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Music. Style Additional Requirements Electives, lessons, and ensembles 1 8 MUS 350 Senior Project Total Credits 37-42
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1 Music 1 Music The study of music develops skills which will serve the student well in any career: self-discipline, teamwork, problem solving and leadership. A student graduating with the B.A. degree in music will have a strong foundation in music theory and substantial exposure to western music from the Middle Ages to the present. This curriculum will prepare a student for graduate studies in musicology, music theory, composition, jazz, conducting, or performance. A music major or minor taken in conjunction with a business major may lead to a variety of careers in arts management or in the recording and music publishing industries. For some a double major or a minor in music will not lead to a career but to a lifelong involvement with an art form that gives lasting satisfaction. The music department ( also offers significant performance experiences in instrumental and vocal ensembles, large and small, and in private instruction. The Zoellner Arts Center ( facilities include a Listening Library, practice rooms, a composition and digital class piano studio, a fine recording studio, classrooms and rehearsal rooms. Most importantly, the center boasts its concert facility, Baker Hall. With its 1000-seat capacity and excellent acoustics, it is flexible both on the stage (concert or theater mode) and in seating arrangements. The fully adjustable pit can serve opera or musical theatre, can provide additional seating, or can become an extension of the stage. Professors. Paul F. Salerni, PHD (Harvard University); Steven P. Sametz, DMUS (University of Wisconsin); Nadine J. Sine, PHD (New York University) Associate Professors. Eugene O. Albulescu, AD (Indiana University Bloomington); William Warfield, MMUS (Manhatan School of Music) Lecturer. David B. Diggs, MMUS (Stony Brook University) Professors Of Practice. Michael Jorgensen, DMUS (Florida State University); Sun Min Lee, MMUS (Westminster Choir College) Emeritus. Jerry T. Bidlack, MMUS (Boston University) MAJOR PROGRAM The Bachelor of Arts in Music (36-credit minimum) is for those students who wish to have double majors, who might choose a related field (e.g., arts management, part-time performance careers in orchestras) or who simply want a concentrated exposure to music study. Students choose between five different concentrations: performance; history and literature; theory and composition; jazz; conducting. For those who intend to pursue graduate study in music or a performing career, the major program should be viewed as the minimum requirement. Such students should regularly seek the advice of department faculty in expanding their program to suit their particular needs and goals. Performance Concentration Theory and Musicianship Skills Select two of the following: 6 MUS 236 Music Since 1900 Additional Requirements Lessons, ensembles and recitals 11 Music electives 3 Total Credits 36 The student must perform a half recital in the junior year, a full recital in the senior year, and juries during the sophomore and junior years. Jury Requirement: see website at Students must also complete three semesters of MUS 100 (0 credit P/ F) or its equivalent. History Concentration Theory and Musicianship Skills MUS 236 Music Since Additional Requirements Electives, lessons, and ensembles 1 8 MUS 350 Senior Project Total Credits At least three must be in performance. The students must produce a major research project during the senior year. Students must also complete three semesters of MUS 100 (0 credit P/ F) or its equivalent. Composition and Theory Concentration Theory MUS 243 Counterpoint 4 MUS 137 Musicianship I 1 MUS 245 Classical and Romantic Forms 4 MUS 138 Musicianship II 1 Select one of the following: 3 MUS 236 Music Since 1900 Composition MUS 253 Composition I 4 MUS 254 Composition II 4 Additional Requirements
2 2 Music Lessons or ensembles 2 Total Credits 36 Students must produce a substantial composition or theoretical analysis under the direction of department faculty during the senior year. A keyboard test is required to enter composition class. Students must also complete three semesters of MUS 100 (0 credit P/F) or its equivalent. Jazz Concentration Music Theory and Musicianship Skills Jazz Theory MUS 139 Jazz Theory 3 Jazz History MUS 128 Jazz History I 3 MUS 129 Jazz History II 3 MUS 236 Music Since Small Jazz groups Select a minimum of 4 credits: 4 MUS 049 Small Jazz Ensembles Jazz Performance Select six credits: 6 MUS 024 Jazz Ensemble MUS 027 Jazz Orchestra Additional Requirement MUS 350 Senior Project (for variable credit) Total Credits Students must also complete three semesters of MUS 100 (0 credit P/ F) or its equivalent. 