey. So, when the latest Dragon Iron Man appeared in my (semi)local modelshop, I couldn't resist. The MK XLII is an absolutely stunning kit. The pieces looked great even on the sprue when I opened the box in the shop. I don't have these pictures because I didn't think that far ahead at the time. The kit fits together nicely, the front body armour and back body armour took a little persuading when trying to click them together over the 'skeleton' but once I managed it, it looks great. One good thing about doing a few different Iron Man kits is that I was able to learn by trial and error of what worked and what didn't. I knew that brushes didn't give a clean enough effect. I have already said about my obsession with Iron Man so I wanted him to look good. I chose Tamiya sprays for MK XLII but did not spray the pieces before I assembly. I've realised since then that might have been a better idea. Any way, It's not far from finished but still requires masking on both legs and one arm and the spraying finished. Until then, here he is...Dragon 1/9 MKXLII Iron Man from Marvel Studio's, Iron Man 3. I hope you like him. I am buying more masking tape this weekend so I can finally get him finished.
1/6th Black Widow...
LeVi Tophatter posted a topic in Science Fiction DiscussionHi all, Don't really dip into Sci Fi that much but a colleague sent me a link to this 6th scale model Hot Toys Black Widow Mind blowing realism, it's almost frightening! Bit of a noobie question, is this the regular standard of figurines in this scale or is this an exception? At around £115 ex. post, is this a good price? Only asking as I've been watching the Avengers (the Marvel version!) recently and would like to do a bit of collecting. Thanks in advance!


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Display resolution: 4096 x 2304 pixels, Screen shape: Flat. Processor family: 8th gen Intel® Core™ i5, Processor frequency: 3 GHz. Internal memory: 8 GB, Internal memory type: DDR4-SDRAM. Total storage capacity: 1000 GB, Storage media: Fusion Drive. Discrete graphics adapter model: AMD Radeon Pro 560X, On-board graphics adapter model: Intel® UHD Graphics 630. Built-in camera. Operating system installed: macOS Mojave 10.14. Product colour: Silver
Item ID: 9ASXD2A9


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1:42 a.m. A Whitefish dog was on the run.
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Saltwater Cottage
County Mayo , Ireland
This is a deceptively spacious multi-level cottage that has been snugly fitted into a sloping terrain as it tumbles towards the shoreline. One of a small cluster of white-washed dwellings on Achill Island, with beaches at the doorstep.
Sleeps 10 in 4 bedrooms
From €3,360 for a week
Burren Cottage
County Clare , Ireland
Once a cowshed, and the smaller of two exquisitely remodelled farm buildings, this romantic rural barn has been transformed into a sumptuously appointed cottage. Uniquely located, close to the Cliffs of Moher on the Wild Atlantic Way.
Sleeps 4 in 2 Bedrooms
From €1,300 for a week or €1,100 for a weekend
Castle View House
County Clare , Ireland
Prominently situated on the Burren Way between Doolin and the Cliffs of Moher, there are stunning views of the Aran Islands and the sunsets beyond, from this large Regency country house perched on the edge of Europe.
Sleeps 8 in 4 Bedrooms
From €1,500 for a week or €1,050 for a weekend
The Gate Lodge at Coolmore
County Kilkenny , Ireland
This is a quaint and cosy traditional gate lodge on the exclusive Coolmore estate, where a bleached white exterior and tastefully renovated interior preserve its unique style. Within easy reach of Dublin, Waterford – Kilkenny is serious Golfing territory.
Sleeps 2 in 1 Bedroom
From €795 for a week or €475 for a weekend
Mount Corrin
County Cork , Ireland
West Cork is a very special place. Here, sheltered in the crook between Mizen and Sheeps heads, Mount Corrin exudes all the ambience and atmosphere of a neo-classical house - an oasis in a wilderness landscape.
Sleeps 7 in 4 Bedrooms, plus 4 with cottage Swimming Pool, Gym
From €6,000 for a week
Westerly Cottage
County Cork , Ireland
Westerly Cottage is an intimate, white-washed traditional home set in natural rambling gardens and surrounded by history. This stone hideaway has been completely renovated into an informal romantic retreat on the borders of Bantry Bay.
Sleeps 4 in 2 Bedrooms
From €1,200 for a week


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Norco High School maintains the confidentiality of every student and staff member. Students who indicate the harming of others or themselves are immediately reported to administration, counselors, parents, and/or Child Protective Services.
A school counselor, who is in a counseling relationship with a student, has an ethical and legal obligation to keep information contained within that relationship. Confidentiality is the ethical and legal term ascribed to the information communication communicated within the counseling relationship, and it must be maintained unless keeping that information confidential leads to foreseeable harm. Visit the American School Counselor Association for additional information about the roles and responsibilities of the high school counselor: https://www.schoolcounselor.org.
The Corona Norco Unified School District is committed to equal opportunity for all individuals in education and in employment and does not discriminate on the basis of actual or perceived ancestry, age, color, disability, gender, gender identity, gender expression, nationality, immigration status, race or ethnicity, religion, sex, sexual orientation, pregnancy, parental/marital or family status, primary language, social class, geographical location, or association with a person or group with one or more of these actual or perceived characteristics. The Board prohibits, at any district school or school activity, unlawful discrimination, harassment, intimidation, and bullying of any student based on the protected characteristics named above. (CNUSD
Pupils have the right to a free public education, regardless of immigration status or religious beliefs. More information about these rights is available from the California Attorney General, Know Your Rights
Learn more about Title IX...