1 Under faculty direction. Conducting Concentration Music Theory and Musicianship Skills Select two of the following: 6 MUS 236 Music Since 1900 Conducting MUS 321 Conducting I 2 MUS 322 Conducting II 2 Select at least two of the following: 4 MUS 311 Conducting Internship (one must be in orchestra) Additional Requirement Performance Electives (lessons and ensembles) 6 Total Credits 36 A piano proficiency exam must be completed before the end of the sophomore year. The student must undertake a senior project under faculty direction. Students must also complete three semesters of MUS 100 (0 credit P/F) or its equivalent. BACHELOR OF ARTS IN MUSIC COMPOSITION The Bachelor of Arts in Music Composition is designed for students committed to pursuing music composition beyond the undergraduate level. It is an intensive composition program with a 54-credit minimum. Music Theory MUS 139 Jazz Theory 3 MUS 243 Counterpoint 4 MUS 137 Musicianship I 1 MUS 245 Classical and Romantic Forms 4 MUS 138 Musicianship II 1 MUS 236 Music Since Select one of the following: 3 MUS 129 Jazz History II Composition MUS 253 Composition I 4 MUS 254 Composition II 4 Select two semesters of the following: 6 MUS 353 Composition Seminar MUS 321 Conducting I (one semester) 2 Electives Select six credits of music electives. 6 Total Credits 54 Students will have to pass a piano proficiency exam by the end of the sophomore year. Students will compile a composition portfolio by the end of the senior year. Students must also complete three semesters of MUS 100 (0 credit P/F) or its equivalent. MINOR PROGRAMS Minor in Music The minor requires a minimum of 17 credits and may include MUS 090. The program is designed to be flexible but must include: One history or literature course 3 Select two performance courses: 2 MUS MUS 079 Four credits from department offerings 4 Total Credits 17
3 Music 3 Students who test out of any courses (such as Keyboard I) may take any course as electives to make a total of 17 credits. Students must also complete three semesters of MUS 100 (0 credit P/F) or its equivalent. MINOR IN MUSIC INDUSTRY The music industry minor is intended to provide exposure to basic information, issues and skills useful for students who may want to pursue entry level positions in the music business or to promote their own work. There are six required courses: MUS 161 Production and Marketing of Sound 3 Recordings MUS 164 Management Of Careers in 3 Performing Arts MUS 261 Recording Techniques I 3 MUS 010 Basic Skills in Music 2 or MUS 011 Basic Musicianship MUS 361 Music Internship 3 ACCT 108 Fundamentals of Accounting 3 or ACCT 151 Introduction to Financial Accounting Total Credits 17 MUSIC OPTION Although Music and Engineering/Science is not a major in itself, Lehigh attracts many engineering and science students who wish to continue their active involvement in music and the music department. For those students who are interested in pursuing this option, music can be taken as a dual degree (B.S. or B.A.), minor or elective. CONCERT REQUIREMENT Majors and minors must enroll in MUS 100 and attend concerts approved by the music department for a minimum of three semesters. DEPARTMENTAL HONORS A student must have a 3.75 average in courses in the major to pursue honors. Candidates for departmental honors should submit to the department chair a written proposal, prepared in consultation with a faculty project adviser by the end of the junior year. The project which must go beyond required course work could result in a research paper, a composition or a performance. Upon acceptance of the proposal by the department faculty, the student should register for MUS 350 for one to six credits, which may be taken all at once or over the senior year. The awarding of departmental honors will be contingent on the quality of the completed project. Students who complete two concentrations in the major may also petition for consideration. PRIVATE LESSONS Lessons in most instruments and voice may be taken for one credit per semester. They must be arranged through the department at set fees that are not included in tuition. Please note that registering for lessons cannot guarantee availability due to difficulties in scheduling. To avoid overloading, students may also take lessons for no credit as indicated in the catalog. PERFORMING GROUPS Admission to performing ensembles is by audition (except Choral Union, Symphonic Band and Marching 97.) Students receive one credit per semester by registering for the appropriate course number. Students may also register for zero credit as indicated in the catalog. Although there is no limit to the number of these courses that may be taken, students should check with their adviser to determine the number that may be applied toward graduation. COURSE OFFERINGS Please note that many upper level courses have no prerequisites beyond MUS 010 or MUS 011 and are open to anyone with basic knowledge of musical terminology. Courses Credit For intended majors and minors only. Beginning piano skills designed to enable the student to use the piano as a tool. Major and minor scales in both hands, forming chords, elementary sight reading. Students may test out upon examination. Corequisites: MUS 011 Credit Continuation of MUS 2. Diatonic progressions in major and minor and more advanced sight reading. Students may test out upon examination. Corequisites: MUS 082 Credit Additional keyboard skills, including progressions with secondary chords, modulations, and sight reading. Students may test out upon examination. Prerequisites: MUS 082 Corequisites: MUS 083 Credit Sight singing, rhythm exercises, and ear training through dictation exercises. Corequisites: MUS 082 Credit Continuation of MUS 007. Prerequisites: MUS 082 Corequisites: MUS 083 MUS 010 Basic Skills in Music 2 Credits Rudiments of musical notation, beginning skills in sight singing, ear training, rhythm and keyboard. Intended for anyone who does not plan to major or minor. Credits For intended majors and minors. Development of basic skills in using notation, sight singing and ear training. Corequisites: MUS 002 MUS 012 Surveys In Music 3 Credits Varied topics in music for the non-major such as Italian opera, Keyboard Music, and the Symphony. Emphasis on developing listening skills and acquaintance with important works in the genre. MUS 021 Marching Band 0-1 Credits No audition required for admission. MUS 022 Wind Ensemble 0-1 Credits MUS 023 Symphonic Band 0,1 Credits No audition required for admission. MUS 024 Jazz Ensemble 0-1 Credits Up to six credits may be used for graduation credit in CEAS and CBE.
4 4 Music MUS 027 Jazz Orchestra 0,1 Credits Student/community/professional musicians performing classic, contemporary and original big band literature. MUS 031 University Choir 0,1 Credits MUS 032 Choral Union 0-1 Credits No audition required for admission. MUS 033 Glee Club 0,1 Credits Corequisites: MUS 031 MUS 034 Freshman Lab Choir 0 Credits MUS 035 Dolce Women's Choir 0-1 Credits Women from university choir sing treble music. Corequisites: MUS 031 MUS 048 Chamber Music Collegium 0-1 Credits MUS 049 Small Jazz Ensembles 0-1 Credits MUS 061 Philharmonic Orchestra 0-1 Credits MUS 065 Class Guitar for Beginners 0-1 Credits Beginning techniques and skills for guitar, either acoustic or electric. For students with less than a year of guitar instruction. Students supply their own instruments. Fees associated with course. MUS 066 Class Voice for Beginners 0,1 Credits Group instruction for beginning students of voice, including breathing and vocal production techniques; diction; beginning solo pieces. Fees associated with course. MUS 067 Class Drum Set for Beginners 0,1 Credits Rudiments of drum set playing for students with less than a year of drum instruction. Fees associated with course. MUS 068 Class Piano for Beginners I 0,1 Credits Instruction for beginning piano students, including rudiments of musical notation in relation to the keyboard; beginning pieces for solo piano and the group. Fees associated with course. MUS 071 Private Piano Study 0,1 Credits Up to six credits may be used for graduation credit in CEAS and CBE. Fees associated with course. MUS 072 Private Vocal Study 0-1 Credits MUS 073 Private String Study 0-1 Credits MUS 074 Private Woodwind Study 0,1 Credits MUS 075 Private Brass Study 0-1 Credits MUS 076 Private Percussion Study 0-1 Credits MUS 077 Private Organ Study 0,1 Credits MUS 078 Private Accoustic Guitar 0-1 Credits MUS 079 Private Electric Guitar Study 0-1 Credits Credits Exercises in writing in four-part chorale style. This includes all diatonic chords and non-harmonic tones. Corequisites: MUS 003 and MUS 007 Credits Continuation of MUS 82 including modulation, chromatic chords, analysis. Prerequisites: MUS 082 and MUS 007 Corequisites: MUS 004 and MUS 008 MUS 084 Private Drumset Study 0-1 Credits Private Instruction. Fees associated with the course. MUS 100 Concert Requirement 0 Credits Three concerts approved by the department (for majors and minors). MUS 128 (AAS 128) Jazz History I 3 Credits A study of the roots of jazz. Starting in West Africa, the course traces the synthesis of African and European elements to Musicians covered are Gottshalk, Bolden, Morton, Armstrong, Hawkins, Basie, Ellington and others. MUS 129 (AAS 129) Jazz History II 3 Credits A survey of modern jazz from 1945 to the present. Musicians covered include Parker, Gillespie, Monk, Davis, Coltrane, Hancock, and Coleman. Can be taken independently of Jazz History I, but the first course would be helpful. MUS 130 Jazz Masters 3 Credits An in-depth study of the music of a single major figure in jazz history, such as Miles Davis, Ornette Coleman, Duke Ellington. May be repeated for credits as title varies.
5 Music 5 MUS 137 Musicianship I 1 Credit Continuation of keyboard and aural skills. Corequisites: MUS 243 MUS 138 Musicianship II 1 Credit Continuation of keyboard and aural skills. Corequisites: MUS 245 MUS 139 Jazz Theory 3 Credits Study of the music theory that is the foundation of a good jazz solo, composition or arrangement. Study of the modes of the major and melodic minor scale, chord/scale theory using major, melodic minor, diminished, and whole-tone scales. Basic chord progressions, functional analysis of jazz tunes, and ear training are also included. Prerequisites: MUS 082 MUS 151 Vocal Diction 1 Credit Introduction to the use of the International Phonetic Alphabet. Application to French, Italian, German and English diction using art song repertoire. Preparation of a song in each language. MUS 161 Production and Marketing of Sound Recordings 3 Credits Foundations for organizing a recording project to be carried out by the class, which works in teams. This course will focus especially on artist negotiations, recording techniques, music publishing and manufacturing. MUS 164 Management Of Careers in Performing Arts 3 Credits An overview of what performing artists and managers experience during cycles of career development. Topics include recognition of talent, positioning in the marketplace, creating support structures and attainment of personal goals. Students will be required to apply practical techniques in furthering the career of a chosen artist. MUS 167 Intermediate Drum Set Class 0,1 Credits For students who have taken MUS 067: Beginner drum set class. Fees associated with the course. Prerequisites: MUS 067 MUS 170 Private Instruction for Performance Concentrators 2 Credits Lesson fees apply. Repeatable for credit. Restricted to music majors concentrating in performance. 3 Credits Development of musical style from early Christian chant to the sacred and secular forms of the late 16th century, viewed in cultural contexts. 3 Credits The major genres and composers of the 17th and 18th centuries studied in their cultural context. 3 Credits Study of the major composers and their works from late Beethoven to Mahler and Strauss. MUS 236 Music Since Credits Beginning with the major trends at the turn of the century, a study of the important composers and works of the last century to the present. MUS 243 Counterpoint 4 Credits Writing and analyzing pieces in Renaissance and Baroque contrapuntal styles.. Prerequisites: MUS 083 Corequisites: MUS 137 MUS 245 Classical and Romantic Forms 4 Credits Analyzing and writing pieces in classical and romantic forms. Exercises in chromatic harmony. Prerequisites: MUS 243 Corequisites: MUS 138 MUS 247 Advanced Musicianship 1 Credit To teach students advanced exercises in sight singing and ear training. Prerequisites: MUS 008 MUS 251 Special Topics 1-3 Credits Study of musical topics in history or composition not covered in regular courses. Consent of instructor required. MUS 253 Composition I 4 Credits Writing for acoustic and electronic instruments based on 20thcentury models. Acoustic orchestration, digital synthesis, effects processing. Use of the computer for score preparation and as a compositional tool. Prerequisites: MUS 083 and MUS 008 MUS 254 Composition II 4 Credits Continuation of MUS 253. Prerequisites: (MUS 253) MUS 261 Recording Techniques I 3 Credits Recording music in various popular and classical styles using state of the art studio equipment. Topics include microphone choice, placement, mixing, effects processing, digital editing and post production. MUS 262 Recording Techniques II 3 Credits Continuation of Recording Techniques I. Prerequisites: (MUS 261) MUS 291 Independent Study 1-3 Credits Individually supervised work in history or composition, or continuation of projects begun in regular courses. Consent of department chair required. MUS 300 Apprentice Teaching 1-3 Credits MUS 311 Conducting Internship 2 Credits Work under the direction of one of the faculty directors to learn the organization and musical tasks required of directors as they prepare ensembles for performance. MUS 312 Advanced Choral Composition 2 Credits Intensive, weeklong seminar/workshop for individual study with international faculty. Joint seminars and lab choir rehearsals on choral literature; rehearsals and premieres of student works. New works and repertoire presented in final concert conducted by faculty and participants.
6 6 Music MUS 321 Conducting I 2 Credits Beginning study of conducting techniques, including score reading and preparation, analysis, conducting patterns and gestures. Prerequisites: (MUS 083) MUS 322 Conducting II 2 Credits Continuation of MUS 321. Prerequisites: (MUS 321) Seminar in the History of Musical 3 Credits Study and analysis of the development of musical language and genre from the middle ages to the present. Prerequisites: MUS 083 Can be taken Concurrently: MUS 083 MUS 350 Senior Project 1-6 Credits MUS 353 Composition Seminar 3 Credits Seminar review of original compositions alternating with private lessons in composition. The seminar is intended for students doing either independent work in composition or senior projects. MUS 361 Music Internship 3 Credits MUS 370 Recital 1-2 Credits Department permission. MUS 389 Honors Project 1-8 Credits MUS 412 Advanced Choral Composition 2 Credits Intensive, weeklong seminar/workshop for individual study with international faculty. Joint seminars and lab choir rehearsals on choral literature; rehearsals and premieres of student works. New works and repertoire presented in final concert conducted by faculty and participants.
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text:
Patti Casey and Tom McKenzie will perform for the Burnham Music Series, at Burnham Hall in Lincoln, on Saturday, Jan. 13. Casey is an award winning songwriter, and McKenzie's banjo and voice are a perfect compliment. As the two musicians weave their way through the many styles of traditional based songs and tunes, you'll find your toes tapping and a smile on your face.
While traveling all lower 48 states, both Casey and McKenzie have performed for schools, private parties and community halls, bringing great tunes and polished harmonies to appreciative audiences. They will happily make any event shine or charm any audience with their banjo, guitar, hammered dulcimer, flute, keyboard, ukulele, seated clogging and fine humor. Audiences hear everything from French Canadian dance tunes, to Tin Pan Alley, to Old Time Country, to their own impressive originals.
Tickets are $10 for adults, and free for teens and children. Doors open at 7 p.m., the show begins at 7:30. Refreshments will be served. For more information, call (802) 388-6863.

subset: commoncrawl


text:
How to remove coffee stains from clothes
How to Remove Coffee Stains from a Car Seat
Three Methods:
Many people like to take their coffee on the go in the car, to save time and enjoy it on the morning commute to work or other activities. However, movement in the car and other mishaps can easily cause coffee to spill, leaving stubborn brown coffee stains in your car seats. Learn a few different methods to remove fresh and old stains effectively.
Treating Fresh Coffee Spills
Pull over if you're driving to treat spills safely.Make sure you are pulled over to a safe side of the road, a parking lot, or your final destination before treating a spill that has occurred. Never try to deal with a stain while driving.
- Note that while it's easiest to treat stains as soon as possible, by no means do you need to risk safety to address the spill while driving. It can wait till you reach your destination.
Soak up excess liquid with a cloth.Use a paper towel, a napkin, or any spare fabric or rag you have on hand in the car to clean the spill when it is safe to do so. Gently blot the coffee spill to absorb as much of the moisture from the car seat fabric as you can.
- Don't rub at the stain with your napkin or cloth, as this can spread the stain further. Simply press with the cloth into the seat and lift straight up to absorb the moisture.
- Repeat blotting with new napkins or cloths if you have them and the material becomes saturated. Do this until you have as much of the liquid absorbed as possible.
Brush off any solid material.Remove any coffee grounds that may have been present in your spilled coffee. It's important to remove grounds so they don't get stuck in crevices or cause further stains.
- Be sure to wait till after you've blotted the liquid of the stain up to remove any solids. Then you can simply brush them away into your hand or a napkin to dispose.
- If coffee grounds have made their way into fabric creases already and are difficult to remove, do your best to blot and brush at them, then wait till you have access to a vacuum with a thin hose attachment to suck them up.
Apply cool water to the stain.Put cool water on the coffee spill as soon as you can after blotting it initially. Continue blotting with a clean cloth or paper towel to pull out more of the coffee from the fabric.
- Blot the water with a dry cloth or paper towel again to remove the moisture.
Add dish soap or baking soda if you can.If you have access to either dishwashing liquid or baking soda, use this to quickly treat a stain. Add a very small amount with cool water directly to the stain or to a cloth or napkin.
- Blot gently with your napkin or rag until the baking soda makes a paste or the dish soap makes a gentle lather on the surface of the stain.
- Leave baking soda on the stain for up to 30 minutes if you can to allow it to work into the stain.
- Use a new cloth or paper towel with just cool water to rinse the car seat fabric of the soap or baking soda. Continue to use just gentle blotting motions.
Cleaning Coffee Stains on Cloth Car Seats
Use a mix of vinegar and water.Mix a cup of white vinegar into a gallon of water, or a similar ratio for a smaller quantity. Add a small squirt of dish soap and apply to the area of the coffee stain.
- Work the solution into the car seat stain with a stiff-bristled brush. Then allow it to sit for about 30 minutes before rinsing with water and blotting dry.
- You can also add club soda to your mixture for another ingredient that can help to pull the coffee stain out.
Use baby wipes or dry cleaning cloths.Use standard unscented baby wipes or dry cleaning cloths meant for clothing to remove a coffee stain. Keep these items in your car for a quick way to clean stains on the go.
- Use this method when you will be unable to do a deeper clean with soap and water, as these items can be kept on hand in your car.
- Baby wipes have the added benefit of being unscented and gentle for people sensitive or allergic to the strong scent or chemicals in other cleaners.
Try using glass cleaner.Spray a standard glass cleaner on a coffee stain that hasn't come out even after other cleaning methods. This may help to further break up a stubborn stain for removal.
- Be sure to test a glass cleaner on a small, inconspicuous area of your car upholstery to determine the effect it will have on your fabric. Don't use it on the stained area if it appears to alter the appearance of the material.
- Saturate the stain with the spray cleaner, then leave on for five minutes before blotting dry.
Cleaning Coffee Stains on Leather or Vinyl Car Seats
Use only low or neutral pH detergent on leather.Use a mild dish soap in cool water to blot at stains on leather. Or use a cleaner specifically intended for leather instead.
- Try stirring dish soap and water together vigorously until suds is formed. Then dab just the suds onto the coffee stain to avoid over-saturating the leather, and wipe clean with a dry cloth.
- Don't use a brush to work cleaner into leather fabric, as it can wear down the leather or work the cleaner into the seams and underlying cushion.
Use baking soda on vinyl.Add water to baking soda to apply to a coffee stain on vinyl car seats. Work it in very gently with a toothbrush or a larger soft brush, then blot dry with a clean cloth.
- Avoid using cleaners with an oil or mineral base on vinyl, as these can make vinyl harden and crack or feel stiff.
Finish with a protectant made for the material.Condition sensitive fabrics like vinyl and leather after cleaning a stain. This is necessary to prevent drying and cracking that can result from the cleaner chemicals or scrubbing action.
- Find these conditioners in stores with auto supplies, or in cleaning supplies meant for upholstery.
- Many solutions meant to condition leather and vinyl will also help to prevent or lessen the severity of future stains, so it's an important step not to be skipped in the cleaning process.
Community Q&A
QuestionCan I use apple cider vinegar instead of white vinegar for cleaning car seats?wikiHow ContributorCommunity AnswerUnlike clear white vinegar, apple cider vinegar has a light orange color and is less purified, so it can leave behind a discolored or even sticky residue on upholstery like car seats. So while apple cider vinegar may be used effectively for other cleaning projects, it's best to stick to distilled white vinegar for use on car seats.Thanks!
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Things You'll Need
Clean cloths and paper towels
Liquid dish soap
White vinegar
Baby wipes or dry cleaning wipes
Glass cleaner
Baking soda
Toothbrush or larger bristle brush
Leather or vinyl conditioner
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Ant is a Java-based build tool developed by the Apache Foundation. Thanks to its simplicity and power, Ant has made inroads into the wider Java development community. It's tailored to operate under IDEs like NetBeans and Eclipse, as well as other development tools like JUnit and XDoclet. Ant has become common on almost every Java developer workstation. In this article we will explore the new features incorporated into its latest version.
Class loading has been revamped in the 1.6 release of Ant. The optional.jar library, which contains all the non-core Ant classes, has been broken up into more manageable granular pieces, reducing the loading of unnecessary classes upon execution. Also, previously, classes had to be loaded either inside the build file or in the CLASSPATH environment variable. Now the -lib flag has been added, allowing class loading from the command line:
ant pdfdoc -lib
Ant relies on XML for defining its configuration parameters. XML namespace support was added to the latest release, aiding the creation of complex XML structures. Namespaces allow the presence of two equally named tasks to coexist and operate with distinct values:
<?xml version="1.0"?>
<!-- Defining two namespaces at project level -->
<project xmlns:production="http://linux.com/production"
<!-- Declaring two resources and assigning them to
a distinct namespace -->
<typedef resource="com/linux/production/database.properties"
<typedef resource="com/linux/development/database.properties"
<!-- Two tasks with same name differentiated
by a Namespace -->
<task xmlns="http://linux.com/production">
<task xmlns="http://linux.com/development">
Macros are another welcome addition in Ant 1.6. Macros allow developers to compose programmatically defined snippets inside a project's configuration script:
<macrodef name="mylogger">
<attribute name="type"/>
<record name="mylog.log" action="start"/>
<echo message="Building target '@{type}'" />
<record name="mylog.log" action="stop"/>
<target name="compile">
<mylogger type="compile"/>
<target name="webapp">
<mylogger type="webapp"/>
Here we define two targets that make use of the macro named mylogger. The actual functionality is defined in the macrodef element. The contents for our macro are declared within the sequential element, a previously available Ant task which is used to define a series of events. In this case, we create a log entry through the record task. The generated log corresponds to the type variable, which takes its value from the macro attribute provided at invocation.
One restriction which has been lifted is the allowance of top-level declarations. Previously only a few definitions were allowed to reside outside specific targets. You are now permitted to define any property at a global level for reuse within targets.
<?xml version="1.0"?>
<project default="init" basedir=".">
<!-- You can now declare any top level element -->
<loadproperties srcFile="myjava.properties"/>
<target name="init">
<!-- Global property access -->
Ant libraries are another new concept. Libraries allow you to define tasks in separate XML files. In Ant circa 1.5, tasks had to be defined inside a build script either through typedef or taskdef elements. With Ant libraries, it is possible to define these elements inside an independent file and reuse them on various build scripts. Take the following Ant library:
<?xml version="1.0"?>
<taskdef name="fop"
<taskdef name="webdoclet"
We simply nest our <taskdef> elements inside the root <antlib> tag. Assuming we place this library in a file named mylib.xml, we would use the following syntax to access its elements inside a build script:
<?xml version="1.0"?>
<project default="init" basedir=".">
<!-- Declaring Ant library -->
<typedef file="mylib.xml"/>
<target name="init">
<!-- Using the FOP task, imported through
Ant libraries -->
<fop fofile="products.fo"
<!-- Using the WebDoclet task, imported through
Ant libraries -->
<webdoclet destdir="${build.dir}">
<fileset dir="./src/">
<include name="**/*.java" />
<deploymentdescriptor servletspec="2.3"
<welcomefile file="index.jsp"/>
<welcomefile file="index.html"/>
Through the file attribute available in typedef we gain access to those tasks defined in the library. The actual invocation inside the build script is done transparently with the same name definition provided in the library.
XML namespaces are complementary to Ant libraries, in that they allow you to import a series of libraries into the same build script, and later use all of their elements in an unequivocal manner without worrying about name clashes.
All of these features are among the major enhancements in Ant 1.6, which provide both veteran and novice users new capabilities for building better and more comprehensive build scripts.